title: Blacksmith token

abstract: Blacksmith tokens are a form of evasion currency that was in circulation primarily in Lower Canada and Upper Canada along with neighboring areas, such as the northern parts of New York and New England in the mid-1820 to 1830s. They were not, strictly speaking counterfeits, but instead skirted around the laws of the time by being similar to officially circulating coinage, but bearing different legends, or bearing no legends or dates at all, so it could not be claimed that they were truly imitating circulating coinage fully. The tokens were designed to resemble worn examples of English or Irish copper coinage, most often with a crude profile of either George II or George III in profile on the obverse and an image of Britannia or an Irish harp on the reverse. They were typically underweight when compared to officially sanctioned halfpenny coinage, but were accepted along with many other unofficially issued tokens due to a lack of sufficient small denomination coinage in circulation at the time. Most examples were issued in copper, with a few examples struck in brass. Due to the deliberately poor nature of the images carved into the dies for these tokens, it is rare for a Blacksmith token to be graded higher than Very Fine, with most examples falling into a Good or Very Good grade. While first mentioned by noted Canadian numismatists Eugene Courteau and R.W. McLachlan, Blacksmith tokens were first fully described as a separate type of evasion currency by American numismatist Howland Wood with the publication of his pamphlet The Canadian Blacksmith Coppers in 1910. These coins, along with many other underweight copper tokens, were eventually driven out of circulation by the late 1830s as Canadian banks began to issue officially sanctioned copper tokens of the proper weight for their value. It is not known how many of these coins were made, as the creators faced possible prosecution if they were discovered. Evidence from hoards suggest that some of the blacksmith tokens were relatively common, and examples of various Blacksmith coppers have been found during archaeological excavations along with other coinage contemporary to the 1830s in the Saint John River Valley in Nova Scotia, on the grounds of Fort York in Toronto, and Place Royale in Quebec City. The more common Blacksmith tokens can be had for about C$20-$30, while the rarer varieties for which only a handful or unique examples are known can command prices in the thousands of dollars.

text:
# Blacksmith token

**Blacksmith tokens** are a form of evasion currency that was in circulation primarily in Lower Canada and Upper Canada along with neighboring areas, such as the northern parts of New York and New England in the mid-1820 to 1830s. They were not, strictly speaking counterfeits, but instead skirted around the laws of the time by being similar to officially circulating coinage, but bearing different legends, or bearing no legends or dates at all, so it could not be claimed that they were truly imitating circulating coinage fully. The tokens were designed to resemble worn examples of English or Irish copper coinage, most often with a crude profile of either George II or George III in profile on the obverse and an image of Britannia or an Irish harp on the reverse. They were typically underweight when compared to officially sanctioned halfpenny coinage, but were accepted along with many other unofficially issued tokens due to a lack of sufficient small denomination coinage in circulation at the time.

Most examples were issued in copper, with a few examples struck in brass. Due to the deliberately poor nature of the images carved into the dies for these tokens, it is rare for a Blacksmith token to be graded higher than *Very Fine*, with most examples falling into a *Good* or *Very Good* grade. While first mentioned by noted Canadian numismatists Eugene Courteau and R.W. McLachlan, Blacksmith tokens were first fully described as a separate type of evasion currency by American numismatist Howland Wood with the publication of his pamphlet *The Canadian Blacksmith Coppers* in 1910. These coins, along with many other underweight copper tokens, were eventually driven out of circulation by the late 1830s as Canadian banks began to issue officially sanctioned copper tokens of the proper weight for their value.

It is not known how many of these coins were made, as the creators faced possible prosecution if they were discovered. Evidence from hoards suggest that some of the blacksmith tokens were relatively common, and examples of various Blacksmith coppers have been found during archaeological excavations along with other coinage contemporary to the 1830s in the Saint John River Valley in Nova Scotia, on the grounds of Fort York in Toronto, and Place Royale in Quebec City.

The more common Blacksmith tokens can be had for about C$20-$30, while the rarer varieties for which only a handful or unique examples are known can command prices in the thousands of dollars.

## Name Origin

The name is derived from reference by R.W. McLachlan in an 1885 article about Canadian Numismatics, where he describes a specific coin of this series and says:

> *Previous to 1837, when the lack of specie caused copper change to be accepted in bulk, there lived in Montreal a blacksmith of dissipated habits. He prepared a die for himself, and when he wished to have a "good time" he struck two or three dollars in these coppers, and thereby supplied himself with sufficient change with which to gratify his wishes.*

While this description was intended to describe only a specific coin in the series, "blacksmith token" or "blacksmith copper" was the name that stuck, and was soon applied to all of these types of coins. While the rarer blacksmith tokens may well have been struck by a single person by hand, the large numbers of some of the more common tokens in this series suggests that some of them came from more professional minting operations. McLachlan stated that the numerous types of blacksmith tokens available and their quantity meant that they were either struck at several different establishments in quantity, or a large number came from one establishment which operated for several years. More recent research points to the blacksmith tokens being created at various locations in Lower Canada, and possibly in Upper Canada and the United States.

## Numismatic Study

Individual coins in the Blacksmith token series were described by the Canadian numismatist R.W. McLachlan in articles dating back to the mid-1880s, and several examples were also included in Pierre-Napoléon Breton's extensive catalog of Canadian colonial tokens. Numismatist Eugene Courteau was the first to notice design similarities between several of these coins, and documented them in an article published in *The Numismatist* in 1908.

Howland Wood published the first comprehensive study of the series in an article published *The Numismatist* in 1910, titled *The Canadian Blacksmith Coppers* (published later that same year as a pamphlet of the same name). He noted one characteristic that was common to the series, that they were created specifically to look like worn British half-pence coins. Another common feature to most of the Blacksmith coppers was that their designs were the opposite to that of the original coin being imitated. If the coin was imitating the bust of George III on its obverse, it would face left in the Blacksmith version whereas in the officially issued coinage it would face right. Wood believed that the reason for this was the inexperience of the die cutter, who created the die facing the same way as the original coin being imitated. The reverse of many of these coins featured an image of Britannia who faced the opposite way from the original, though Wood notes that when the reverse featured a harp, it faced the same way as it did on the Irish regal coinage it was imitating. Most of these regal imitations were created using copper, though he notes a few that were done in brass. Though Wood had no conclusive proof, he thought the regal imitation Blacksmith tokens were created in the first quarter of the 19th century, noting a particular specimen that had been struck over a George IV half-penny of 1825, so clearly not struck before that date, and was likely struck sometime soon after that date. This has been further corroborated in more recent times with the discovery of a Blacksmith token that had been struck over an Upper Canadian token dating to 1820.

In addition to the Blacksmith tokens that imitated English and Irish regal coinage of George II and George III, Wood also pointed out a second series of Blacksmith tokens which he considered to be "curiosities and puzzles", consisting of mules that mixed up dies from various store card tokens with other crudely made dies. One of these mules includes dies made for a store card token that was released within the United States in 1835, meaning that the Blacksmith version could not have been issued prior to this date. Given that the banks of Upper and Lower Canada started issuing their own officially sanctioned tokens of the correct weight for their value in 1838, Wood believed this series of tokens must have been created between those dates. Wood also pointed out the relative scarcity of these Blacksmith tokens when compared to those imitating regal coinage, believing that they were issued in limited numbers.

Wood counted 46 distinct varieties of Blacksmith tokens. Subsequent research has shown that two of Wood's Blacksmith tokens are in fact worn imitation coppers of British origin, and a third token listed by Wood a copper variant made of brass is in fact made of copper. A study by Oppenheim cataloging the auction of a prominent Blacksmith token collection added several more Blacksmith tokens and variants that were unknown to Wood; the Charlton catalog of Canadian Colonial Tokens lists 56 Blacksmith tokens and varieties. Blacksmith tokens are recognized as falling into specific categories based on the design they were imitating: those containing a regal profile, imitations of the Tiffin plus "Bust and Harp" tokens, those with blank reverse, imitations of the "Ships Colonies and Commerce Tokens", the "BITIT" Series, those based on worn Daniel and Benjamin True token dies, and other miscellaneous types.

Research continues in this area, the most recent contribution being by John Lorenzo who has done extensive X-ray fluorescence studies of various Blacksmith tokens in order to determine their metal composition. Some of his discoveries including finding that the die axes described for some varieties in existing coin catalogs should be considered approximate, identifying additional sub-varieties to Wood 29 and Wood 38, and suggests that there are at least four major "families" of Blacksmiths whose production are linked based on the dies that were used.

### 'BITIT' Tokens

The "BITIT" blacksmith tokens (Wood 33) is considered to be the most common of the Blacksmiths series, and one of the most controversial in numismatic literature. The obverse contains the profile of George III with what Wood described as a "large pug nose", while the reverse has a seated Britannia holding a shamrock. Unlike most Blacksmith tokens, this coin features a legend on both sides, with the tops of the letters obscured by excessive die polishing, possibly done on purpose.

There has been considerable interpretation as to the reading of the legend of the token, as the missing top portion of its letters supports different readings. McLachlan interpreted the inscription on the obverse as saying "GLORIUVS III VIS", though some numismatists contemporary to McLachlan suggested that the "VIS" should instead be read as "VTS", which is claimed to be an abbreviated, Latin version for "Vermont". McLachlan refuted this claim, saying that he had "little doubt that this piece was struck and issued in Canada as an imitation of a George III copper". This argument has been picked up again in more recent numismatic studies, with one article affirming that an example graded as Fine reveals the "I" should be read as "T", supporting the "VTS" reading. An off-center strike of this Blacksmith token in the collection of the Bank of Canada Museum where the top portion of the supposed "T" ought to be more visible, but is not, contradicts this reading.

Wood thought that the obverse legend read "GLORIOVS III VIS". A more recent article claims that several high-grade examples of the coin reveal a weak serif and cross-bar on the "L", and that the first "O" is thinner than the second, suggesting that the initial word of the legend should be read as "GEORIUVS" instead. The legend on the obverse has been interpreted as reading as the nonsensical "BITIT", though one study claims that the "I" and "T" are instead an "R" and "I", making the word read "BRITI" instead, a short form for "BRITISH".

In his comprehensive listing of Blacksmith tokens, Wood included this in his "Miscellaneous and Doubtful" series, suggesting that it might be an imitation regal coin created in England, but sharing the common Blacksmith token characteristic of the regal bust facing the opposite way. While McLachlan clearly thought that this coin was issued in Canada and was relatively plentiful, it is notable that it was not included in Breton's *Illustrated History of Coins and Tokens Relating to Canada*, possibly because he thought it was a British import. While American numismatist John H. Hickcox believed the coin to have come from Vermont, the majority consensus of other mid-19th century U.S. Colonial numismatists omit the coin in their listings While the provenance of this coin is still debated, examples of this coin appearing in the hoard McLachlan described and archaeological finds in locations in Upper Canada, Lower Canada and New Brunswick establish that it circulated in Canada.

## Bibliography

* Biancarosa, Jim (August 2014). "This Orphan Needs a Home: GEORIUVS. III . VTS / BRITI". *The Colonial Newsletter*. **54** (2): 4191–4198.
* "Canada, unknown, 1/2 penny : 1838". *Bank of Canada Museum: National Currency Collection*. Retrieved September 17, 2017.
* Cross, W. K. (2012). *Canadian Colonial Tokens, 8th Edition*. The Charlton Press.
* Evans, Bret (March 7, 2017). "Strong interest, bidding at recent Hoare Auction". *Canadian Coin News*. **54** (24): 1, 21.
* Faulkner, Christopher (2017). *Coins are Like Songs: The Upper Canada Coppers 1815–1841*. Spink.
* Hoover, Oliver (August 2008). "Wood 33: An Evasive Copper in North America". *The Colonial Newsletter*. **48** (2): 3279–3288.
* Grawey, Tim (January 13, 2015). "Colonial Tokens: American weighs in on Blacksmith token". *Canadian Coin News*. **52** (20): 16, 28.
* Grawey, Tim (July 26, 2016). "Colonial Tokens: Hoards shed light on George II counterfeits". *Canadian Coin News*. **54** (8): 18.
* Kleeberg, John M. (2009). "Numismatic Finds of the Americas an Inventory of American Coin Hoards, Shipwrecks, Single Finds, and Finds in Excavations". *Numismatic Notes and Monographs* (169). American Numismatic Society. JSTOR 43607140.
* Leonard, Robert (December 2014). ""This Orphan Needs a Home: GEORGIUCS.III.VTS / BRITI": A Rejoinder". *The Colonial Newsletter*. **54** (1): 4221–4229.
* Lorenzo, John (2017). *Forgotten Coins of the North American Colonies - 25th Anniversary edition*. Amazon Books.
* McLachlan, R. W. (April 1885). "Canadian Numismatics \[Concluded\]". *American Journal of Numismatics*. **19** (4): 82–85.
* Oppenheim, Michael (March 26–27, 1987). "Warren Baker Collection of Canadian Blacksmith Coppers". *The Frederick B. Taylor Collection and Other Properties*. **1** (1): 100–116.
* Willey, R.C. (July–August 1981). "The Colonial Coinages of Canada: Part XIX, The 'Blacksmith' Tokens of Lower Canada". *Canadian Numismatic Journal*. **26** (7): 306–312.
* Wood, Howland (1910). *The Canadian Blacksmith Coppers*. The Numismatist.


title: Donatello (catalogue of works)

abstract: The following catalog of works by the Florentine sculptor Donatello is based on the monographs by H. W. Janson (1957), Ronald Lightbown (1980), and John Pope-Hennessy (1996), as well as the catalogs of the 2022/2023 exhibitions in Florence, Berlin and London. In the case of unsigned or documented works, the attributions and dates are, as is usual, based predominantly on stylistic criteria and analogies to secured works. Many of the works attributed to Donatello were created in collaboration with other artists and with specialists in specific techniques.

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# Donatello (catalogue of works)

The following catalog of works by the Florentine sculptor Donatello (born around 1386 in Florence; died on December 13, 1466, in Florence) is based on the monographs by H. W. Janson (1957), Ronald Lightbown (1980), and John Pope-Hennessy (1996), as well as the catalogs of the 2022/2023 exhibitions in Florence, Berlin and London. In the case of unsigned or documented works, the attributions and dates are, as is usual, based predominantly on stylistic criteria and analogies to secured works. Many of the works attributed to Donatello were created in collaboration with other artists and with specialists in specific techniques.

## About the table

The table is designed to be sorted in the best logical way possible, so that it can be used productively for searches, statistics and analysis (with many compromises; see below. The sorting function will also be available in the app sometime). Technical terms, places, etc., are only linked once at first appearance.

### Subject/*Name*

First of all, it must be said that almost none of Donatello's works at the time had an individual name or title (just as only a few were signed; sometimes they have inscriptions that were added later, as with the Campanile figures). In addition to the *Habakkuk*, which was quickly nicknamed *Zuccone* because of the figure's pumpkin-shaped head, the late *Judith* and the *Dovizia* on the main market square (today's Piazza della Repubblica) in Florence, which were unique at the time, to clearly identify a work, the addition of the place (or commissioner) and (if it was known) the artist's name was needed. Donatello's two statues of *David* are similarly exceptional cases; both were generally known to be the work of Donatello, but for the second, the bronze *David* for the Medici, it was necessary to differentiate by adding the location, the client or the material. Almost all the other sculptures were figures of Christ, the Madonna and the saints, which were ubiquitous subjects and comprised the entire iconographical canon of what could be represented up to that point.

The bronze *David*, the *Pazzi Madonna* and the *Cavalcanti Annunciation* are all so-called *Notnamen*, short names that have been created over time by art historians since the 19th century, which have become established (with variants) and, particularly in the case of popular works, have become established in general through art literature and cultural and travel guides. A very special case in this regard is the so-called *Amor-Attis*, *Amor-At(t)ys* and vice versa, or also *Atys-Amorino*, as Janson described it in his monograph, which is still fundamental to this day; the figure remains a mystery with its ambiguous ancient attributes. Another persistent enigma is of course the bronze *David*.

Perhaps contrary to expectations, in the table these Notnamen under "Subject/*Name*" follow (in italics) **after** a general descriptive name of the object (e.g. "Lion..., (*Marzocco*)"), so that all prophet figures, for example, or the five John the Baptists can be brought together. Likewise, all Madonnas with the Christ Child are referred to as "Madonna and Child" so that they can be compared; the *Pazzi Madonna*, for example, can be found as "Madonna and Child (*Pazzi Madonna*)".

Donatello's documented collaborators and assistants are then named in **small boldface**, followed by uncertain attributions, dates or functions in ***small, bold and italic***, which is a reference to missing documentation. Separating the largely undisputed works attributed to Donatello from those secured by documents or omitting them entirely would not allow an overall view of his oeuvre, to approximate the assumed simultaneous work on different genres and their chronological progression.

### Form

Under "Form" statues can be separated from works in relief, although simultaneously all, e.g., niche figures can also be brought together.

### Materials

Donatello worked with a wide variety of materials, most often in innovative ways. In his time and also due to Donatello, in addition to marble, the complex and expensive bronze and cheap, easy-to-handle fired clay (terracotta) became the essential materials. The stone used is almost exclusively white marble, especially for the early statues of the Cathedral of Florence, the works in *rilievo stiacciato* (shallow relief), the tombs and the two pulpits from the 1430s. Techniques for bronze had almost been lost; their revival is associated above all with Lorenzo Ghiberti, in his doors for the Florence Baptistery and the statues for Orsanmichele, for which Donatello then made his first bronze figure, the *Saint Louis of Toulouse* (1418–1422).

The main material used for the main object of a work is always mentioned first, then its treatment and secondary materials (as in the "Saint Louis of Toulouse with niche", first "bronze, fire-gilt", then silver, enamel and rock crystal for the decoration of the bishop's crosier, and finally the marble for the niche in which the figure originally stood, which was also created by Donatello).

### Dimensions

In the 15th century there was a locally applicable ell (or arm length) which could range between around 50 and 75 cm. The size of a sculpture may have been specified as such in contracts or described in sources. In Donatello's case, the Florentine **braccio** (Italian "arm") of 58.3 cm was used for the most part.

If the measurements of a work are not given in the table as height × width × depth (in centimeters), at minimum the height of a figure or the diameter (*d*) of a tondo will be given, if that was all that could be found in the literature.

### Dating

When it comes to dating the work, a compromise had to be made in that the **initial dates** are decisive here. This means that for documented objects it is often the date of the (first) written commission or the decision to do so. However, as is often the case (at this time) and not only for Donatello, the completion of a work or even the beginning lay sometimes years in the future. The specified time period does not therefore mean the actual time that Donatello spent on a work. Especially since, even at the other end (that is, after Donatello had completed a sculpture), a considerable amount of time could pass before it was (as is often the case) primed and colored and also gilded by painters. The installation on site did not have to happen immediately, so such information in documents does not necessarily indicate the time at which the sculpture was finished.

The priority of the starting date ignores the fact that during the period of often non-continuous work on a work, the understanding, the general knowledge of the classical model, with which Donatello continuously dealt, as well as the access to a specific task could change. This means that during the work process a stylistic change could take place that was not foreseeable at the beginning, or technical difficulties (or other circumstances) could arise that had to be solved and perhaps lead to a different result from what was originally planned.

Examples here include the early works, especially the marble *David*, the possible reworkings of which have been the subject of much speculation. Is the composition of the *Saint Louis of Toulouse* in several parts, rather than cast in one piece, as Ghiberti had done, due to Donatello's deficiencies in the knowledge of bronze casting, or was this based on a practical consideration regarding fire gilding or perhaps the complexity of the folds? The question of its open back (original or removed for Santa Croce?) will continue to concern art historians.

### Locations

The locations always start with the city, then the building in or on which the work was or is located. Under **original location** there is also information that names the client or clients or allows conclusions to be drawn about them. An (early) relocation of a work is also noted (e.g., with both *David* figures). **Today's location** indicates in part the inventory number of the object ("Inv. xy") if it is part of a museum collection, if possible with a link to the institution's online catalog where – as with the Berlin collection – good images can be found, a detailed description and documentation, as well as a bibliography.

### About the second table

Important here are the **controversial works**, which have always been close to the discussion about Donatello's œuvre, but which have been rejected from the catalogs of works that can be considered secure. Particularly worth mentioning here are the portrait bust of Niccolò da Uzzano, the *Saint Peter* at Orsanmichele and the *Hildburgh Madonna* and its derivatives.

Furthermore, the nature of the second table means that it cannot be complete. As far as **casts and variants** of mostly smaller to minute works are concerned, there may be a huge number scattered throughout museums and private collections that have received undocumented attributions based solely on stylistic similarities or technical details. This also applies to **works based on Donatello's designs** since the supposed designs no longer exist. The heraldic shields in particular, often with Donatello's trademark, the *spiritelli*, are probably all workshop products at best. Due to the lack of sources, there is no section for original location here, but one for the attribution appears as second column.

All of the works listed in the second table may be considered examples, with an obvious emphasis on works from the Skulpturensammlung in the Bode Museum, Berlin, for historical and practical reasons. On the one hand, the early Italian Renaissance and Donatello in particular have been the focus of collecting activities and research since the end of the 19th century, especially of Wilhelm von Bode, which was then essentially continued to this day. This is reflected in today's online catalog, wherein most of the works are excellently documented. This is also a reason for selecting the pieces from other museums, the Victoria and Albert Museum in London, which was similarly engaged as Berlin, the National Gallery of Art in Washington, the Detroit Institute of Arts, and of course the museums in Florence itself, Donatello's birthplace and the center of his professional life.

## Catalogue of works

| Image | Subject/*Name* | Form | Material | Dimensions (in cm) | Dating | Original location | Current location |
| --- | --- | --- | --- | --- | --- | --- | --- |
|  | Prophet | statue | marble | 128 | 1406 | Florence, Santa Maria del Fiore, Porta della Mandorla | Florence, Museo dell'Opera del Duomo |
|  | Christ as the Man of Sorrows | relief | marble |  | 1407–1408 | Florence, Santa Maria del Fiore, Porta della Mandorla | Florence, Museo dell'Opera del Duomo. Copy on original site |
|  | Crucifix | statue (demountable, with retractable arms) | wood, gesso primer, painted | 170 × 166 × 35 | 1407–1408 | Florence, Santa Croce, north transept | Florence, Santa Croce, Cappella Bardi di Vernio |
|  | Creation of Eve, Damnation of Eve and Adam, Expulsion from Eden, The Labour of Adam and Eve
***function, attribution and date arguable*** | reliefs (4), octagonal, probably for a hope chest (**cassone**) | terracotta, lead-glazed, partly gilded |  | c.1408 | unknown | London, Victoria and Albert Museum (Inv. ? 3) and one in Florence, Museo dell'Opera del Duomo |
|  | David (with the head of Goliath; marble *David*) | statue | marble, originally with cord of the sling | 191.5 × 78.5 × 42 | 1408–1409, 1416 | Florence, Santa Maria del Fiore, planned for north tribune; Palazzo della Signoria, Sala dei Gigli (1416) | Florence, Bargello (since 1781, Inv. Sc. 2) |
|  | Saint John the Evangelist | statue in niche, sitting | marble | 210 | 1408–1415 | Florence, Santa Maria del Fiore, façade | Florence, Museo dell'Opera del Duomo |
|  | Prophet Joshua | statue | terracotta, stucco, white-washed | c.550 | 1409–1412 | Florence, Santa Maria del Fiore, north tribune | deteriorated, not preserved |
|  | Madonna and Child | statue | terracotta, gesso primer, painted |  | 1410–1412 | unknown | Empoli, Pontorme, San Martino |
|  | Saint Mark | statue in niche | marble | 236 × 74 (with base) | 1411–1413 | Florence, Orsanmichele, niche of the Arte dei Linaioli e Rigattieri (Guild of linen manufacturers and retail cloth dealers) | Florence, Orsanmichele, Museum. Copy at original site |
|  | Madonna and Child
***attribution and date arguable*** | statue, sitting | terracotta, originally primed and painted | 73 × 45.3 × 36.5 | c.1414 | unknown | London, Victoria and Albert Museum (Inv. 7573-1861) |
|  | Madonna and Child
***attribution and date arguable*** | statue, sitting | terracotta, gesso primer, painted | 68.6 × 37.8 × 38.1
38.1 kg | c.1414 | unknown | Detroit, Institute of Arts (Inv. 40.19) |
|  | Madonna and Child (*Huldschinsky Madonna*)
***attribution and date arguable*** | statue, half figure | terracotta, originally primed and painted | 90 × 75 × 24 | c.1415 | unknown | Berlin, Bode Museum (formerly Kaiser Friedrich Museum), Sculpture Collection and Museum of Byzantine Art (since 1892, Inv. 1940) |
|  | Saint George and | statue in niche with low reliefs | marble, probably at times with lance or sword and helmet (metal) | 204 × 78 × 34
base relief: 39 × 120 | c.1415–1417 | Florence, Orsanmichele, north side, niche of the Arte dei Corazzai e Spadai (Guild of the armourers and swordsmiths) | Florence, Bargello (in copied niche). Copy at original site |
|  | Madonna and Child with Two Angels | tabernacle, relief | terracotta, originally primed and painted | 96.5 × 67.5 × 13.5 | c.1415–1420 | unknown | Prato, Museo di Palazzo Pretorio (since 1871, Inv. 1876) |
|  | Prophets: * *Beardless Prophet* * *Bearded Prophet*  (*Profeta pensieroso*) | statues in niches (first two of six) | marble | 190 × 59 × 43,
193 × 64 × 44 (incl. plinth) | 1416–1418 and 1418–1420 | Florence, Santa Maria del Fiore, Campanile (all four on north side were moved to the east side in 1464) | Florence, Museo dell'Opera del Duomo (copies on east site) |
|  | Lion with coat of arms of Florence (*Marzocco*) | statue on column | sandstone (**macigno**), marble, rosso di Maremma | 135.5 × 38 × 60 | 1418–1420 | Florence, Santa Maria Novella, stairs to papal chambers | Florence, Bargello |
|  | Saint John the Baptist
**with Nanni di Bartolo, revised unfinished Joshua by Bernardo Ciuffagni** | statue in niche (third of six) | marble | 207 × 65 × 44 | 1420–1421 | Florence, Santa Maria del Fiore, Campanile | Florence, Museo dell'Opera del Duomo (copy on original site) |
|  | Saint Louis of Toulouse with niche
**perhaps with Michelozzo di Bartolommeo** | statue and architecture of aedicula | bronze, fire-gilded (**ormolu**), silver, enamel, rock crystal and marble | 285 × 101 × 78 | c.1418–1422 | Florence, Orsanmichele, east side, niche of the Parte Guelfa, moved c.1440s–1450s to niche above portal of Santa Croce; since 1483 Verrocchio's *Doubting Thomas* has occupied the original niche | Florence, Museo dell'Opera di Santa Croce |
|  | Madonna and Child (*Madonna of the Cords*)
***attribution and date arguable*** | relief | terracotta, gesso primer, painted | 89 × 64 × 28 | c.1420–1423 | unknown | Florence, Museo Civici Fiorentini – Museo Stefano Bardini (Inv. MCF-MB 1922-682) |
|  | Flagellation of Christ
***function, attribution and date arguable*** | relief, low | marble | 46.5 × 57.5 × 5 | c.1420–1425 | unknown | Moscow, Pushkin Museum, 1893–1945 in Berlin, Kaiser Friedrich Museum (henceforth solely as plaster cast) |
|  | Abraham and Isaac
**with Nanni di Bartolo** | statue in niche (fourth of six) | marble | 188 × 56 × 45 | 1421 | Florence, Santa Maria del Fiore, Campanile | Florence, Museo dell'Opera del Duomo (copy on east side of Campanile) |
|  | Tomb of Antipope John XXIII: tomb effigy. base, statues of virtues, sarcophagus, lunette with Madonna and Child, baldachin
**with Michelozzo and Pagno di Lapo Portigiani** | Tomb effigy, architecture, relief | marble, partly painted and gilded, bronze, fire-gilded | 213 (length of effigy) | c.1421–1427 | Florence, Baptistery | Florence, Baptistery |
|  | Prophet and Sibyl | relief, profile busts | marble | 64, each | 1422 | Florence, Santa Maria del Fiore, Porta della Mandorla | Florence, Santa Maria del Fiore, Porta della Mandorla |
|  | Madonna and Child (*Pazzi Madonna*) | relief, low | marble | 74.5 × 73 × 6.5 | c.1422 | unknown; thought to have been owned by the Pazzi family | Berlin, Bode Museum (since 1886, Inv. 51) |
|  | Reliquary Bust of Saint Rossore (= Saint Luxorius) | bust, reliquary with lit and halo (lost) | bronze, fire-gilded | 55 × 58 × 42 | c.1422–1425 | Florence, Ognissanti, since 1591 in Pisa, Santo Stefano dei Cavalieri | Pisa, Museo nazionale di San Matteo (since 1977) |
|  | Prophet Jeremiah | statue in niche (fifth of six) | marble | 191 × 45 × 45 | c.1423 | Florence, Santa Maria del Fiore, west side of Campanile | Florence, Museo dell'Opera del Duomo (copy on original site) |
|  | Saint John the Baptist | statue | bronze, patinated | 90.5 × 36.5 × 30 | 1423–24 | Orvieto, Cattedrale di Santa Maria Assunta, baptismal font
***uncertain*** | Moscow, Pushkin Museum, 1878 from Palazzo Strozzi until 1945 in Berlin, Kaiser Friedrich Museum (henceforth solely as plaster cast) |
|  | Feast of Herod | relief (one on the hexagonal parapet) | bronze, fire-gilded | 60 × 61 | 1423–1427 | Siena, Baptistery, baptismal font | Siena, Baptistery |
|  | Madonna and Child with Four Angels (*Madonna of the Clouds*) | relief | marble | 34 × 32.1 × 2.8 | c.1425–1430 | Florence, Palazzo vecchio di Medici, **guardaroba** of Cosimo (died 1464); afterwards in possession of Piero del Pugliese | Boston, Museum of Fine Arts (Inv. 17.1470) |
|  | Prophet Habakkuk (*Zuccone*) | statue in niche (last of six) | marble | 195 × 54 × 38 | 1426 – c.1427 and 1435–1436 | Florence, Santa Maria del Fiore, Campanile | Florence, Museo dell'Opera del Duomo (copy on west side of the Campanile) |
|  | Tomb of Cardinal Rainaldo Brancacci: Annunciation relief
**all other design and execution by Michelozzo (and workshop)** | relief, low; tomb monument with statues and reliefs, partly painted and gilded | marble | 74 × 78 (relief) | 1426–1428 | Naples, Sant'Angelo a Nilo | Naples, Sant'Angelo a Nilo |
|  | Faith and Hope | statuettes, two (of six) corner figures | bronze, fire-gilded | 52, each | 1427–1429 | Siena, Baptistery, baptismal font | Siena, Baptistery |
|  | Ascension with Christ Giving the Keys to Saint Peter | relief, low | marble | 41 × 115 | 1428–1430 | Florence; 1492 owned by Lorenzo de' Medici, then by the Salviati until after 1677 | London, Victoria and Albert Museum (Inv. 7629-1861) |
|  | Blood of the Redeemer | relief | marble | 39.8 × 67 | 1429–1430 | Siena (province), Torrita di Siena, Oratorio della Madonna delle Nevi | Siena (province), Torrita di Siena, Chiesa delle Sante Flora e Lucilla |
|  | Spiritelli, making music with trumpet resp. tambourine | statuettes | bronze, fire-gilded | 40 × 20 × 15.8
36.2 × 14.7 × 16.2 | 1429 | Siena, Baptistery, baptismal font | Siena, Baptistery, baptismal font (with trumpet), Berlin, Bode Museum (Inv. 2653); a third perhaps in Florence, Bargello (Inv. ) |
|  | *Dovizia* (on the Colonna dell'Abbondanza) | statue on column | sandstone (**macigno**) |  | 1431 | Florence, Mercato (vecchio), now Piazza della Repubblica | deteriorated and destroyed in a fall in 1721 (replaced with a version by Giovanni Battista Foggini, itself now replaced by a copy) |
|  | Tomb slab for the papal secretary Giovanni Crivelli | relief, low | marble | 235 × 88 | 1432 | Rome, Santa Maria in Ara Coeli | Rome, Santa Maria in Ara Coeli |
|  | Tabernacle (for the Eucharist) | relief | marble | 225 × 120 | 1432 | Rome, Apostolic Palace, Capella Parva | Rome (Vatican), St. Peter's Basilica |
|  | Altar piece (*Cavalcanti Annunciation*) | relief in tabernacle, group of six statuettes | sandstone (**macigno**), painted white/gray with gilding
terracotta (spiritelli) | 419 | c.1433–1435 | Florence, Santa Croce, for the Cavalcanti family chapel | Florence, Santa Croce |
|  | Pulpit for organ or singers, **Cantoria** | reliefs of triforium on corbels and columns | marble, mosaic, bronze | 348 × 570 | 1433–1439 | Florence, Santa Maria del Fiore | Florence, Museo dell'Opera del Duomo |
|  | Coronation of the Virgin (design) | leadlight, oculus | cartoon | c.380 | 1434–1437 | Florence, Santa Maria del Fiore, eastern arch of the crossing (above the choir) | Florence, Santa Maria del Fiore |
|  | Pulpit of the Holy Girdle **in part by workshop**
**by Michelozzo**
* Architecture  **planned with Michelozzo, executed by workshop (Pagno di Lapo Portigiani) and specialists on the spot** | reliefs (seven) | marble, mosaic (glass casting, glazed ceramic, formerly gilded tesserae) for parapet
bronze, fire-gilded (capital) | 77 × 86 × 12 (each relief)
94.5 × 143.5 × 50 (capital) | 1434–1438 (parapet, after new contract)
commission of 1428, cast of capital at the end of 1433 | Prato, Cathedral (then Pieve di Santo Stefano), southwest corner of façade | Prato, Cathedral and Cathedral Museum (1976, Inv. AGJ2748, \[...\] and AGJ1829); copies on original site |
|  | Old Sacristy* eight tondi with four scenes of the life of Saint John and the four Evangelists sitting at their desks * two lunettes with Saints Stephen and Lawrence (l), and Cosmas and Damian (r) * two doors with twenty pairs of arguing martyrs (l) and apostles (r), five on each leaf, architectural frames and * decoration on supports  **architecture designed by Filippo Brunelleschi**
no documents; first source is Filarete, *Trattato*, 1460–1464 | reliefs, architectural frames | bronze (doors), painted stucco (tondi and lunettes), sandstone (**macigno**) | c.215 *d* (tondi without molding)
c.215 × 180 (lunettes without frame)
235 × 109 (each door with ten reliefs of 36.5 × 33.5 l, 34.5 r, both 35 at bottom) | 1434–1443 | Florence, San Lorenzo | Florence, San Lorenzo |
|  | Feast of Herod | relief, low | marble | 50 × 71.3 × 5 | c.1435 | unknown | Lille, Palais des Beaux-Arts (Inv. Pl 1912) |
|  | Madonna and Child (*Goretti Miniati Madonna*) | relief | marble | 62.6 × 43.5; 5 (relief) | c.1435 | unknown | Florence, Bargello (Inv. Sc 470) |
|  | Dead Christ Tended by Angels (Imago Pietatis)
***function, attribution and date arguable*** | relief, low | marble | 80.5 × 114.3 × 6 | c.1435 | unknown | London, Victoria and Albert Museum (Inv. 7577-1861) |
|  | David with Sword and Severed Head of Goliath (bronze *David*) | statue on column (lost or as remains, original height over 2 m) | bronze, partly fire-gilded
marble (attributed column remains) | 159 | 1435–1440 | Florence, Casa Vecchia de' Medici, perhaps at first in the old Medici palace; after 1457 in the court of Palazzo Medici; 1495 in the court of Palazzo della Signoria | Florence, Bargello |
|  | Spiritello (*Amor-Attis*) | statue | bronze, partly fire-gilded | 103 × 55 × 45 | c.1435–1440 | Florence | Florence, Bargello (since 1778, Inv. Br. 448) |
|  | Spiritelli candle-holders (two) | statuettes, candelabra | bronze, gilding | 58.5 × 42 × 28
65 × 32.5 × 22 | c.1436–1438 | Florence, Santa Maria del Fiore, for organ pulpit by Luca della Robbia | Paris, Institut de France, Musée Jacquemart-André (Inv. MJAP-S 1773-1 and 2) |
|  | Saint John the Baptist | statue | wood, gesso primer/stucco, painted and gilded |  | 1438 | Venice, Santa Maria Gloriosa dei Frari | Venice, Santa Maria Gloriosa dei Frari |
|  | Saint Lawrence
***attribution and date arguable*** | half figure | terracotta, formerly painted | 74.5 × 62 | c.1440 |  | private ownership |
|  | Madonna and Child (*Dudley Madonna*) | relief, low | marble | 27.2 × 16.5 × 2 | c.1440 | unknown | London, Victoria and Albert Museum (Inv. A.84-1927) |
|  | Madonna and Child (*Piot Madonna*) | relief | terracotta, wax, glass, formerly gilded | 74 × 75 × 7 | c.1440 | unknown | Paris, Louvre (since 1890, Inv. RF 3967) |
|  | Madonna and Child (*Madonna of the Cherubs*) | relief with intarsia | terracotta, gesso primer/stucco, painted and gilded | 99.6 × 69.5 20 | c.1440–1445 | unknown | Berlin, Bode Museum (since 1888, Inv. 54) |
|  | Madonna and Child (Madonna dell'Umiltà Crowned by Two Angels) | relief tondo, gilded (in tabernacle by Desiderio da Settignano or Andrea Verrocchio) | bronze, fire-gilded | 27 *d*
(87 × 51 × 12) | c.1440–1445
(tabernacle shortly after) | unknown | Vienna, Kunsthistorisches Museum, Kunstkammer (Inv. KK 7462) |
|  | Mary Magdalene (*Penitent Magdalene*) | statue | wood, gesso primer/stucco, painted and gilded | 188 | 1440–1442 | Florence, Baptistery | Florence, Museo dell'Opera del Duomo |
|  | Crucifix | statue on cross | wood, gesso primer/stucco, painted | 192 × 185 | 1440–1445 | Padua, Santa Maria dei Servi | Padua, Santa Maria dei Servi |
|  | Saint John the Baptist (*San Giovannino Martelli*)
***function, attribution and date arguable*** | statue, in the round, with halo and rod with cross | marble, gilded bronze | 159.5 (165) × 46.5 × 36 | c.1442 | Florence, Casa Martelli | Florence, Bargello (1913 from the Martelli family, Inv. Sc. 435) |
|  | Crucifix | statue on cross | bronze | 176 × 170 × 41 | 1443/44–1448/49 | Padua, Basilica di Sant'Antonio, rood screen | Padua, Museo Antoniano |
|  | Madonna and Child | relief, low | terracotta, gesso primer/stucco, painted | 102 × 74 × 12, 112 kg | c.1445–1455 | Val d'Elsa, Vigliano, San Lorenzo chapel | Paris, Louvre (1881, Inv. RF 353) |
|  | High altar* Madonna and Child (Virgin and Child Enthroned) with relief of the Fall of Man on back of throne * six standing figures of Saints Francis, Louis of Toulouse, Prosdocimus, Anthony, Daniel and Justina * four reliefs with miracles of Saint Anthony * twelve reliefs with angels making music * Entombment of Christ | statues (7) and 22 reliefs | bronze, patinated, partly fire-gilded (statues and reliefs)
limestone (Entombment), white and colored marble (altar) | 123–164 (statues)
c. 57 × 123 or 57 (each relief) | 1446–1449 | Padua, Basilica of Saint Anthony | Padua, Basilica of Saint Anthony (19th-century reconstruction) |
|  | Gattamelata Monument (Condottiere Erasmo da Narni) | Equestrian statue on pedestal with two reliefs and inscription | bronze, patinated
marble (reliefs and plinth)
sandstone (pedestal) |  | c.1446–1453 | Padua, Piazza Sant'Antonio | Padua, Piazza Sant'Antonio |
|  | Tomb slap of Giovanni Pecci (Bishop of Grosseto, died 1427) | relief, low | bronze, enamel inlays with glass, mostly lost | 249.5 × 106.8 × 3 | 1448–1450 | Siena, Cathedral, crossing, moved to Saint Ansanus chapel (under Pecci patronage) in the 16th century | Siena, Cathedral, Saint Ansanus chapel |
|  | Flagellation of Christ and Crucifixion, predella frieze with spiritelli (*Forzori Altar*);
**bozzetto** | relief, low, damaged | terracotta | 53.5 × 27.1 × 4.5 (Flagellation)
54.7 × 30.5 × 5 (Crucifixion)
11.2 × 48.5 × 2.3 (predella) | c.1450 | Florence, owned by Forzori family | London, Victoria and Albert Museum (Inv. 7619 1-3-1861) |
|  | Madonna and Child | relief, low | terracotta, gesso, painted | 70 × 55 × 2 | c.1450 | unknown | Paris, Louvre (1986, Inv. RF 744) |
|  | Calvary (*Camondo Calvary*)
***function, attribution and date arguable*** | relief, low | bronze, formerly partly gilded | 42.8 × 28.7 × 4.5 | 1450–1452 | unknown (private commission) | Paris, Louvre (1897, Inv. OA 6477) |
|  | Madonna and Child with Four Angels (*Chellini Madonna*) | relief tondo, low, reverse shows negative of relief usable to cast copies | bronze, gilded | 28.5 *d*, 2.7, 4.2 kg | 1450–1455 | Florence; gift of Donatello to his doctor Giovanni Chellini | London, Victoria and Albert Museum (Inv. A.I-1976) |
|  | Judith and Holofernes | sculptural group on triangular pedestal with three reliefs | bronze | 236 | 1453–1457 | Florence, Palazzo Medici, garden; after 1494 in the Loggia dei Lanzi on the Piazza della Signoria | Florence, Palazzo Vecchio |
|  | Saint John the Baptist | statue | bronze | 185 | c.1455 | Siena, Cathedral | Siena, Cathedral |
|  | Bearded Head (Prophet?)
***function, attribution and date arguable*** | bust | bronze | 37 × 23 × 27 | c.1455 | Florence | Florence, Bargello (Inv. Br. 101) |
|  | Madonna and Child (*Seggiolino Madonna*) | relief | terracotta, gilded | 74.3 × 55.9 | c.1455 |  | London, Victoria and Albert Museum (Inv. 57:1&2-1867) |
|  | Calvary | relief, low | bronze, partly gilded, silver, gilded copper | 93 × 70 × 3.5 | 1455–1465 | Florence, private commission; from the 16th century owned by the Medici | Florence, Bargello (Inv. Br. 443) |
|  | Horse's Head (*Protome Carafa*)
***function, attribution and date arguable*** | protome, probably part of an equestrian statue not executed | bronze | 187 × 185 × 80 | 1456 | Naples, Castel Nuovo, triumphal arch (planned, commission by Alfonso of Aragon, died 1458) | Naples, Museo Archeologico Nazionale (Inv. 4887), from the Palazzo Carafa |
|  | Madonna and Child (*Madonna del Perdono*) | relief | marble, white and colored | 91 × 88.2 | c.1458 | Siena, Cathedral, Vergine delle Grazie chapel | Siena, Museo dell'Opera del'Duomo |
|  | Lamentation over the Dead Christ;
probably a **bozzetto** | relief, chasing | bronze | 32.1 × 41.7 × 6.3 | 1458–1460 | Siena; probably planned for the bronze doors of the Cathedral | London, Victoria and Albert Museum (Inv. 8552-1863) |
|  | Passion and Resurrection scenes **completion by Bartolomeo Bellano, Bertoldo di Giovanni and others**
***original function unclear*** | reliefs (), mounted into a free-standing chancel in the 16th century | bronze | 123 × 292 | 1461–1466 | Florence, San Lorenzo | Florence, San Lorenzo |

## Arguable attributions, casts, variants and works after models by Donatello

| Image | Attribution | Subject/Name | Form | Material | Dimensions (in cm) | Year | Location |
| --- | --- | --- | --- | --- | --- | --- | --- |
|  | Donatello attributed | Madonna and Child | relief | terracotta, gesso primer/stucco, painted, wooden back | 102.5 × 62.2 × 28.3 | c.1410–1415 | Washington, National Gallery of Art, Samuel L. Kress Collection (Inv. 1943.4.93) |
|  | Nanni di Bartolo | Madonna and Child | statue | terracotta, painted | 47 × 35 × 10.5 | c.1420 | Berlin, Bode Museum (since 1913, Inv. M 7174) |
|  | Donatello workshop | Madonna and Child with Four Angels (*Hildburgh Madonna*)
***function, attribution and date arguable*** | relief, low | marble | 41.5 × 32.5 × 3.4 | c.1420–1430 | London, Victoria and Albert Museum (Inv. A.98-1956) |
|  | after *Hildburgh Madonna* attributed to Donatello | Madonna and Child, Two Angels, Saint Bartholomew and a Crowned Saint | tabernacle, relief | stucco, gilded and painted | 40.6 × 30.5 (relief)
76.2 × 38.1 × 7.5 | c.1420–1430 | London, Victoria and Albert Museum (Inv. 93-1882) |
|  | Donatello attributed | Nativity of Christ
(*Ford Nativity*) | relief | terracotta, formerly painted and gilded | 47 × 35.6 × 8.3
(incl. frame:
82.6 × 48.3 × 8.3) | c.1420–1430 | Detroit, Institute of Arts (Inv. F76.92) |
|  | Donatello attributed | Madonna and Child
(*Mellon Madonna*) | statue | terracotta, painted and gilded | 120.8 × 47.2 × 33.5 | c.1422 | Washington, National Gallery of Art, A. Mellon Collection (Inv. 1937.I.112) |
|  | after Donatello | Madonna and Child in a niche | relief, low | bronze, gilded | 20.5 × 15.5 × 1 | c.1426–1430 (prototype) | Berlin, Bode Museum (Inv. 3044) |
|  | after Donatello | Madonna and Child in a niche | relief, low | bronze, gilded | 20.4 × 15.3 × 8 | c.1426–1430 (prototype) | Washington, National Gallery of Art, Samuel L. Kress Collection (Inv. 1957.14.131) |
|  | after Donatello | Madonna and Child (Maria lactans) | relief, low | lead | 11.3 × 9.3 | c.1430 | Berlin, Bode Museum (Inv. 1028) |
|  | unknown, perhaps Michelozzo di Bartolomeo | Madonna and Child before a niche | relief, low, plaquette | Copper alloy | 9.8 × 7.8 | c.1430 | London, Wallace Collection (Inv. S299) |
|  | perhaps workshop of Donatello and Michelozzo | Spiritelli with Escutcheon | relief, low | sandstone (**pietra serena**?), probably originally painted | 59.5 × 61 × 5 | c.1432 | Berlin, Bode Museum (since 1916, Inv. 7210) |
|  | Paolo Schiavo, painted and framed relief after model by Donatello | Madonna and Child Between Angels, God the Father, Eve and a Crowned Prophet | tabernacle, relief | stucco (relief) in wooden framing, painted and gilded | 12.1 × 9.5 (relief)
36.5 × 20.2 × 5.2 | c.1435 | London, Victoria and Albert Museum (Inv. A.45-1926) |
|  | perhaps Donatello workshop | Spiritello with Fish | statuette, probably from a font at a wall | bronze | 40.5 × 40.4 × 11, 7 kg | 1435–1440 | London, Victoria and Albert Museum (Inv. 475-1864) |
|  | after Donatello | Madonna and Child
(*Pugliese Dudley Madonna*) | relief, low | stucco, painted | 31.5 × 21 | c.1440 (prototype) | Berlin, Bode Museum (Inv. 2627) |
|  | Desiderio da Settignano, alt. Donatello attributed | Bust of Niccolò da Uzzano | portrait bust | terracotta, painted | 46 h | 1440–1455 | Florence, Bargello |
|  | perhaps Donatello workshop | Madonna and Child
(*Madonna dei Cordai*) | relief | stucco, leather, glass and wax on wood, painted, gilded and silvered | 93 × 78 | 1440–1460 | Florence, Museo Bardini |
|  | after Donatello | Madonna and Child | relief, low | stucco, painted | 99 × 66.6 × 11.5 | c.1450 (prototype) | Berlin, Bode Museum (Inv. 2634) |
|  | Donatello workshop | Madonna and Child (copy of *Pazzi Madonna*) | relief in tabernacle | terracotta, painted and gilded | 70 × 55 × 2 (relief only) | c.1450 | Paris, Louvre (Inv. RF 744) |
|  | Donatello attributed | *Playing Cherubs*
(Spiritelli) | relief | bronze | 4.8 × 8.4 × 0.5 | 1450s (mid-15th century) | Detroit, Institute of Arts (Inv. F70.32) |
|  | Donatello attributed | Coat of arms of the Martelli Family | relief | sandstone (**macigno**), primer, painted | 109.2 | 1450s (mid-15th century) | Detroit Institute of Arts (1925, Inv. 25.156) |
|  | Donatello attributed or the model executed under his direction by the workshop of Desiderio and Geri da Settignano | Coat of arms of the Martelli family | relief | sandstone (**pietra serena**), partly painted and gilded |  | c.1455 | Florence, Bargello (Inv. 532 S) |
|  | after Donatello | Crucifixion | relief, low | stucco on poplar with remnants of gilding | 36.5 × 26.5 × 7.5 | 1455–1470 | Berlin, Bode Museum (Inv. 53) |
|  | Desiderio da Settignano | Coat of arms of the Boni family | relief | sandstone (**pietra serena**) | 215.9 × 74.3 | c.1456–1458 | Detroit, Institute of Arts (Gift of Mr. and Mrs. Edsel B. Ford, Inv. 41.124) |
|  | Cast after a lost model attributed to Donatello | David with the Severed Head of Goliath;
probably a **bozzetto** | statuette | bronze (after a wax model) | 36.8 × 10.3 × 10 | 1460–1465 | Berlin, Bode Museum (Inv. 2262) |
|  | Donatello attributed | Madonna and Child with Five Angels;
probably a **bozzetto** | relief | terracotta, originally painted | 21.5 × 15.5 × 4.2 | c.1465 | Berlin, Bode Museum (Inv. M 88) |

1. See References. The traveling exhibition was a rare and as of 2023 the most recent major monographic exhibition on Donatello's work.
2. Antonio Paolucci (1997). *Die Bronzetüren des Baptisteriums in Florenz*. Munich: Hirmer. pp. 8ff. ISBN 3-7774-7370 -7.
3. Krautheimer, Richard; Krautheimer-Hess, Trude (1958). "VI–VIII". *Lorenzo Ghiberti*. Princeton Monographs in Art and Archeology. Vol. 31 (1st Pb . In 1982 the 2nd ed.). Princeton: Princeton University Press. pp. 71ff.
4. Janson, pp. 3–7. Pope-Hennessy (1993) changed his mind when he thought he could identify the 1408 statue with another in the cathedral museum. Pope-Hennessy 1996, p. 348.
5. Online catalogue of the Staatliche Museen zu Berlin (SMB). They are part of the Stiftung Preußischer Kulturbesitz.
6. Their online presentation, for example the Uffizi, initially admired, is unfortunately no longer exemplary.
7. See Caglioti 2022, pp. 118–119 with photographs of both objects.
8. Commission from December 19, 1408, for three evangelist figures to Niccolò Lamberti, Nanni di Banco and Donatello (plus one awarded to one of the three, then Bernardo Ciuffagni in 1410), on July 17, 1410, the chapels in the cathedral, which serve as workshops, locked, for which Donatello was paid a key in 1415. He received three payments for the statue until a reminder on April 16, 1415, to complete the figure by the end of May. Two more payments were made on May 10 and June 3. The installed statue was approved on October 8, 1415, and valued at 160 florins, of which 60 florins were still outstanding. Janson, p. 12f.
9. The commission by the Arte to Donatello dates from April 3, 1411. The statue, including gilding and other jewelry, should be finished and installed on November 1 of the following year. On April 24, two stonemasons were commissioned to work on the niche. On April 29, 1413, the sculpture was approved. Janson, p. 17.
10. Caglioti 2022, p. 42.
11. On the east side of the Campanile stand today copies (from left to right) the Beardless Prophet, the so-called *Pathetic Prophet* by Giuliano da Poggibonsi, Abraham and Isaac, and the *Profeta pensieroso*.
12. According to Caglioti Donatello reworked the head, youthful and with thick hair, Nanni did the rest already outlined by Ciuffagni. Afterwards the figure was never called Joshua again. The Baptist holds a scroll in his hands, but doesn't wear his signature pelt. Caglioti, p. 41.
13. On the west side of the Campanile today are standing copies of the following statues, from left to right: This Saint John, the *Zuccone*, the Jeremiah and the Obadia by Nanni di Bartolo.
14. Payment for both busts on May 13, 1422, Janson, S. 43.
15. In his **catasto** of 1427, Donatello lists 15 florins that he owes to Giovanni di Jacopo degli Strozza for the "repeated bronze casting of the figure of St. Rossore and other things". The bust is not mentioned in Michelozzo's contemporaneous 'tax return', which excludes his involvement, Janson 1957, p. 56f. Also Anita Moskowitz, *Donatello's Reliquary Bust of Saint Rossore*. In: *The Art Bulletin*, Vol. 63, No. 1 (March 1981), pp. 41–48. Online as pdf on JSTOR
16. Anita Moskowitz, *Donatello's Reliquary Bust of Saint Rossore*. In: *The Art Bulletin*, Vol. 63, No. 1 (March 1981), p. 41–48. Online als pdf on JSTOR.
17. The head of Saint Rossore was discovered as a relic in 1422 and brought by the Umiliati from Pisa to Florence. They gave Donatello the commission for the bust. Already in the middle of the 16th century they had to give Ognissanti away to the Franciscans, and moved to Santa Caterina degli Abbandonati. In 1570 the order was banned and its property confiscated and sold. Janson 1957, p. 56.
18. On February 10, 1423, the *Soprastanti alla Fabbrica* of the cathedral in Orvieto awarded a commission for a figure of the Baptist in gilded copper to Donatello, who received the wax for it on April 29. No further documents. In 1461 a stucco figure was installed on the baptismal font, which, according to Janson, rules out the possibility that Donatello had supplied the figure (he was either too busy and gave up the job or the casting went wrong and was not tried again). Janson, p. 246f. A document from 1487 discovered in the mid-1980s in the palazzo of the Martelli, which the Strozzi later acquired, mentions a bronze figure of the Baptist by Donatello. At a 2015 exhibition in the Pushkin Museum, an analysis during the previous restoration revealed a "very high" copper content, a "peculiar" casting technique and tenoning (possibly similar to that of the *Louis of Toulouse*). Caglioti identifies him with the Baptist for Orvieto, which later came into the possession of the Martelli. The attribution to Donatello is "absolutely undeniable". V. Rastorguev in Rowley 2022, cat. 51, p. 234. Caglioti 2022, p. 43. Documents quoted from Lightbown 1980, p. 322.
19. Pope-Hennessy 1996, p. 350.
20. Filippo Napoletano (attr.), *Piazza del Mercato Vecchio in Florence* c.1600–1630, still with the *Dovizia* by Donatello.
21. executed by Domenico di Pietro da Pisa and Angelo di Lippo di Paolo, Caglioti 2022, p. 58 (Ill. 31, p. 55).
22. Only the Spiritello at the top looking down may be supposedly by Donatello. Rowley in Caglioti 2022, p. 214; furthermore his text on the pulpit, pp. 210–13.
23. The old sacristy was built according to plans by Brunelleschi from 1422 (as later was the entire church of San Lorenzo). Donatello's share of the decorative equipment is huge and represents his largest coherent work. Even the sarcophagus decoration of the central tomb for Giovanni di Bicci de' Medici and his wife Piccarda Bueri, as part of the overall concept, clearly by Brunelleschi and others, and executed by Brunelleschi's adoptive son Buggiano (actually Andrea de Lazzaro Cavalcanti), bears Donatello's signature and was at least also worked on by sculptors of his workshop. The decoration of the sacristy was worked from top to bottom, first the twisted fabric wound with a gold ribbon that decorates the supports of both domes, then the large tondi with the four Evangelists and the four scenes from the life of John the Evangelist, and the frieze of the architrave with spiritelli in small tondi (in alternating red and grey). Later came the lunette reliefs with Saints Stephen and Lawrence, as well as Cosmas and Damian above the antique door gables, and finally the bronze doors with their reliefs (although they could have been worked on earlier). According to Brunelleschi's biographer Antonio Manetti, the friends broke up over the door frames, which were not discussed with Brunelleschi. Donatello also begun the work on a washbasin (*lavabo*) for the left back room completed by Verrocchio. Caglioti 2022, pp. 68–72, 232–239.
24. For a list of missing details and history of the various reconstruction designs with illustrations, see Janson 1957 II, p. 162ff and I, plates 257–318.
25. In the online catalogue of the National Gallery this sculpture is consciously described as "Florentine, 15th Century". In the catalogue of the 2022/23 touring exhibition Aldo Galli identifies it as by Donatello and the earliest example of this sculptural type of Madonna and Child, which subsequently replaced corresponding panel paintings. In Caglioti, p. 120.
26. The Wallace Collection in London has a version of the exact same size with an alloy of bronze, copper and lead (Inv. S297).
27. Probably the earliest copy after a plaquette by Donatello, of which several were obtained by Wilhelm Bode for the Berlin collections, a. o. a larger version in terracotta (Inv. 56). Further copies can be found in other museums such as the Musée Jacquemart-André in Paris Inv. MJAP-OA 2085 made of chased and gilded copper. Discussion and bibliography on this model see entry in the Berlin online catalogue.
28. Entry in the Wallace Collection's online catalogue. The collection contains another, very similar piece, but without the conch (Inv. S300); there is also a smaller plaquette (Inv. S301), which is believed to have originated in Padua and is dated around 1450.
29. Donatello and Desiderio had occasionally worked together, especially for the Martelli. This escutcheon was probably commissioned by Roberto Martelli for their new palazzo. Beatrice Paolozzi Strozzi, in Desiderio 2007, p. 69
30. Perhaps as pupil of Donatello, or "Desiderio and Geri da Settignano after a model by Donatello?" according to Giancarlo Gentilini, in Desiderio 2007, p. 29.

## Bibliography

* Horst W. Janson (1957). *The Sculpture of Donatello* (2 Vol.). Princeton: Princeton University Press.. Archive URL of the 1963 edition in one volume with fewer images.
* John Pope-Hennessy (1996) \[1958\]. *An Introduction to Italian Sculpture, Vol. 2: Italian Renaissance Sculpture* (4., revised ed.). London: Phaidon.
* Francesco Caglioti with Laura Cavazzini, Aldo Galli and Neville Rowley (2022). *Donatello. The Renaissance*. Venice: Marsilio Arte. ISBN 979-12-5463-006-8.
* Neville Rowley with Francesco Caglioti, Laura Cavazzini and Aldo Galli (2022). *Donatello. Erfinder der Renaissance*. Leipzig: E. A. Seemann. ISBN 978-3-86502-482-4.

## Further reading

* Avery, Charles, *Donatello. Catalogo completo delle opere*, Firenze 1991.
* Wilson, Carolyn C., *Renaissance Small Bronze Sculpture and Associated Decorative Arts*, 1983, National Gallery of Art (Washington), ISBN 0894680676


title: Double-striped bluet

abstract: The double-striped bluet is a species of damselfly in the family Coenagrionidae. This species grows to lengths 21–28 mm. Its common name from the peculiar black shoulder stripe, which is divided in two by a thin blue stripe. This is the key identification characteristic; no other damselfly has a shoulder stripe that looks like this one. Mature males have an abdomen that alternates black and blue. The final segment of the abdomen is blue below and black above, while segments 8 and 9 are all blue. Females and immatures are tan to olive or brown, but like the mature males they have the divided shoulder stripe. These damselflies are most typically found alongside lakes and ponds, but are occasionally found next to slow-moving streams, too.

text:
# Double-striped bluet

The **double-striped bluet** (***Enallagma basidens***) is a species of damselfly in the family Coenagrionidae. This species grows to lengths 21–28 mm. Its common name from the peculiar black shoulder stripe, which is divided in two by a thin blue stripe. This is the key identification characteristic; no other damselfly has a shoulder stripe that looks like this one.

Mature males have an abdomen that alternates black and blue. The final segment of the abdomen is blue below and black above, while segments 8 and 9 are all blue. Females and immatures are tan to olive or brown, but like the mature males they have the divided shoulder stripe.

These damselflies are most typically found alongside lakes and ponds, but are occasionally found next to slow-moving streams, too.

## Distribution

## InfoBox

| Double-striped bluet | |
| --- | --- |
|  | |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Odonata |
| Suborder: | Zygoptera |
| Family: | Coenagrionidae |
| Genus: | *Enallagma* |
| Species: | ***E. basidens*** |
| Binomial name | |
| ***Enallagma basidens***
Calvert, 1902 | |
|


title: The Returnees

abstract: The Returnees is a novel written by Elizabeth Okoh. It was first publish in 2020 by Hodder & Stoughton an imprint of Hachette UK.

text:
# The Returnees

***The Returnees*** is a novel written by Elizabeth Okoh. It was first publish in 2020 by Hodder & Stoughton an imprint of Hachette UK.

## InfoBox

The Returnees
| First edition | |
| --- | --- |
| Author | Elizabeth Okoh |
| Language | English |
| Set in | Nigeria |
| Publisher | Hodder & Stoughton |
| Publication date | August 6, 2020 |
| Pages | 304 |
| ISBN | 9781529380552 |
| OCLC | 1196322088 |


title: Dorset Drum

abstract: Dorset Drum was a small farmhouse cheddar made in Dorset, England. The cheese was of a medium-strong flavour and the clothbound truckle was usually matured for between 6 and 9 months. They varied in size from 400g to 2kg but were always cylindrical in shape, hence the name. The cheese was produced by Denhay Farm near Bridport in west Dorset. Production ceased and the last stocks were maturing in 2013. There is an export black wax-coated cheddar bearing the same name, but it is not the true Dorset Drum.

text:
# Dorset Drum

**Dorset Drum** was a small farmhouse cheddar made in Dorset, England. The cheese was of a medium-strong flavour and the clothbound truckle was usually matured for between 6 and 9 months. They varied in size from 400g to 2kg but were always cylindrical in shape, hence the name.

The cheese was produced by Denhay Farm near Bridport in west Dorset. Production ceased and the last stocks were maturing in 2013. There is an export black wax-coated cheddar bearing the same name, but it is not the true Dorset Drum.


title: The Ridere of Riddles

abstract: The Ridere of Riddles is a Scottish fairy tale collected by John Francis Campbell in Popular Tales of the West Highlands, listing as his informant John Mackenzie, a fisherman near Inverary. Joseph Jacobs included it, somewhat altered, in More Celtic Fairy Tales.

text:
# The Ridere of Riddles

**The Ridere of Riddles** is a Scottish fairy tale collected by John Francis Campbell in *Popular Tales of the West Highlands*, listing as his informant John Mackenzie, a fisherman near Inverary. Joseph Jacobs included it, somewhat altered, in *More Celtic Fairy Tales*.

## Synopsis

A king's queen died when his son was born. He remarried, and his new wife also had a son. The stepmother tried to poison the first son so her son would inherit, but her son warned his brother. The first son decided to flee before she succeed, and his brother went with him. They tried the drinks she had given the older brother on their horses, and found they were poisonous. Then twelve ravens came to eat the dead horses and died as well. They took the ravens' bodies and had them made into pies. When they went on, they were waylaid by robbers; they claimed to have no purses but some food. The robbers took the pies, ate them, and died. The brothers took their gold and silver and went on to the Ridere (or Knight) of Riddles, whose beautiful daughter would marry whoever asked a riddle her father could not guess.

There, they asked, "One killed two, and two killed twelve, and twelve killed four and twenty, and two got out of it." The ridere could not guess, and sent maidens to wheedle the answer out. Twelve maidens lost their plaids to the younger brother, but could not get the answer. Finally, the princess herself went, and got the answer from the older brother, but left her plaid. The ridere would have executed them, but the older brother told the story of how his brother had shot twelve hares and got their hides, and he had shot a fine one and gotten her hide, so the ridere married him to his daughter. The younger brother went on, and the older gave him the right to the throne at home.

Three giants lived nearby, and the ridere told his son-in-law that if he had spirit, he would kill them. He did it, and was named the Hero of the White Shield, and went to live on the giants' lands. His brother heard of him, without knowing who he was, and went to fight with him. They fought, and neither one won, and they told each other their names.

The brother went home, but on the way, he saw twelve young men playing at shinny and learned they were his twelve sons, by twelve different mothers. He took both the young men and their mothers home with him.

Both Jacobs and Campbell noted the similarity between this and Grimms' The Riddle, but that there is no information to discern which is the source.


title: The Pretend One

abstract: The Pretend One is an Australian independent realism drama film directed by Tony Prescott. It was filmed in April 2015 in central Queensland, Australia. The screenplay was written by James Raue and Tony Prescott. The Pretend One had its world premiere at the Gold Coast International Film Festival in April 2018 closely followed by its international premiere at Newport Beach Film Festival. The film was released theatrically for a limited season in March 2019 with various screenings in cities and regional centres concluding in July 2019.

text:
# The Pretend One

***The Pretend One*** is an Australian independent realism drama film directed by Tony Prescott. It was filmed in April 2015 in central Queensland, Australia. The screenplay was written by James Raue and Tony Prescott. *The Pretend One* had its world premiere at the Gold Coast International Film Festival in April 2018 closely followed by its international premiere at Newport Beach Film Festival.

The film was released theatrically for a limited season in March 2019 with various screenings in cities and regional centres concluding in July 2019.

## Cast

## Reception

*The Pretend One* was met with positive reviews. Matthew Eeles of Cinema Australia gave the film five stars writing "Who would have thought one of the most beautiful, heartfelt, emotional and complex on-screen relationships in Australian film history would be between an adult woman and her imaginary friend". *Filmink* magazine rated the film 17.5/20 writing "*The Pretend One* belies its skinny budget, working perfectly with what it’s got at hand, but never skimping on ambition of concept or vision. It’s a sweet but never sentimental film that will break your heart in the best possible way".

## Accolades

In 2018, Cinema Australia went on to place *The Pretend One* at fourth position in its annual Top 5 Australian Films list.

1. "Review: The Pretend One". 4 October 2017.
2. "The Pretend One".
3. "Top 5 Australian Films of 2018 – Best Film Award winner announced!". January 2019.

## InfoBox

| The Pretend One | |
| --- | --- |
| Directed by | Tony Prescott |
| Screenplay by | James Raue
Tony Prescott |
| Produced by | Tony Prescott
Dinusha Ratnaweera |
| Starring | Geraldine Hakewill
Michael Whalley
Benedict Wall
David Field |
| Cinematography | Robert C. Morton |
| Edited by | Laurence Van Camp |
| Music by | Darren Lim |
| Release date | * April 2018 (2018-04) (Gold Coast International Film Festival) |
| Running time | 86 minutes |
| Country | Australia |


title: The Scourge of the Desert

abstract: The Scourge of the Desert is a 1915 American silent short Western starring William S. Hart and Rhea Mitchell. It was billed as, "A Thrilling (Broncho) Romance of the Arizona Staked Plains." It was produced by Thomas H. Ince and written by C. Gardner Sullivan, Ince, and William Clifford.

text:
# The Scourge of the Desert

***The Scourge of the Desert*** (also known as ***Reformed Outlaw*** ) is a 1915 American silent short Western starring William S. Hart and Rhea Mitchell. It was billed as, "A Thrilling (Broncho) Romance of the Arizona Staked Plains." It was produced by Thomas H. Ince and written by C. Gardner Sullivan, Ince, and William Clifford.

## Cast

## InfoBox

| The Scourge of the Desert | |
| --- | --- |
| Directed by | William S. Hart |
| Written by | C. Gardner Sullivan
Thomas H. Ince
William Clifford |
| Starring | William S. Hart
Rhea Mitchell
Gordon Mullen |
| Distributed by | Mutual Film |
| Release date | * January 6, 1915 (1915-01-06) |
| Running time | 20 min |
| Country | United States |
| Languages | Silent
English intertitles |


title: The Scourge of the Swastika

abstract: The Scourge of the Swastika: A Short History of Nazi War Crimes is a 1954 non-fiction book by Edward Russell, 2nd Baron Russell of Liverpool.

text:
# The Scourge of the Swastika

***The Scourge of the Swastika: A Short History of Nazi War Crimes*** is a 1954 non-fiction book by Edward Russell, 2nd Baron Russell of Liverpool.

## Synopsis

The book provides a brief history of the Nazi war crimes and features graphic photographic evidence.

## Publication

The book's publication resulted in great controversy. Russell was ordered by the government to withdraw the book's publication. About a week before its publication, he resigned his position of Assistant Judge Advocate General. The book was published by Cassell on 19 August 1954. The book quickly became an international bestseller, and remained a bestseller for years.

## Reception

In his review for the *ABA Journal*, U.S. Circuit Judge John J. Parker wrote that Russell "rendered a distinct public service in giving us a brief history of these war crimes in a form that the average man can read and understand."

Drew Middleton of *The New York Times* called it a "difficult" book for readers.

## Legacy and influence

The book has been cited as an early influence by novelist Howard Jacobson; *The Scourge of the Swastika* appears in Jacobson's novels *The Mighty Walzer* (1999) and *Kalooki Nights* (2006). It has also been cited by Hungarian-Canadian physician Gabor Maté, whose grandparents were killed in Auschwitz, as the "book that changed his life." Activist Tony Greenstein said it was the first book he ever read and that it influenced him to consider "how hateful human beings could be to other human beings."

Filmmaker Mark Forstater authored *I Survived a Secret Nazi Extermination Camp*, in which he reflects on his extended family who died in the Majdanek concentration camp and Belzec extermination camp. Forstater reveals his first sight of a naked woman to be in a picture of Belzec inmates running to their deaths featured in *The Scourge of the Swastika*.

## InfoBox

The Scourge of the Swastika: A Short History of Nazi War Crimes
|  | |
| --- | --- |
| Author | Lord Russell of Liverpool |
| Language | English |
| Subject | Nazi war crimes |
| Publisher | Cassell |
| Publication date | 19 August 1954 |
| Publication place | United Kingdom |
| Media type | Print (hardback) |
| Pages | 259 |
| OCLC | 570123 |
| LC Class | D804.G4 R83 1954 |


title: Double Double Land

abstract: Double Double Land was a performance art space and music venue in Kensington Market, Toronto, Ontario. It was founded by Jon McCurley and Daniel Vila in 2009, and was known as an eclectic underground artist-driven venue which created a space in the Toronto art scene for less conventional and less profitable projects. It closed in June 2018.

text:
# Double Double Land

**Double Double Land** was a performance art space and music venue in Kensington Market, Toronto, Ontario. It was founded by Jon McCurley and Daniel Vila in 2009, and was known as an eclectic underground artist-driven venue which created a space in the Toronto art scene for less conventional and less profitable projects. It closed in June 2018.

## History

Double Double Land was opened in 2009 by Jon McCurley and Daniel Vila. Initially located in a second floor flat at 209 Augusta Avenue, it expanded into a community-focused space with the assistance of roommates Steve Thomas and Rob Gordon. The house required extensive clean up and renovations to address what Vila recalled in a 2014 interview as the "garbage, cockroaches, graffiti, and smashed walls" left behind by former tenants. The idea for Double Double Land was prompted by events previously held by Vila and Bonny Poon at Jamie's Area, which operated out of a basement at 193 Augusta Avenue. The first official event at Double Double Land was a reading by American poet Eileen Myles.

Over the course of Double Double Land's operation, events were organized, overseen and subsidized by a rotating number of tenants whose opened their home to local and touring artists. A multi-faceted community-focused venue, Double Double Land served a variety of roles including music venue, gallery space and comedy bar. Vila explained that the purpose of the space as "provid\[ing\] performance experiences that don't make sense in other places." In addition to hosting the monthly performance show *Doored* (2012–2015), the venue featured events and installations by artists including Petra Glynt, Le1f, New Fries, Grimes and Ian Svenonius.

In addition to being a home for off-the-beaten-path performers and artists, Double Double Land had a progressive approach to how it served the community. In 2016, it was one of Toronto's first venues to stock overdose kits in response to the growing number of fentanyl related overdoses. Double Double Land organizers also committed themselves to introducing safety measures to address the issue of sexual violence in music and arts communities following an assault at the venue in 2015. In consultation with the Toronto-based Noise Against Sexual Assault initiative, the venue added panic buttons to washrooms and changed the design of doorways in order to improve sight lines.

### Closure

Double Double Land's closure was announced by Vila as part of a Facebook event announcement in late June 2018, which indicated that performances by Mary Ocher, Lief Hall, Bile Sister and Canadian Romantic would be the last at the venue. Though a reason for the closure was not disclosed, Vila indicated that the venue was being shut down by the landlord. Despite a lack of details, media coverage regarding the announcement linked the development to the pressures of Toronto's real estate market on the city's arts scene.

In writing about the impact of Double Double Land's closure on the Toronto art scene, Mark Streeter pointed to the tension between fostering unconventional art projects and profitability: "There's a reason why any city needs venues like this: they offer programming and events that are simply too risky and unprofitable for any business-minded venue to take on."

## InfoBox

Double Double Land
|  | |
| --- | --- |
| Address | 209 Augusta Ave |
| Location | Kensington Market, Toronto, Ontario |
| Coordinates | 43°39′14″N 79°24′5″W / 43.65389°N 79.40139°W / 43.65389; -79.40139 |
| Type | Alternative exhibition space |
| Opened | 2009 |
| Closed | June 20, 2018 |


title: The Promise (Earth, Wind & Fire album)

abstract: The Promise is the eighteenth studio album by American band Earth, Wind & Fire released in May 2003 on Kalimba Music. The album peaked at No. 19 on the Billboard Top R&B/Hip-Hop Albums chart and No. 5 on the Billboard Top Independent Albums chart.

text:
# The Promise (Earth, Wind & Fire album)

***The Promise*** is the eighteenth studio album by American band Earth, Wind & Fire released in May 2003 on Kalimba Music. The album peaked at No. 19 on the Billboard Top R&B/Hip-Hop Albums chart and No. 5 on the Billboard Top Independent Albums chart.

## Overview

*The Promise* was executively produced by Maurice White. Artists such as Angie Stone, The Emotions, Gerald Albright and Paulinho Da Costa featured on the LP. The album's cover art was also designed by Morito Suzuki.

"Where Do We Go from Here" and "Dirty" were originally recorded during the *I Am* sessions and remixed for this album. "Dirty", in particular, in its original form with blues legend Junior Wells, already appeared on the 1992 box-set *The Eternal Dance*.

## Singles

The track "All in the Way" featuring The Emotions reached No. 13 on the *Billboard* Adult R&B Songs chart and No. 25 on the *Billboard* Adult Contemporary chart.

The songs, "Never" and "Why?" peaked at Nos. 17 and 19, respectively, on the *Billboard* Smooth Jazz Songs chart. "Hold Me", produced and written by Tim & Bob, reached No. 28 on the *Billboard* Adult R&B Songs chart. "Hold Me" was also Grammy nominated for Best Traditional R&B Vocal Performance.

## Critical reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Allmusic |  |
| Blender |  |
| People | (favourable) |
| The Guardian |  |
| USA Today |  |
| Boston Globe | (favourable) |
| Associated Press | (favourable) |
| SF Weekly | (favourable) |
| Washington Post | (favourable) |
| Dayton Daily News | (B) |

*People* called *The Promise* a "musically rich 17-track set (including five trademark instrumental interludes) that blows away most of today’s R&B." With a three out of five star rating Chairman Mao of Blender proclaimed that EWF "maintains their trademark buoyancy on a classy collection of mid-tempo numbers and sweeping ballads." Rob Theakston of AllMusic gave a three out of five star rating and declared the album is "extremely soulful and soothing". With a 3.5 out of five star rating Steve Jones of USA Today wrote "with horn-kissed ballads and infectious jazz funk grooves, the band seems to have regained its spark". Renee Graham of the Boston Globe noted that "unfussy and sincere, this is well-crafted R&B for grown ups". David Peschek of The Guardian also gave a 4 out of five star rating and described *The Promise* as "17 tracks of immaculately smooth, meticulously detailed mid-tempo pop-soul and thoroughly intoxicating in its lushness."

## Track listing

*The Promise* track listing
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "All in the Way" (featuring The Emotions) | Wayne Vaughn, Wanda Vaughn, Maurice White | 4:28 |
| 2. | "Betcha'" | Preston Glass, Maurice White | 3:43 |
| 3. | "Wiggle" | Preston Glass | 0:39 |
| 4. | "Why?" | Gregory Curtis, Maurice White | 4:04 |
| 5. | "Wonderland"" (featuring Angie Stone) | Chris Rodriguez, Tommy Sims | 4:05 |
| 6. | "Where Do We Go from Here?" | Bill Meyers, Ross Vannelli | 5:21 |
| 7. | "Freedom" | Maurice White | 0:42 |
| 8. | "Hold Me" | Tim Kelley, Bob Robinson | 4:37 |
| 9. | "Never" | Gregory Curtis, Maurice White | 5:08 |
| 10. | "Prelude" |  | 0:40 |
| 11. | "All About Love" | Sheila Hutchinson, Wanda Vaughn, Wayne Vaughn | 4:24 |
| 12. | "Suppose You Like Me" | Scott Storch, Pino Palladino, James Poyser, Questlove, Sir James Bailey | 4:37 |
| 13. | "The Promise" | Raymond Crossley, Ralph Johnson, Maurice White | 0:27 |
| 14. | "She Waits" | Marc Harris, Tommy Sims | 5:09 |
| 15. | "The Promise (Continued)" | Maurice White, Ralph Johnson | 0:51 |
| 16. | "Let Me Love You" | Gregory Curtis | 4:17 |
| 17. | "Dirty" | Maurice White | 3:47 |

Japan bonus tracks
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 12. | "Soul" | Maurice White, Ralph Johnson, Carlos Rios | 3:48 |
| 18. | "So Lucky" | Scott Storch, Questlove, Sir James Bailey | 4:44 |

## Personnel

**Earth, Wind & Fire**

* Philip Bailey – backing vocals (1, 2, 16), lead vocals (2, 5, 8, 9, 12)
* Maurice White – lead vocals (1, 4, 5, 8, 11, 14, 16), backing vocals (1, 2, 4, 5, 8, 9, 11, 16), kalimba (1, 13, 15), horn arrangements (1, 14), vocals (13, 15)
* Verdine White – bass (1, 2, 4, 5, 9, 11, 12, 14, 16)
* Ralph Johnson – percussion, backing vocals, drum programming (13, 15)

**Additional musicians**

* Wayne Vaughn – keyboards (1, 11), drums (1, 11), backing vocals, horn arrangements
* Gregory Curtis – backing vocals (1, 2, 4, 5, 9, 11, 16), keyboards (2, 4, 5, 9, 16), drum programming (2, 4, 9, 16)
* Preston Glass – keyboard programming (3)
* Robert Brookins – backing vocals (5, 12), keyboards (12), drum programming (12)
* Alan Hewitt – keyboards (6)
* Bill Meyers – acoustic piano solo (6)
* Tim Kelley – keyboards (8), bass (8), drums (8), drum programming (8), arrangements (8)
* Freddie Ravel – acoustic piano (9)
* Raymond Crossley – keyboards (13, 15)
* Wayne Linsey – keyboards (13, 15)
* Myron McKinley – keyboards (14), rhythm section arrangements (14)
* Tom Mgrdichian – keyboards (14), string arrangements (14)
* Greg "G-Mo" Moore – guitars (1, 11, 12)
* Eric Walls – guitars (2, 16)
* Darrell Crooks – guitars (4, 9)
* Chris Rodriguez – guitars (5)
* Bob Robinson – guitars (8)
* Carlos Rios – guitars (14)
* Cameron Marcarelli – additional drum programming (3, 5)
* John Paris – drums (5, 12, 14)
* Daniel de los Reyes – percussion (2, 16)
* Paulinho da Costa – percussion (4, 9)
* Daryl "Munyungo" Jackson – percussion (11)
* Gary Bias – saxophones (1, 5, 9, 11, 12), flute (11)
* Gerald Albright – alto sax solo (4, 9)
* Valerie King – flute (11)
* George Bohanon – trombone (1, 11)
* Reggie Young – trombone (1, 5, 9, 11, 12, 14)
* Bill Reichenbach Jr. – trombone (5, 9, 12)
* Andy Martin – trombone (14)
* Ray Brown – trumpet (1, 11, 12, 14), horn arrangements (1, 5, 14), flugelhorn solo (12), flugelhorn (14)
* Michael "Patches" Stewart – trumpet (1, 11, 14), flugelhorn (14)
* Gary Grant – trumpet (5, 9, 12)
* Jerry Hey – trumpet (5, 9, 12), horn arrangements (5, 9, 12)
* Oscar Brashear – trumpet (14), flugelhorn (14)
* Tollak Ollestadharmonica (12, 14)
* Benjamin Wright – horn arrangements (11)
* Sheila Hutchinson – backing vocals (1, 4, 11)
* Howard McCrary – backing vocals (1, 11)
* Wanda Vaughn – backing vocals (1, 5, 11)
* Fred White – backing vocals (4, 12, 14)
* Angie Stone – lead vocals (5)
* B. David Whitworth – backing vocals (5, 12)
* Krystal Johnson – backing vocals (8)

## Production

* Ron Ellison – A&R direction
* Maurice White – executive producer, producer (1, 2, 4–9, 11, 13, 14, 16, 17)
* Philip Bailey – executive producer (8, 12)
* Wayne Vaughn – producer (1, 11), additional recording
* Preston Glass – producer (2, 3)
* Gregory Curtis – producer (4, 9, 16), additional recording
* Paul Klingberg – producer (7), additional production (13, 17)
* Tim Young – producer (8)
* Bob Robinson – producer (8)
* Robert Brookins – additional production (12)
* Ralph Johnson – producer (13)
* Cameron Marcarelli – recording, assistant engineer
* Dave Dolimar – additional recording
* Andrew Haller – additional recording
* Will Mercer – additional recording
* Jason Carson – assistant engineer
* Dmitar Krijnac – assistant engineer
* Dexter Simmons – mixing (1, 2, 16)
* Paul Klingberg – mixing (3–7, 9–15, 17)
* Tim Kelley – mixing (8)
* Steve Hall – mastering at Future Disc (Hollywood, California)
* Herb Powell – A&R coordinator
* Richard Salvato – production coordination, management
* ja:Morito Suzuki – cover design
* K.C. Blinn – art direction
* Art Macnow – management

## Charts

| Chart (2003) | Peak
position |
| --- | --- |
| US Top Independent Albums (*Billboard*) | 5 |
| US Top R&B/Hip-Hop Albums (*Billboard*) | 19 |
| US *Billboard* 200 | 89 |
| Japan (Oricon) | 115 |

**Singles**

| Year | Single | Chart | Position |
| --- | --- | --- | --- |
| 2003 | "All in the Way" | US Billboard Adult R&B Airplay | 10 |
| | | US *Billboard* Adult Contemporary | 25 |
| | | UK Independent Singles | 45 |
| | | US *Billboard* Hot R&B/Hip-Hop Singles & Tracks | 77 |
| | "Hold Me" | US *Billboard* Adult R&B Airplay | 28 |
| 2014 | "Never" | US *Billboard* Smooth Jazz Songs | 17 |
| 2015 | "Why?" | US *Billboard* Smooth Jazz Songs | 19 |
|

## InfoBox

| The Promise | |
| --- | --- |
|  | |
| Studio album by Earth, Wind & Fire | |
| Released | May 20, 2003 |
| Recorded | 2002–2003 |
| Studio | Magnet Vision Studios (Santa Monica, CA) * Record Plant and Gold Rush Studios (Los Angeles, California) * The Enterprise (Burbank, California) * Cardraygee Studios (Oak Park, California) * Pacifique Studios (North Hollywood, California) |
| Genre |  |
| Length | 56:42 |
| Label | Kalimba |
| Producer | Maurice White, Tim & Bob |
| Earth, Wind & Fire chronology | |
| *Live in Rio*
(2002) ***The Promise***
(2003) *Love Songs*
(2004) | |
|  | |
| Reissue cover | |
|  | |
| 2009 reissue cover | |
|  | |
| Singles from  *The Promise* | |
| 1. "All in the Way"
Released: May 2003 2. "Hold Me"
Released: August 2003 3. "Never"
Released: December 2014 4. "Why?"
Released: March 2015 | |
|  | |


title: The Revival (UK magazine)

abstract: The Revival is a free quarterly British magazine aimed at young Muslims, covering issues faced by Muslim youth. It was co-founded by current editor Sajid Iqbal in the spring of 1996 as a four-page black and white newsletter to be distributed in Oldham. out of frustration with the lack of Islamic literature. The newsletter expanded rapidly through voluntary distribution, initially to Manchester, then the North West, and finally the whole UK. From 2003 until 2005 The Revival appeared solely in an online format. In May 2005, The Revival was relaunched as a national magazine. The magazine had a circulation of approximately 15,000 in 2006.

text:
# The Revival (UK magazine)

***The Revival*** is a free quarterly British magazine aimed at young Muslims, covering issues faced by Muslim youth.

It was co-founded by current editor Sajid Iqbal in the spring of 1996 as a four-page black and white newsletter to be distributed in Oldham. out of frustration with the lack of Islamic literature.

The newsletter expanded rapidly through voluntary distribution, initially to Manchester, then the North West, and finally the whole UK.

From 2003 until 2005 *The Revival* appeared solely in an online format. In May 2005, *The Revival* was relaunched as a national magazine.

The magazine had a circulation of approximately 15,000 in 2006.

## Media coverage

In the aftermath of the July 7 bombings in London Revival assistant editor Irfan Khan was interviewed by the Observer.

In August 2005, when UK Home Office minister Hazel Blears visited Oldham, there was publicity surrounding Zahid Maqbool, spokesperson and assistant editor of *The Revival*, from spots on outlets such as BBC Radio 4 to pieces on major news outlets such as The Guardian, BBC News, and The Telegraph.

## See more


title: The Revisionists Revised

abstract: The Revisionists Revised is a 1978 history book by Diane Ravitch in criticism of recent "revisionist" works in the history of education that view public schooling as a conspiracy against the working class and human spontaneity. She argues that the goals of public schooling have varied throughout American history and across the country, and though there is disagreement over its intents, that working class people have depended on the school for the futures of their children.

text:
# The Revisionists Revised

***The Revisionists Revised*** is a 1978 history book by Diane Ravitch in criticism of recent "revisionist" works in the history of education that view public schooling as a conspiracy against the working class and human spontaneity. She argues that the goals of public schooling have varied throughout American history and across the country, and though there is disagreement over its intents, that working class people have depended on the school for the futures of their children.

* Donohue, John W. (September 9, 1978). "The Revisionists Revised: A Critique of the Radical Attack on the Schools". *America*. **139** (6): 141. ISSN 0002-7049. EBSCO*host* 35692629.
* Duane, Edward A. (1979). "Review of The Revisionists Revised: A Critique of the Radical Attack on the Schools". *Political Science Quarterly*. **94** (1): 165–166. doi:10.2307/2150179. ISSN 0032-3195. JSTOR 2150179.
* Katz, Michael (July 1979). "Rev. of The Revisionists Revised". *Harvard Educational Review*. **49** (2): 256–275. doi:10.17763/haer.49.2.45468761687720k4. ISSN 0017-8055.
* Newman, Joseph W. (1980). "The Revisionists Revised (Book)". *Educational Studies*. **10** (4): 420. ISSN 0013-1946. EBSCO*host* 7476847.
* Olneck, Michael R. (1981). "Review of The Revisionists Revised: A Critique of the Radical Attack on the Schools". *Theory & Society*. **10** (3): 444–448. ISSN 0304-2421. JSTOR 657474. EBSCO*host* 10745897.
* "Review of The Revisionists Revised: A Critique of the Radical Attack on the Schools". *Change*. **10** (8): 59. 1978. ISSN 0009-1383. JSTOR 40163468.
* Sedlak, Michael W. (1979). "Review of The Revisionists Revised: A Critique of the Radical Attack on the Schools". *The School Review*. **87** (3): 324–327. doi:10.1086/443483. ISSN 0036-6773. JSTOR 1084818.
* Shaw, Frederick (1978). "Review of The Revisionists Revised: A Critique of the Radical Attack on the Schools". *The Annals of the American Academy of Political and Social Science*. **440**: 208–209. ISSN 0002-7162. JSTOR 1043393.

## InfoBox

The Revisionists Revised
| Subject | Historiography of education |
| --- | --- |
| Publisher | Basic Books |
| Publication date | 1978 |
| Pages | 194 |