Sketch models for an altarpiece, terracotta relief, 'Flagellation, Crucifixion and Predella (Forzori Altar)', Donatello and workshop, Italy, possibly Padua, ca. 1450.

Relief is framed at the top, bottom and left sides by a recessed moulding. Across the top below the moulding runs a moulded architrave and frieze, the detail of which is indicated only on the left. Beneath are three pilasters with capitals of indeterminate character and bases with protruding masks, which divide the area of the relief into two arcades. In the keystones of the two arches are putti standing on scrolls, and in the four spandrels are naked youths or putti holding garlands depending from the keystones. The left side of the relief shows Christ standing against the rear wall between two executioners and to the left soldier carrying a shield and spear. The right foot of Christ rests on a step or platform on which his robe and girdle are also disposed. On the left three figures advance through a doorway. A forth stands beside the doorway behind a balustrade. In the foreground are, to the left of centre, a soldier with a shield over his left shoulder, resting his left leg on the step pr platform, and, to the right, a male figure seated on the ground. On the wall on the left are two banners and a torch. The lunette behind contains a riding figure accompanied by a running footsoldier. The right half of the relief with the Crucifixion shows Christ on the cross in the centre. The cross rises from a mound. In the centre foreground is the Virgin, seated on a second mound, against which are propped a spear, helmet and shield. In the left foreground is a bearded male figure with left hand on his breast, and in the right foreground a running child holding an indistinguishable object. Beside the cross are a Magdalen (left) and St John (right), and behind it are three nimbed female figures and three soldiers. Two lamenting angels appear beneath the arms of the cross, and above, in the lunette, are the sun and moon. A helmet and spear hang on the left wall. Over the heads at the back appear a lance and sponge. Beneath is a predella with putti supporting two garlands, each garland corresponding in width to the scene above. Above the centre of the left-hand garland is a shell, displayed by two flying putti, containing the bust of a man in right profile. Above the centre of that on the right is a second shell also displayed by flying putti containing a shield bearing a fesse charged with two stars.

Surprisingly, examination suggests that the panels are not modelled but cast from moulds taken from an unfinished sketch-model.

The perspective of the vaulted arches shows that a third panel is missing from the right-hand side.

Donatello and workshop

The so-called Forzori altar consists of three reliefs. On the left is the Flagellation, which shows the diminutive figure of Jesus Christ tied to a column in the background. On the right is the Crucifixion, with the Virgin Mary and other mourning figures. Below is a predella panel decorated with swags and roundels supported by putti. ('Predella' is an Italian word that refers to the long horizontal structure supporting the main panels of an altarpiece.)

Until its conservation in the late 1970s, the 'Forzori altar' had a very different appearance. The missing section of the predella had been made up, and the two main scenes were joined together and mounted onto a slate backing. This panel, and the separate predella, were set into a painted and gilt wooden frame, which displayed the lily of the city of Florence and the lamb of the Arte della Lana (the wool guild). The sculpture takes its name from the arms on the predella, which are now only partially visible. These were identified as those of the Forzori family, although we now know that this is erroneous.

Among the various sculptors thought to have made the model in the past were Lorenzo Ghiberti and Benvenuto Cellini. Later it was identified as a work by Donatello, the most important and influential Italian sculptor of the fifteenth century, or his circle. We do not know the purpose of the model, but it was doubtless intended for some form of altarpiece.

7619:1 to 3-1861