Summary

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

When Nanni found, on his return, that Donato had corrected all and so effectually remedied the blunder he had committed, he gave him hearty thanks, and right willingly bestowed the promised supper on him and his men. Under the feet of these four saints, and among the decorations of the tabernacle, is a representation in marble and mezzo-rilievo, also by Nanni, of a sculptor working with great animation at the statue of a child; and another master building a wall, with two assistants. All these little figures are full of life, and earnestly engaged in their different occupations.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Donato replied, laughing, “this good man is not equal to me in our art, and it must have cost him much heavier labour to complete this work than I should have had to bestow on it; wherefore, if you are just men, as you appear to me, and desire to satisfy him for his pains, you are bound to pay him for the time he has expended.” The decision of Donato was finally suffered to prevail, both parties having promised to abide by it.
This statue has, upon the whole, a good attitude—the head is animated and graceful, the vestments are not stiff or hard, and are not badly arranged about the figure.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Philip, which stands on the outside of the oratory of Or San Michele, is a work of this sculptor’s, and was first offered, by the guild of shoemakers, to Donato. But, as the men of the said guild could not agree with Donato, in regard to the price, they gave the work, in a kind of despite against Donato, to Nanni, who promised to demand no other remuneration than that which they themselves might be pleased to accord. But the matter went differently: for, when the statue was completed, and fixed in its place, Nanni demanded a much higher price than the guild had refused to Donato.
Source: Wikisource

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