抄録
<Il convito di Erode> It is said that the foreground of this relief lacks the compositional unity by classistic rules or the background seems a separate entity only superficially linked with the foreground. The authour assumes that in this panel Donatello aims at rendering of the dual expression. One is the main drama of the presentation of the Baptist's head to Herod, another is the indispensable scene to the story which is asynchronical with the foreground. The foreground is constructed on the conception which is in accordance with the order of the narrative reliefs of St. John's life on this Font, so it has a movement from left to right like a panel, <St. John before Herod> by Ghiberti and the head is placed in the left wing. The figures in the background are placed at a minimum expression with only the heads. We could not know the true character and role of the two men in the middle-scene, because we saw nothing but their pierce-looking heads. The auther points out that one of them wears his hair short, and in a relief of the Door by A. Pisano an excutioner with a sword wears short, too. On this famous prior Master's expression Donatello must have had a firms belief that was able to present the excutioners by only the heads to beholders. <Putti>, <Virtu> The three Putti by Donatello are coodinated in relation to each other. J. Lanyi's excellent paper has proved this Donatello's intention. And he has stated an opinion on the original position of these Putti ; the Berlin Putto was on the left front of the Font. After the Berlin Putto has been removed the three Putti by Turini were moved to the front (see Diagram Ia, Ib, p.25). The auther expresses an opinion against him ; the original position of the Berlin Putto was not on the left front but on the right front of the Font. As it has been stolen, the two Putti by Donatello were transferred to the front (Diagram IIa, IIb). This opinion is expressed on the basis of the auther's investigation of Turini's Putti, the Bargello Putto-note their relation between the figures and their bases of shell (Diagram III, IV)-and the Donatello's oeuvres. <La Fede> and <la Speranza> entirely turn to the front of the Font and are visible not en face. The beholders, who stand before the front of the Font, receive their welcome and are led to the front of the oeuvres by Donatello on the righthand side of the Font. At the place his oeuvres make an ensemble.
