Equestrian statue of Gattamelata at Padua

Equestrian statue of Gattamelata (1453), located in the Piazza del Santo in Padua, is one of Donatello’s most outstanding achievements. The sculpture portrays the Renaissance condottiere Erasmo da Narni, known as ‘Gattamelata.’ He mostly served for the Republic of Venice, leading Venetian troops to victory in the Milanese wars. The statue was commissioned in Padua, which was at the time under Venetian rule. The statue invites apparent comparisons to the Equestrian Statue of Marcus Aurelius (175AD) in Rome. Another clear reference is to the Roman bronze Horses of Saint Mark installed at the façade of the St. Mark’s Basilica in Venice. The two references to ancient sculptures demonstrate the visual and conceptual influence of classical antiquity on Donatello’s Gattamelata. The careful study of classical art is evident in the attention devoted to the horse’s musculature as well as the realistic depiction of the warrior. By referencing equestrian imperial statues, Donatello attributed grandeur, power, and authority to the military leader. Gattamelata is depicted as a great emperor from classical times; his stance is powerful and assured, while his expression is severe and intense. When analyzing the details of the statue, one becomes aware of the extent of Donatello’s interest and broad knowledge of classical art and antiquity. For instance, Donatello decorated the back of Gattamelata’s saddle with two small horse riders that are similar to the nude riders from the interior west and north friezes of the Parthenon. Even though Donatello modeled the small figures quite freely, he depicted them in detail: the riders, set against a backdrop of a decorative plant ornament, are mounted on horses wearing short capes, and one of them carries a flame. However, these meticulous and elegant details are not visible to the viewer that observes the statue at the Piazza del Santo. The careful planning and artistic virtuosity demonstrated in these details show the importance and grandeur of the project. Donatello may have used these spaces to express his artistic mastery and his interest in the revival of antiquity. He illuminated Gattamelata’s armor with motifs of angels and Erotes – winged gods associated with love and sex in Greek mythology. This imaginative armor is very different from the practical suit of armor worn in the Arsenal of Venice. In a lower relief, motifs of festive putti echo the elements seen in the armor. The breastplate of Gattamelata’s lorica shows the head of Medusa, a symbol frequently found on Roman military statues. Donatello’s Equestrian statue of Gattamelata became a model for future equestrian sculptures. One of the most notable examples is Equestrian statue of Bartolomeo Colleoni (1480-1488) by Andrea del Verrocchio in Campo Santi Giovanni e Paolo in Venice. It was the second major equestrian monument of the Italian Renaissance created after Donatello’s Gattamelata. Like Gattamelata, Bartolomeo Colleoni was a military leader, and Donatello’s conception proved to be a precedent for sculptures honoring military heroes.