ries of five prophet statues that Donatello did beginning in 1416. The statues were of beardless and bearded prophets as well as a group of Abraham and Isaac in 1416-1421 and also the Zuccone and Jeremiah. Zuccone is famous as the finest of the campanile statues and one of the artists masterpieces. Donatello invented his own bold new mode of relief in his marble panel St. George Killing The Dragon (1416-1417). The technique involved shallow carving throughout, which created a more striking effect than in his earlier works. He no longer modelled his shapes but he seemed to paint them with his chisel.Donatello continued to explore the possibilities of the new technique he would use in his marble reliefs of the 1420s and early 1430s. The best of these were The Ascension, with Christ giving the keys to St. Peter, the Feast of Herod (1433-1435), the large stucco roundels with scenes from the life of St. John the Evangelist (1434-1437), and the dome of the old sacristy of St. Lorenzo shows the same technique but with color added. Donatello had also become a major sculptor in bronze. His earliest work of this was the more than life size statue of St. Louis (1423) which was replaced half a century later. Donatello in partnership with Michelozzo helped with fine bronze effigy on the tomb of the pope John XXIII in the bapistery, the Assumption of the Virgin on the Brancacci tomb and the dancing angels on the outdoor pulpit of the Prato Cathedral (1433-1438). His departure from the standards of Brunelleschi did not go to well between the two old friends and was never repaired. Brunelleschi even made epigrams against Donatello.During his partnership with Michelozzo, Donatello made works of pure sculpture, including several works of bronze. The earliest and most important of these was the Feast of Herod (1423-1427). He also made two statuettes of Virtues and then three nude child angels (one which was stolen and is now in the Berlin Mus...
