Of Donatello as an innovator I have said something above, in considering the Florentine Davids, but he was also the inventor of that low relief in which his school worked, called rilievo stiacciato, of which there are some excellent examples at South Kensington. In Ghiberti's high relief, breaking out often into completely detached figures, he was also a master, as we shall see at S. Lorenzo. But his greatest claim to distinction is his psychological insight allied to perfect mastery of form. His statues were not only the first really great statues since the Greeks, but are still (always leaving Michelangelo on one side as abnormal) the greatest modern examples judged upon a realistic basis. Here in the Bargello, in originals and in casts, he may be adequately appreciated; but to Padua his admirers must certainly go, for the bronze equestrian statue of Gattamelata is there. Donatello was painted by his friend Masaccio at the Carmine, but the fresco has perished. He is to be seen in the Uffizi portico, although that is probably a fancy representation; and again on a tablet in the wall opposite the apse of the Duomo. The only contemporary portrait (and this is very doubtful) is in a picture in the Louvre given to Uccello--a serious, thoughtful, bearded face with steady, observant eyes: one of five heads, the others being Giotto, Manetti, Brunelleschi, and Uccello himself. Donatello, who never married, but lived for much of his life with his mother and sister, died at a great age, cared for both by Cosimo de' Medici and his son and successor Piero. He was buried with Cosimo in S. Lorenzo. Vasari tells us that he was free, affectionate, and courteous, but of a high spirit and capable of sudden anger, as when he destroyed with a blow a head he had made for a mean patron who objected to its very reasonable price. "He thought," says Vasari, "nothing of money, keeping it in a basket suspended from the ceiling, so that all his workmen and friends took what they wanted without saying anything." He was as careless of dress as great artists have ever been, and of a handsome robe which Cosimo gave him he complained that it spoiled his work. When he was dying his relations affected great concern in the hope of inheriting a farm at Prato, but he told them that he had left it to the peasant who had always toiled there, and he would not alter his will.