The range of Donatello's art was phenomenal, from works of such magnitude as the equestrian statue of Gattamelata, to the decorative panels for the altar of S. Antonio at Padua. At times he was an uncompromising realist, as in his statue of the bald old man, the Zuccone, who figured as King David. Again he showed himself capable of lofty idealism, as in the beautiful and heroic St. George. Which way his own tastes leaned we may judge from his favorite asseveration, "By my Zuccone." The point is that it mattered nothing to him whether his model was beautiful or ugly, whether he wrought out an ideal of his imagination or studied the character of an actual individual; his first care was to make the figure live. In consequence his art has what a critic has called "a robustness and a sanity" which have made it "a wellspring of inspiration to lesser men." The only subject practically left out of Donatello's work was woman. Children afforded him all the material he needed for the more decorative forms of his art. For the rest the problems which interested him most were perhaps best worked out in the study of the male figure. A recent biographer of Donatello, Hope Rea, points out some interesting characteristics of his technical workmanship. In every work subsequent to his St. Mark, "the hair," she says, "is conspicuous by its appearance of living growth." And again, explaining the excellence of his drapery, she shows how he went beyond the ordinary consideration of the general flow and line of the stuffs, to a study of the sections of the folds. Hence drapery with him "is not only an arrangement of lines for decorative effect, or a covering for the figure, but it is a beauty in itself, filled with the living air." Nanni di Banco is a name naturally associated with that of Donatello, not only on account of the friendship between the two, but from the fact that both worked on the church of Or San Michele. Nanni was one of the smaller men whose work is overshadowed by the fame of a great contemporary. His art has not sufficient distinction to give it a prominent place; yet it is not without good qualities. Marcel Reymond insists that the public has not yet appreciated the just merits of this neglected sculptor. In his opinion the St. Philip was the inspiration of Donatello's St. Mark, while Nanni's St. Eloi had an influence upon St. George. With Luca della Robbia began the "reign of the bas-relief," as Marcel Reymond characterizes the period of fifty years between Donatello and Michelangelo. Women and children were the special subjects of this sculptor's art, and it is perhaps in the Madonna and Child that we see his most characteristic touch. How well he could represent spirited action, we see in some of the panels of the organ gallery. How dignified was his sense of repose, is seen in the lunette of the Ascension.