Subject/Name

First of all, it must be said that almost none of Donatello's works at the time had an individual name or title (just as only a few were signed; sometimes they have inscriptions that were added later, as with the Campanile figures). In addition to the Habakkuk, which was quickly nicknamed Zuccone because of the figure's pumpkin-shaped head, the late Judith and the Dovizia on the main market square (today's Piazza della Repubblica) in Florence, which were unique at the time, to clearly identify a work, the addition of the place (or commissioner) and (if it was known) the artist's name was needed. Donatello's two statues of David are similarly exceptional cases; both were generally known to be the work of Donatello, but for the second, the bronze David for the Medici, it was necessary to differentiate by adding the location, the client or the material. Almost all the other sculptures were figures of Christ, the Madonna and the saints, which were ubiquitous subjects and comprised the entire iconographical canon of what could be represented up to that point.

The bronze David, the Pazzi Madonna and the Cavalcanti Annunciation are all so-called Notnamen, short names that have been created over time by art historians since the 19th century, which have become established (with variants) and, particularly in the case of popular works, have become established in general through art literature and cultural and travel guides. A very special case in this regard is the so-called Amor-Attis, Amor-At(t)ys and vice versa, or also Atys-Amorino, as Janson described it in his monograph, which is still fundamental to this day; the figure remains a mystery with its ambiguous ancient attributes. Another persistent enigma is of course the bronze David.

Perhaps contrary to expectations, in the table these Notnamen under "Subject/Name" follow (in italics) after a general descriptive name of the object (e.g. "Lion..., (Marzocco)"), so that all prophet figures, for example, or the five John the Baptists can be brought together. Likewise, all Madonnas with the Christ Child are referred to as "Madonna and Child" so that they can be compared; the Pazzi Madonna, for example, can be found as "Madonna and Child (Pazzi Madonna)".

Donatello's documented collaborators and assistants are then named in small boldface, followed by uncertain attributions, dates or functions in small, bold and italic, which is a reference to missing documentation. Separating the largely undisputed works attributed to Donatello from those secured by documents or omitting them entirely would not allow an overall view of his oeuvre, to approximate the assumed simultaneous work on different genres and their chronological progression.

Form

Under "Form" statues can be separated from works in relief, although simultaneously all, e.g., niche figures can also be brought together.

Materials

Donatello worked with a wide variety of materials, most often in innovative ways. In his time and also due to Donatello, in addition to marble, the complex and expensive bronze and cheap, easy-to-handle fired clay (terracotta) became the essential materials. The stone used is almost exclusively white marble, especially for the early statues of the Cathedral of Florence, the works in rilievo stiacciato (shallow relief), the tombs and the two pulpits from the 1430s. Techniques for bronze had almost been lost; their revival is associated above all with Lorenzo Ghiberti, in his doors for the Florence Baptistery and the statues for Orsanmichele,^{[lower-alpha 1][lower-alpha 2]} for which Donatello then made his first bronze figure, the Saint Louis of Toulouse (1418–1422).

The main material used for the main object of a work is always mentioned first, then its treatment and secondary materials (as in the "Saint Louis of Toulouse with niche", first "bronze, fire-gilt", then silver, enamel and rock crystal for the decoration of the bishop's crosier, and finally the marble for the niche in which the figure originally stood, which was also created by Donatello).

Dimensions

In the 15th century there was a locally applicable ell (or arm length) which could range between around 50 and 75 cm. The size of a sculpture may have been specified as such in contracts or described in sources. In Donatello's case, the Florentine braccio (Italian "arm") of 58.3 cm was used for the most part.

If the measurements of a work are not given in the table as height × width × depth (in centimeters), at minimum the height of a figure or the diameter (d) of a tondo will be given, if that was all that could be found in the literature.

Dating

When it comes to dating the work, a compromise had to be made in that the initial dates are decisive here. This means that for documented objects it is often the date of the (first) written commission or the decision to do so. However, as is often the case (at this time) and not only for Donatello, the completion of a work or even the beginning lay sometimes years in the future. The specified time period does not therefore mean the actual time that Donatello spent on a work. Especially since, even at the other end (that is, after Donatello had completed a sculpture), a considerable amount of time could pass before it was (as is often the case) primed and colored and also gilded by painters. The installation on site did not have to happen immediately, so such information in documents does not necessarily indicate the time at which the sculpture was finished.

The priority of the starting date ignores the fact that during the period of often non-continuous work on a work, the understanding, the general knowledge of the classical model, with which Donatello continuously dealt, as well as the access to a specific task could change. This means that during the work process a stylistic change could take place that was not foreseeable at the beginning, or technical difficulties (or other circumstances) could arise that had to be solved and perhaps lead to a different result from what was originally planned.

Examples here include the early works, especially the marble David, the possible reworkings of which have been the subject of much speculation.^[4] Is the composition of the Saint Louis of Toulouse in several parts, rather than cast in one piece, as Ghiberti had done, due to Donatello's deficiencies in the knowledge of bronze casting, or was this based on a practical consideration regarding fire gilding or perhaps the complexity of the folds? The question of its open back (original or removed for Santa Croce?) will continue to concern art historians.

Locations

The locations always start with the city, then the building in or on which the work was or is located. Under original location there is also information that names the client or clients or allows conclusions to be drawn about them. An (early) relocation of a work is also noted (e.g., with both David figures). Today's location indicates in part the inventory number of the object ("Inv. xy") if it is part of a museum collection, if possible with a link to the institution's online catalog where – as with the Berlin collection – good images can be found, a detailed description and documentation, as well as a bibliography.

About the second table

Important here are the controversial works, which have always been close to the discussion about Donatello's œuvre, but which have been rejected from the catalogs of works that can be considered secure. Particularly worth mentioning here are the portrait bust of Niccolò da Uzzano, the Saint Peter at Orsanmichele and the Hildburgh Madonna and its derivatives.

Furthermore, the nature of the second table means that it cannot be complete. As far as casts and variants of mostly smaller to minute works are concerned, there may be a huge number scattered throughout museums and private collections that have received undocumented attributions based solely on stylistic similarities or technical details. This also applies to works based on Donatello's designs since the supposed designs no longer exist. The heraldic shields in particular, often with Donatello's trademark, the spiritelli, are probably all workshop products at best. Due to the lack of sources, there is no section for original location here, but one for the attribution appears as second column.

All of the works listed in the second table may be considered examples, with an obvious emphasis on works from the Skulpturensammlung in the Bode Museum, Berlin, for historical and practical reasons. On the one hand, the early Italian Renaissance and Donatello in particular have been the focus of collecting activities and research since the end of the 19th century, especially of Wilhelm von Bode, which was then essentially continued to this day. This is reflected in today's online catalog, wherein most of the works are excellently documented.^[5] This is also a reason for selecting the pieces from other museums, the Victoria and Albert Museum in London, which was similarly engaged as Berlin, the National Gallery of Art in Washington, the Detroit Institute of Arts, and of course the museums in Florence itself, Donatello's birthplace and the center of his professional life.^[6]