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Saint Louis of Toulouse

Saint Louis of Toulouse is a gilded bronze sculpture of Louis of Toulouse by Donatello, with a marble niche all'antica on the facade of Orsanmichele. It was executed in 1423–1425 and originally commissioned by the Parte Guelfa for their external niche at the centre of the east facade, facing via de' Calzaiuoli. Their patron saint, canonized in 1317, was chosen for his symbolic renunciation of worldly power, which suited Guelph support for the papacy. The sculpture is now in the refectory of the Museo di Santa Croce in Florence.

Saint Louis of Toulouse shown as a gilded standing statue holding a staff and a small book.
Saint Louis of Toulouse, a gilded statue with an ornate mitre and flowing robes.
April 2022 © · CC BY-SA 4.0
Saint Louis of Toulouse statue of a robed figure wearing a mitre and holding a ceremonial staff
Donatello’s Saint Louis of Toulouse shown in black and white, with the figure standing in clerical robes and holding a staff.
© David Finn · CC BY-SA 4.0
Golden statue of Saint Louis of Toulouse in a carved stone niche with columns and a shell-shaped arch.
Saint Louis of Toulouse shown as a gilded figure set within an ornate stone niche.
July 2015 © · CC BY-SA 4.0
Saint Louis of Toulouse statue in an ornate stone niche with columns and a pediment.
Saint Louis of Toulouse displayed in a carved stone niche.
February 2009 © · CC BY 2.5
Lower part of Saint Louis of Toulouse, showing gilded draped robes, bare feet in sandals, and the decorated staff base.
The lower section of Saint Louis of Toulouse, with gilded folds of drapery, bare feet, and the base of a staff.
April 2022 © · CC BY-SA 4.0

Identification

TitleSaint Louis of Toulouse
Typegilded bronze statue
SubjectLouis of Toulouse (Saint Louis of Toulouse, Louis of Anjou)
Italian titleSan Ludovico di Tolosa

Creator

ArtistDonatello

Historical context

Date1423–1425
Commissioned bythe Parte Guelfa
Patron saint connectionthe Parte Guelfa's patron saint, canonized in 1317

Discovery and provenance

Later locationthe Basilica of Santa Croce, Florence
Temporary returnbriefly placed back in its original niche on via de' Calzaiuoli in 1943 during wartime protection
Post-19th-century locationthe refectory of the Museo di Santa Croce, Florence
Placement at Santa Crocea niche above the central portal of the facade
Removal date1459
Reason for removalthe tabernacle was sold to the Tribunale della Mercanzia, which later installed Verrocchio's Group of the Incredulity of Saint Thomas there
Designer of the nicheDonatello, according to Vasari; Michelozzo also took part in creating the niche according to Vasari
Original settinga marble tabernacle in an all'antica niche
Original locationan external niche at the centre of the east facade of Orsanmichele facing via de' Calzaiuoli, Florence

Physical characteristics

Height2.26 m
Width at widest pointabout 0.75 m
Width at bottom0.85 m
Sizeabove life-size
Forma hollow-shell statue
Conditionthe hollow shell is open on the back; it tilts forward and requires additional, non-original support

Materials

Materialbronze, gilded

Technique

Casting techniquebronze casting using the revived lost-wax method
Constructionmade in multiple separate pieces and later assembled

Appearance

Depictionshown as a young bishop
Gestureblessing with the right hand
Attributesfinely chiseled mitre, pastoral staff, bishop's gloves, friar's habit, and a heavy cope
Relative scalesignificantly larger than the earlier works in the Orsanmichele niches
Fit in nichefit more tightly into the tabernacle

Iconography and meaning

Iconographic meaningthe saint renounced his crown for religious life, symbolizing the Guelphs' support for the papacy against the Holy Roman Emperor
Political symbolismassociated with the Guelphs' support for the papal party in the Investiture Controversy and later conflicts

History and restoration

Post-war identificationafter the war it was confirmed as Donatello's work for the Guelphs
War-time storageplaced in secure storage in 1943 for wartime protection
19th-century transferwith the construction of the 19th-century facade, the work was moved into storage and then to the museum
Relocation to Santa Crocemoved there because Santa Croce was visited by their patron saint Louis of Anjou
Original placement contextcommissioned by the Parte Guelfa for Orsanmichele, with political pressure later forcing them to give up that representational space

Significance

Earliest known bronze sculpture by Donatelloyes
Earliest known sculpture of this size by Donatelloyes
Historical significancethe first large-scale work cast with the revived lost-wax technique in the modern era; an above life-sized bronze statue had not been produced since late antiquity, and bronze-casting knowledge was almost lost in Tuscany
Art-historical importancemarked Donatello's debut in bronze casting and began a new relationship of emancipation between sculpture and its niche, in contrast to Gothic sculpture
Critical receptionopinions range from benevolent acceptance to dismissal as a failed work
Vasari's judgmentVasari described it as a rough figure and the least successful work Donatello ever made
Alternative interpretationsome scholars argue that Donatello expressed the conflict between ascetic conversion and the later return to power in the saint's life
Perceived defectsthe mantle seems to crush the slender body, the mitre is excessively large, and the face is idealized
Possible intentional effectDonatello may have deliberately shown the young saint overshadowed by cumbersome episcopal vestments he would have preferred not to wear