Gattamelata

It's an effective metaphor for the career of the man depicted, Erasmo da Narni, an adroit tough-guy known as "Gattamelata" -- "honeyed cat."

Monument to a Mercenary 2007

Erasmo da Narni, better known as Gattamelata, was now his general-in-chief -- a man who had risen from the lowest fortunes to one of the most splendid military positions in Italy.

New Italian sketches John Addington Symonds 1866

Erasmo da Narni, better known as Gattamelata, was now his general-in-chief -- a man who had risen from the lowest fortunes to one of the most splendid military positions in Italy.

Sketches and Studies in Italy and Greece, Complete Series I, II, and III John Addington Symonds 1866

Erasmo da Narni, better known as Gattamelata, was now his general-in-chief -- a man who had risen from the lowest fortunes to one of the most splendid military positions in Italy.

Sketches and Studies in Italy and Greece, First Series John Addington Symonds 1866

Donatello's "Gattamelata," the greatest of all equestrian statues.

Artist and Public And Other Essays On Art Subjects Kenyon Cox 1887

Donatello's "Gattamelata" is unapproached and unapproachable in its quiet dignity; Verrocchio's

Artist and Public And Other Essays On Art Subjects Kenyon Cox 1887

Verocchio, profiting by the example of Donatello's "Gattamelata," must be assigned the general conception of this statue; but the breath of life that animates both horse and rider, the richness of detail that enhances the massive grandeur of the group, and the fiery spirit of its style of execution were due to the Venetian genius of Leopardi.

Renaissance in Italy Volume 3 The Fine Arts John Addington Symonds 1866

Later, it was surely the inspiration for the two greatest works of equestrian sculpture produced in the Renaissance, Donatello's "Gattamelata" in Padua and Verrocchio's "Colleoni" in Venice.

Sometimes Two Is Better Than One Tom L. Freudenheim 2011

Later, it was surely the inspiration for the two greatest works of equestrian sculpture produced in the Renaissance, Donatello's "Gattamelata" in Padua and Verrocchio's "Colleoni" in Venice.

Sometimes Two Is Better Than One Tom L. Freudenheim 2011

But the free-standing Gattamelata was unrivaled from its completion in 1453 until the 1480s, when Andrea Verrocchio produced the intimidating bronze of the condottiere Bartolomeo Colleoni in full armor, standing tensely in his stirrups, in front of Santi Giovanni e Paolo, Venice.

Monument to a Mercenary 2007