Question: When did Donatello create the reliefs of St. Anthony?
About the article "Donatello", section "In Padua".

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In 1443, Donatello was called to Padua by the heirs of the famous condottiero Erasmo da Narni, who had died that year.
Completed in 1450 and placed in the square facing the Basilica of St. Anthony, his equestrian statue of Erasmo (better known as the "Gattamelata", or "Honey-Cat") was the first example of such a monument since ancient times.
(Other equestrian statues, from the 14th century, had not been executed in bronze and had been placed over tombs rather than erected independently, in a public place.)
This work became the prototype for other equestrian monuments executed in Italy and Europe in the following centuries.
For the Basilica of St. Anthony, Donatello created, most famously, the bronze Crucifix of 1444–1447 and additional statues for the choir, including a "Madonna with Child" and six saints, constituting a Holy Conversation, which is no longer visible since the renovation by Camillo Boito in 1895.
The "Madonna with Child" portrays the Child being displayed to the faithful, on a throne flanked by two sphinxes, allegorical figures of knowledge.
On the throne's back is a relief of Adam and Eve.
During this period—1446–50—Donatello also executed four extremely important reliefs with scenes from the life of St. Anthony for the high altar.
Donatello returned to Florence in 1453.
The Judith and Holofernes, begun for the Duomo di Siena date from 1455 to 1460 but were later acquired by the Medici.
Until 1461, Donatello remained in Siena, where he created a "St. John the Baptist", also for the Duomo, and models for its gates, now lost.
For his last commission in Florence, Donatello produced reliefs for the bronze pulpits in the church of San Lorenzo, with help from students Bartolomeo Bellano and Bertoldo di Giovanni.
Donatello provided the general design and personally executed the "Martyrdom of St. Lawrence" and the "Deposition from the Cross"; he worked on the reliefs of "Christ before Pilate" and "Christ before Caiphus", with Bellano.
This work is characterized by an intense, free, indeed sketchy and suggestively unfinished — in Italian a "non-finito" — technique that heightens the dramatic effect of the scenes and emphasizes their spiritual intensity.
Donatello died in Florence in 1466 and was buried in the Basilica of San Lorenzo, next to Cosimo de' Medici the Elder. 
The painting feature a mainly vertical architectural setting, under which a high octagonal podium with the Virgin's throne.
The base is decorated by tiles (with the "Massacre of the Innocents", " Adoration of the Magi" and the "Presentation in the Temple") which simulated antique bas-reliefs and were inspired by the altar of the basilica of Saint Anthony of Padua by Donatello.
The base supports columns with mouldings and decorations of garlands, dishes and marble rings, while in the background is a stormy sea.
The latter is a reference to the legendary foundation of Santa Maria in Porto, when the Crusader Pietro degli Onesti, after escaping a shipwreck, made a vow to entitle a church to the Virgin Mary in exchange for his miraculous salvation.
The throne is enclosed in a niche with reliefs, and stands on a carpet.
At the sides are red curtains.
The four saints are St. Augustine, the blessed Pietro (below), St. Elizabeth and St. Anne (above, at the sides of the Virgin).
The whole composition is an example of the pyramidal structure introduced by Antonello da Messina in the Holy Conversation scheme after 1475. 
 "This article is about the sculptures by Donatello, for other uses see David (disambiguation)."
David is the name of two statues by Italian early Renaissance sculptor Donatello. 
The interior of the church contains numerous funerary monuments, some of noteworthy artistic value.
The Chapel of the Holy Sacrament (Cappella del Santissimo Sacramento, also known as Cappella Gattamelata), in the right aisle, houses the tomb of the famous condottiero Gattamelata and of his son Giannantonio.
The bronze tabernacle is made by Girolamo Campagna.
This chapel, with its broad bands of polychrome and carved Gothic details, has had many stages of decoration, the final stage being the creation of an atmospheric mosaic in the tall rear niche representing the Holy Spirit with rays of golden light descending against a background of intensely blue sky.
This highly theatrical work was created by Lodovico Pogliaghi between 1927–36.
Relics of St Anthony are to be found in the ornate baroque Treasury Chapel (begun in 1691).
The body of the saint, which was in Madonna Mora Chapel, has, from 1350, lain in a separate transept chapel, the Chapel of St Anthony, the interior decoration being attributed to Tullio Lombardo, who also provided the sixt and seventh high-reliefs depicting the miracles of St Anthony ("Miracle of the stingy man's heart", "Miracle of the repented man").
The third high-relief "Saint bringing back to life a man who had been murdered" is a masterpiece by Girolamo Campagna.
The late-16th century statues are by Tiziano AspettiThe Basilica contains several important images of the Madonna.
The "Madonna Mora" is a statue of the Madonna with the Christ Child by the French sculptor Rainaldino di Puy-l'Evéque, dating from 1396.
Her name refers to her black hair and olive skin tone, being interpreted as "swarthy".
The "Madonna del Pilastro" is a mid-14th-century fresco by Stefano da Ferrara, located on the pier adjacent the left aisle.
Among other sculptural work is the magnificent Easter candelabrum in the apse, finished in 1515 by Andrea Briosco and considered his masterwork.
The most famous and striking features of the high altar area are however the bronze "Madonna with Child" and six statues of "Saints" by Donatello, who also executed four reliefs with episodes of life of St. Anthony.
To the right hand side of the nave, opposite the tomb of the Saint is the large Chapel of St. James, commissioned by Bonifacio Lupi in the 1370s in the elegant Gothic style, with frescoed walls depicting the "Stories of St. James" and the Crucifixion by Altichiero da Zevio.
Altichiero's "Crucifixion" is one of the most significant paintings of the late 14th century.