ror remain most clearly in my mind. But
the authorship of the Roman Emperor is very doubtful. And lastly the
glorious Marzocco--the lion from the front of the Palazzo Vecchio,
firmly holding the Florentine escutcheon against the world. Florence
has other Donatellos--the Judith in the Loggia de' Lanzi, the figures
on Giotto's campanile, the Annunciation in S. Croce, and above all
the cantoria in the Museum of the Cathedral; but this room holds most
of his strong sweet genius. Here (for there are seldom more than two
or three persons in it) you can be on terms with him.

After the Donatellos we should see the other Renaissance sculpture. But
first the Carrand collection of ivories, pictures, jewels, carvings,
vestments, plaquettes, and objets d'art, bequeathed to Florence
in 1888. Everything here is good and worth examination. Among the
outstanding things is a plaquette, No. 393, a Satyr and a Bacchante,
attributed to Donatello, under the title "Allegory of Spring," which
is the work of a master and a very riot of mythological imagery. The
neighbouring plaquettes, many of them of the school of Donatello,
are all beautiful.

We now find the sixth salon, to see Verrocchio's David, of which I have
already spoken. This wholly charming boy, a little nearer life perhaps
than Donatello's, although not quite so radiantly distinguished,
illustrates the association of Verrocchio and Leonardo as clearly
as any of the paintings do; for the head is sheer Leonardo. At the
Palazzo Vecchio we saw Verrocchio's boy with the dolphin--that happy
bronze lyric--and outside Or San Michele his Christ and S. Thomas, in
Donatello and Michelozzo's niche, with the flying cherubim beneath. But
as with Donatello, so with Verrocchio, one must visit the Bargello
to see him, in Florence, most intimately. For here are not only his
David, which once known can never be forgotten and is as full of the
Renaissance spirit as anything ever fashioned, whether in bronze,
marble, or paint, but--upstairs--certain other wonderfully beautiful
things to which we shall come, and, that being so, I would like here
to say a little about their author.

Verrocchio is a nickname, signifying the true eye. Andrea's real name
was de' Cioni; he is known to fame as Andrea of the true eye, and since
he had acquired this style at a time when every eye was true enough,
his must have been true indeed. It is probable that he was a pupil
of Donatello, who in 1435, when Andrea was bo