Excerpt from Donatello
The popular appreciation of Italian sculpture at the present time practically recognises one name alone, that of Michel Angelo; and if a vague consciousness exists of other names behind his, they are for the most part dismissed as "quaint," and of genuine interest only to the curious.
Thus Donatello - the "scultore rarissimo e statuario maraviglioso" of Vasari, the object of even Buonarotti's imitation - is to-day generally reckoned as a mere Renaissance forerunner, and by no means as himself one of the Immortals.
Even professed students of Art have more or less shared in this inability to recognise his greatness. Cicognara, in his "Storia della Scultura," when concluding his notice of this master, remarks; "But if Donatello had discovered all the possibilities of the Art of Sculpture, what would have been left for Canova to achieve!" Truly, a time which could accept the exaltation of Canova at the expense of Donatello demonstrated the inferiority, not of the latter, but of itself. Be the reason of this insensibility to Donatello's power what it may, it is now manifestly passing away. Students, at any rate, are recognising that the admiration accorded him alike by con temporaries and followers, such as Michel Angelo and Cellini, was well founded.
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