I and fleshiness in it are admirable and the more praise worthy if the difficulties of bronze be considered. We shall contemplate with pleasure elastic motion rivalling that of a living man; and we shall be justified in adding, that no creation of the revival, from the fourteenth cent ury to the time of Michael Angelo, is more entitled to claim respect and admiration, because of the true devel opment of the maxims and laws which are combined alike in it and in the Greek models. The youthful cham pion, trampling with his right foot on the helmeted head of Goliath, his right hand grasping a long straight sword, the left holding a stone and resting on the hip, stands, life size, and all but naked before the spectator. On the head, whose profile is of classic line, is an ancient helm, which casts a broad shadow on the youthful fore head; and copious locks luxuriate about the neck. An admirable unity marks the contours of the form, whose select parts reveal a true feeling for the beauties of Greek statuary. Donatello, in fact, displays the results of a deep study of the antique, combining in a single work the truth of nature with nobleness of shape and of mien, chasteness of form with breadth and ease of modelling. More happy in his mood than at other periods of his career, he seems to have curbed the natural impetuosity of his temper and to have allowed a cooler judgment to restrain the natural fire that burned within him. We may regret that he should not have constantly obeyed this restraint, and that he should have fallen so frequently into a less noble realism; but it is due to him to greet with a just applause those works in which he gave proofs that he possessed the highest gifts that can grace a sculptor. His David has a perfect harmony of power, of character and of parts, and had posterity been deprived of all his works, except that, he would, on the strength of it, be called the best sculptor of his country. Amongst * *