Sculpture more ingratiating is close by, in the two rooms given to Iscrizioni: a collection of priceless antiques which are not only beautiful but peculiarly interesting in that they can be compared with the work of Donatello, Verrocchio, and other of the Renaissance sculptors.

For in such a case comparisons are anything but odious and become fascinating.

In the first room there is, for example, a Mercury, isolated on the left, in marble, who is a blood relation of Donatello's bronze David in the Bargello; and certain reliefs of merry children, on the right, low down, as one approaches the second room, are cousins of the same sculptor's cantoria romps.

Not that Donatello ever reproduced the antique spirit as Michelangelo nearly did in his Bacchus, and Sansovino absolutely did in his Bacchus, both at the Bargello: Donatello was of his time, and the spirit of his time animates his creations, but he had studied the Greek art in Rome and profited by his lessons, and his evenly-balanced humane mind had a warm corner for pagan joyfulness.

Among other statues in this first room is a Sacerdotessa, wearing a marble robe with long folds, whose hands can be seen through the drapery.