Donatello's more famous David, in the hat, upstairs, is the most charming creature you ever saw, but it had been far better to call him something else.

Both he and Verrocchio's David, also upstairs, are young tournament nobles rather than shepherd lads who have slung a stone at a Philistine bully.

I see them both--but particularly perhaps Verrocchio's--in the intervals of strife most acceptably holding up a lady's train, or lying at her feet reading one of Boccaccio's stories; neither could ever have watched a flock.

Donatello's second David, behind the more famous one, has more reality; but I would put Michelangelo's smaller one first.

And what beautiful marble it is--so rich and warm! One point which both Donatello's and Verrocchio's David emphasizes is the gulf that was fixed between the Biblical and religious conception of the youthful psalmist and that of these sculptors of the Renaissance.