One can, indeed, never think of Donatello as a religious artist.

Serious, yes; but not religious, or at any rate not religious in the too common sense of the word, in the sense of appertaining to a special reverential mood distinguished from ordinary moods of dailiness.

His David, as I have said, is a comely, cultured boy, who belongs to the very flower of chivalry and romance.

Verrocchio's is akin to him, but he has less radiant mastery.

Donatello's David might be the young lord; Verrocchio's, his page.