canon, the predecessors of Donatello seemed at one time in danger of
becoming conventionalised. But Donatello would not permit his art to
be divorced from appeals to reason and intellect; once started, his
theory held its own. Donatello was bound by no laws; with all its
cadence and complexity his art was unsuited to a canon as would be the
art of music. He seems almost to have disregarded the ordinary
physical limitations under which he worked. He had no "cant of
material," and whether in stone, bronze, wood, or clay, he went
straight ahead in the most unconcerned manner.

[Footnote 16: In 1496. See Gruyer, "Les Illustrations," 1879, p. 206.]

[Footnote 17: C. Müller, "Ancient Art and its Remains," p. 227.]

[Footnote 18: Pliny, xxxvi. 44.]

[Footnote 19: Printed in Richter's "Literary Works of Leonardo da
Vinci," vol. i.]

[Footnote 20: By Francis Grose, the Antiquary. London, 1788.]

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[Illustration: _Alinari_

HABAKKUK

CAMPANILE, FLORENCE]