Everyone was a connoisseur of art alone, not of nature as
well. Consequently, in spite of such an enthusiastic genius as
Donatello, who probably more than any other modern has most nearly
approached the Greeks--not in spiritual attitude, for he was eminently
of his time, but in his attitude toward nature--the human form in art
has for the most part remained, not conventionalized as in the Byzantine
and Gothic times, but thoroughly conventional. Michael Angelo himself
certainly may be charged with lending the immense weight of his majestic
genius to perpetuate the conventional. It is not his distortion of
nature, as pre-Raphaelite limitedness glibly asserts, but his
carelessness of her prodigious potentialities, that marks one side of
his colossal accomplishment. Just as the lover of architecture as
architecture will protest that Michael Angelo's was meretricious,
however inspiring, so M. Rodin declares his sculpture unsatisfactory,
however poetically impressive. "He used to do a little anatomy
evenings," he said to me, "and used his chisel next day without a model.
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