DONATELLO'S BUST Kenyon, it will be remembered, had asked Donatello's permission to model his bust.

The work had now made considerable progress, and necessarily kept the sculptor's thoughts brooding much and often upon his host's personal characteristics.

These it was his difficult office to bring out from their depths, and interpret them to all men, showing them what they could not discern for themselves, yet must be compelled to recognize at a glance, on the surface of a block of marble.
He had never undertaken a portrait-bust which gave him so much trouble as Donatello's; not that there was any special difficulty in hitting the likeness, though even in this respect the grace and harmony of the features seemed inconsistent with a prominent expression of individuality; but he was chiefly perplexed how to make this genial and kind type of countenance the index of the mind within.

His acuteness and his sympathies, indeed, were both somewhat at fault in their efforts to enlighten him as to the moral phase through which the Count was now passing.

If at one sitting he caught a glimpse of what appeared to be a genuine and permanent trait, it would probably be less perceptible on a second occasion, and perhaps have vanished entirely at a third.