As we have said, after his sojourn in Rome, Donatello, particularly, seems to have immersed his art in a bath of past paganism. His art is no fakery, nor is it sheer plagiarism of the antique, but it is all permeated with Greek and Roman reminiscences, and comes at times so close to the Græco-Roman art that it misleads connoisseurs. Speaking of Donatello’s art Louis Courajod, a well-known connoisseur, observes: “He entered so deeply into the spirit of antiquity, that some of his restorations of statues are very puzzling, and it is difficult to distinguish his handiwork from that of the original.” In fact the famous horse’s head of the Naples Museum was catalogued as a Greek bronze before it was recently attributed to Donatello or his school. No one can fail to draw a comparison between Donatello’s _puttino_ and the “Infant with the Goose,” a typical example of Græco-Roman art. One of the first to be affected by the new sentiment in art was Lorenzo Ghiberti. As a matter of fact Ghiberti not only became enamoured of the antique, but was seized by the passion of collecting the best antiques in marble and bronze. You may be sure that collectors of this calibre, unlike the Roman samples, talked very little of patina and a great deal of form, that their enthusiasm was of a higher alloy even than that of present-day collectors, who are rarely artists or even real lovers of art. Polycletus and Lysippus were Ghiberti’s idols, and Greek art his worship; for the era of Imperial Rome he had no enthusiasm. His cult for the Greek went so far as to induce him to reckon time by the Olympiads in his chronology. Instead of telling us that a certain artist died when Martin V was pope, or in the year so and so, Ghiberti states amazingly that the event took place in the 438th Olympiad! It is not surprising that an artist like Ghiberti, and such a lover of Greek art as he was, should be able to classify Greek art at sight, to discriminate it from dubious Roman products and all the art that so closely resembles certain Greek periods. That the worship of pagan art was practised by artists with no risk to themselves may be explained by the circumstance that the time of religious intolerance had passed. Intolerance, comprehensible perhaps in the early times of Constantine, when it was a crime for an artist to go to the forms of the past, had gradually sunk into tradition by the dawn of the new era which paved the way to the Renaissance in art and to humanistic tendencies, the most tolerant and unprejudiced period of past civilization.