Although most of his works normally reside in Florentine museums and his role as a proponent of the maniera in sculpture is well-known, Vincenzo Danti (1530–76) is finally being feted with an exhibition of his own. On view at the Museo Nazionale del Bargello in Florence through September 7, I grandi bronzi del Battistero: L’arte di Vincenzo Danti, discepolo di Michelangelo is the schizophrenic title for what is essentially a monographic show on the career of the artist. Its occasion is the restoration of a three-figure bronze group from the southern door of the Florentine Baptistery, but the show and especially its catalogue reexamine his entire output, both within and outside the shadow of Michelangelo. Equally important, the exhibition separates Danti’s sculptures from their usual location in the large room of Cinquecento sculpture in the Bargello, where they are surrounded by contemporary Medici commissions from Bandinelli, Cellini, Ammannati, and Giambologna—the flood of talented practitioners Danti regularly competed against for patronage and whose work often is confused with his. Seen as a group (with some important additions from collections in the United States and England), Danti’s sculpture is thematically varied, technically diverse, and—probably the biggest surprise of the exhibition—most rewarding on...