regretted, the dancing boys remain, to be for ever an inspiration and
a pleasure. The Luca della Robbia cantoria opposite is not quite so
triumphant a masterpiece, but from the point of view of suitability it
is perhaps better. We can believe that Luca's children hymn the glory
of the Lord, as indeed the inscription makes them, whereas Donatello's
romp with a gladness that might easily be purely pagan. Luca's design
is more formal, more conventional; Donatello's is rich and free and
fluid with personality. The two end panels of Luca's are supplied in
the cantoria by casts; the originals are on the wall below and may
be carefully studied. The animation and fervour of these choristers
are unforgettable.

It is well, while enjoying Donatello's work, to remember that Prato
is only half an hour from Florence, and that there may be seen
the open-air pulpit, built on the corner of the cathedral, which
Donatello, with Michelozzo, his friend and colleague, made at the
same time that the cantoria was in progress, and which in its relief
of happy children is very similar, although not, I think, quite so
remarkable. It lacks also the peculiarly naturalistic effect gained
in the cantoria by setting the dancing boys behind the pillars, which
undoubtedly, as comparison with the Luca shows, assists realism. The
row of pillars attracts the eye first and the boys are thus thrown
into a background which almost moves.

Although the cantorie dominate the museum they must not be allowed to
overshadow all else. A marble relief of the Madonna and Children by
Agostino di Duccio (1418-1481) must be sought for: it is No. 77 and
the children are the merriest in Florence. Another memorable Madonna
and Child is No. 94, by Pagno di Lapo Portigiani (1406-1470), who has
interest for us in this place as being one of Donatello's assistants,