very possibly on this very cantoria, and almost certainly on the Prato
pulpit. Everything here, it must be remembered, has some association
with the Duomo and was brought here for careful preservation and that
whoever has fifty centimes might take pleasure in seeing it; but the
great silver altar is from the Baptistery, and being made for that
temple is naturally dedicated to the life of John the Baptist. Although
much of it was the work of not the greatest modellers in the second
half of the fourteenth century, three masters at least contributed
later: Michelozzo adding the statue of the Baptist, Pollaiuolo the
side relief depicting his birth, and Verrocchio that of his death,
which is considered one of the most remarkable works of this sculptor,
whom we are to find so richly represented at the Bargello. Before
leaving this room, look for 100^3, an unknown terra-cotta of the
Birth of Eve, which is both masterly and amusing, and 110^4, a very
lovely intaglio in wood. I might add that among the few paintings,
all very early, is a S. Sebastian in whose sacred body I counted no
fewer than thirty arrows; which within my knowledge of pictures of
this saint--not inconsiderable--is the highest number.

The next room is given to models and architectural plans and
drawings connected with the cathedral, the most interesting thing
being Brunelleschi's own model for the lantern. On the stairs are a
series of fine bas-reliefs by Bandinelli and Giovanni dell' Opera from
the old choir screen of the Duomo, and downstairs, among many other
pieces of sculpture, is a bust of Brunelleschi from a death-mask and
several beautiful della Robbia designs for lunettes over doors.



CHAPTER IV