difficult to believe that Donatello had no eyes for architecture.
There are several reasons to show that later on he gave some attention
to its study. Like the Roman Tabernacle, the Niche on Or San
Michele[80] is without any Gothic details. Albertini mentions
Donatello as its sole author, but it is probable that Michelozzo, who
helped on the statue of St. Louis, was also associated with its niche.
It is a notable work, designed without much regard to harmony between
various orders of architecture, but making a very rich and pleasing
whole. It is decorated with some admirable reliefs. On the base are
winged _putti_ carrying a wreath; in the spandrils above the arch are
two more. The upper frieze has also winged cherubs' heads, six of them
with swags of fruit and foliage, all of exceptional charm and
vivacity. The motive of wings recurs in the large triangular space at
the top; flanking the magnificent Trinity, three grave and majestic
heads, which though united are kept distinct, and though similar in
type are full of individual character. This little relief, placed
rather high, and discountenanced by the bronze group below, is a
memorable achievement of the early fifteenth century and heralds the
advent of the power and solemnity, the _Terribilità_ of Michael
Angelo. Donatello's aptitude for architectural setting is also
illustrated by the choristers' galleries in the Cathedral and San
Lorenzo. The former must be dealt with in detail when considering
Donatello's treatment of childhood. As an architectural work it shows
how the sculptor employed decorative adjuncts such as mosaic and
majolica[81] to set off the white marble; he also added deep maroon
slabs of porphyry and bronze heads, thus combining various arts and
materials. Having no sculpture, the Cantoria of San Lorenzo is perhaps
more important in this connection, as it is purely constructive, while
its condition is intact: the Cathedral gallery having been rebuilt on
rather conjectural lines. In San Lorenzo we find the same ideas and