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A cantoria by Donatello we shall soon see in its place in S. Lorenzo; but that, beautiful as it is, cannot compare with this one, with its procession of merry, dancing children, its massiveness and grace, its joyous ebullitions of gold mosaic and blue enamel.
Of his two great works in marble, the tomb of Benozzo Federighi, Bishop of Fiesole, at San Miniato, and the Cantoria for the Duomo, of his bronze doors for the sacristy there, and his work on the Campanile, I speak elsewhere; but here in the Bargello, and all over Tuscany too, you may see those terra-cotta reliefs of Madonna, of the Annunciation, of the Birth of our Lord, painted first just white, and then blue and white, and later with many colours which are peculiar to him and his school could such flower-like things have been born anywhere but in Italy? and then, if you take them away they fade in the shadows of the North.
The Scoppio del Carro The Pazzi beneficent Holy Saturday's programme April 6th, 1912 The flying palle The nervous pyrotechnist The influence of noon A little sister of the Duomo Donatello's cantoria Luca della Robbia's cantoria.
Andrea della Robbia is here too, and here also is a richly designed cantoria by Mino da Fiesole. The village is not in the regular programme of visitors, and Baedeker ignores it; hence perhaps the excitement which an arrival from Florence causes, for the children turn out in battalions.
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 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.
Luca's work here is sweet and mild rather than strong, and the panels derive their principal charm from the angels, who, in pairs, attend the saints. Above the door was placed, at the time of Lorenzo's escape, the beautiful cantoria, also by Luca, which is now in the museum of the cathedral, while above the door of the old sacristy was Donatello's cantoria.
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.
This command over united movement was new in painting, though, like all other difficulties, it had been already mastered by Donatello, as we see in his romping children of the Prato pulpit, and the Florence Cantoria, to name only two examples.
The iron rope work that divides the sacristy from the chapel is a marvel of workmanship. But we go too fast: the church before the sacristy, and the glories of the church are Donatello's. We have seen his cantoria in the Museum of the Cathedral. Here is another, not so riotous and jocund in spirit, but in its own way hardly less satisfying.
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