But he seems to have also executed some of the reliefs, even if the general idea from which he worked should have been Donatello’s.  Thus the panel most remote from the cathedral facade is involved in design and faulty in execution; and the children’s expression is aimless and dull.  But it must not be inferred that the Prato Pulpit is in any sense a failure, or even displeasing.  Its popularity is thoroughly well deserved.  The test of comparison with the cantoria is most searching, too severe indeed, for such a high standard could not be maintained.  But if the capo d’opera of sculptured child-life be excluded, the Prato Pulpit will always retain a well-deserved popularity.  Two further points should be noted.  Below the pulpit is a bronze relief, shaped like the capital of a large column.  There should be two of them, and it used to be believed that the second was destroyed in 1512 when the Spanish troops sacked the town.  But the story is apocryphal, for the documents show that payment was only made for one relief, and that Michelozzo was entirely responsible for the casting.  It is a most decorative panel, the motive being ribands and wreaths, among which there are eleven winged putti of different sizes.  At the top of the capital is a big baby in high-relief peeping over the edge; an exquisite fancy reminding us of the two inquisitive children clambering over the heraldic shields on the Pecci monument.  On the base of the capital are two other putti of equal charm, winged like the rest, and sedately looking outwards in either direction.  The volutes of the bronze are decorated with other figures, less boyish and almost suggesting the touch of Ghiberti, who, it may be remarked, was appointed assessor of the contract by the Wardens of the Girdle.  Finally, one may inquire what Donatello’s motive can have been in designing the frieze:  what may be the relation of the sculpture to the precious Girdle.  No conclusive answer can be given.  In the organ-loft of Luca della Robbia the object was to show praise of the Lord “with all kinds of instruments"[148]:  Donatello’s was to “let them praise his name in the dance."[149] At Prato we have dance and music for no apparent reason, except perhaps as a display of joyfulness appropriate to the great festival of exhibiting the Cingolo.  It is possible that the curious little reliquary in which the Girdle is actually preserved may supply the clue to some legend or tradition connected with the relic.  This cofanetto was remodelled about this time, and the primitive motive and design may have been impaired.  But we have a series of winged putti made of ivory, who dance and play about much as those on the pulpit, but amongst whom one can see scraps of rope, signifying the Girdle, from which they derive their incentive to joy and vivacity.

[Footnote 144:  14, vii. 1428.]

[Footnote 145:  27, v. 1434.]

[Footnote 146:  Letter from Matteo degli Orghani, printed with the other documents in C. Guasti, opere, iv. 463-477.]