The fragments were collected and taken to the Bargello in the middle of the last century, and in 1883 Signer del Moro, the then architect of the Duomo (whose bust is in the courtyard of this museum), reconstructed them to the best of his ability in their present situation.

It has to be remembered not only that, with the exception of the figures, the galleries are not as their artists made them, lacking many beautiful accessories, but that, as Vasari tells us, Donatello deliberately designed his for a dim light.

None the less, they remain two of the most delightful works of the Renaissance and two of the rarest treasures of Florence.
The dancing boys behind the small pillars with their gold chequering, the brackets, and the urn of the cornice over the second pair of pillars from the right, are all that remain of Donatello's own handiwork.

All else is new and conjectural.

It is supposed that bronze heads of lions filled the two circular spaces between the brackets in the middle.