The animation and fervour of these choristers are unforgettable.
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.

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.

A marble relief of the Madonna and Children by Agostino di Duccio (1418-1481) must be sought for: it is No.

77 and the children are the merriest in Florence.