ped 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.]

[Footnote 147: A pair of terra-cotta variants of these panels are
preserved in the Wallace Collection at Hertford House.]

[Footnote 148: Psalm cl.]

[Footnote 149: Psalm cxlix.]

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