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Throughout the fifteenth century the suspended pulpit devised by Donatello retained its popularity. It was adapted by Brunelleschi for Santa Maria Novella, in a beautiful design in which the pulpit proper is approached by a staircase encircling a pier of the nave, and by Benedetto da Maiano for Santa Croce, in a scheme in which access to the pulpit is gained through the pier. At Prato it was modified by Antonio Rossellino in the form of a circular basin balanced on a single central support.
Before his pulpit was completed Brunelleschi died, and his plan was realized by Buggiano, who supplied the upper part with four narrative reliefs.
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