. The result was that sculpture assumed a place subordinate to
painting, and that the masterpieces of the early Italian carvers are
chiefly bas-reliefs--pictures in bronze or marble.[73]

In a like degree, though not for the same reason, sculpture in Italy
remained subordinate to architecture, until such time as the neo-Hellenism
of the full Renaissance produced a crowd of pseudo-classic statues,
destined to take their places--not in churches, but in the courtyards of
palaces and on the open squares of cities. The cause of this fact is not
far to seek. In ancient Greece the temple had been erected for the god,
and the statue dwelt within the cella like a master in his house.
Christianity forbade an image of the living God; consequently the Church
had another object than to roof the statue of a deity. It was the
meeting-place of a congregation bent on worshipping Him who dwells not in
houses made with hands, and whom the heaven of heavens cannot contain. The
vast spaces and aerial arcades of mediaeval architecture had their meaning
in relation to the mystic apprehension of an unseen power. It followed of
necessity that the carved work destined to decorate a Christian temple
could never be the main feature of the building. It existed for the
Church, and not the Church for it.[74]

Through Andrea Pisano the style of Niccola was extended to Venice. There
is reason to believe that he instructed Filippo Calendario, to whom we
should ascribe the sculptured corners of the Ducal Palace. Venice,
however, invariably exercised her own controlling influence over the arts
of aliens; so we find a larger, freer, richer, and more mundane treatment
in these splendid carvings than in aught produced by Pisan workmen for
their native towns of Tuscany.

Nino, the sculptor of the "Madonna della Rosa," the chief ornament of the
Spina chapel, and Tommaso, both sons of Andrea da Pontadera, together with
Giovanni Balduccio of Pisa, continued the traditions of the school founded
by Niccola. Balduccio, invited by Azzo Visconti to Milan, carved the
shrine of S. Peter Martyr in the church of S. Eustorgio, and impressed his
style on Matteo da Campione, the sculptor of the shrine of S. Augustine at
Pavia.[75] These facts, though briefly stated, are not without
significance. Travellers who have visited the churches of Pavia and Milan,
after studying the shrine, or _arca_ as Italians call it, of S. Dominic at
Bologna, must have noticed the ascendency of