said to be a portrait of the Pope's mother, Giovanna Gaetani. She
resembles nothing more than a duenna of the type of Martha in Goethe's
Faust. Here, again, the allegory would point a scathing sarcasm, if we
did not remember the naivete of the Renaissance.

[62] See above, Chapter II, Italian want of feeling for Gothic.

[63] Having said so much about this pulpit of S. Andrea, I am sorry that
I cannot refer the English reader to any accessible representation of it.
For its sake alone, if for no other purpose, Pistoja is well worth a
visit.

[64] It was long believed that he died of eating poisoned figs.

[65] See above, Footnote 16, for the original conception of this motive
at Orvieto.

[66] See _Il Duomo di Orvieto, descritto ed illustrato per Lodovico
Luzi_, pp. 330-339.

[67] See Luzi, pp. 317-328, and the first extant commission given in 1310
to Maitani, which follows, pp. 328-330.

[68] The whole series has been admirably engraved under the
superintendence of Ludwig Gruener. Special attention may be directed to
the groups of angels attendant on the Creator in His last day's work; to
the "Adoration of the Shepherds," distinguished by tender and idyllic
grace: and to the "Adoration of the Magi," marked no less by majesty. The
dead breaking open the lids of their sarcophagi and rising to judgment
are justly famous for spirited action.

[69] In Gothic sculpture of an early date the Bible narrative is
literally represented. God draws Eve from the open side of sleeping Adam.
On the facade of Orvieto this motive is less altered than refined. The
wound in Adam's side is visible, but Eve is coming from behind his
sleeping body in obedience to the beckoning hand of her Creator. Ghiberti
in the bronze gate of the Florentine Baptistery still further develops
the poetic beauty of the motive. Angels lift Eve in the air above Adam,
in whose side there is now no open wound, and sustain her face to face
with God, who calls her into life. Della Quercia, on the facade of S.
Petronio, confines himself to the creative act, expressed by the raised
hand of the Maker, and the answering attitude of Eve; and this conception
receives final treatment from Michael Angelo in the frescoes of the
Sistine.

[70] _Le Tre Porte del Battistero di San Giovanni di Firenze, incise ed
illustrate_ (Firenze, 1821), contains outlines of all Andrea Pisano's and
Ghiberti's work.

[71] See above, Chapter I, Greek and Christian Ideals.

[72] See