above, Chapter I, Greek and Christian Ideals.

[73] What Giotto himself was, as a designer for sculpture, is shown in
the little reliefs upon the basement of his campanile.

[74] What has previously been noted in the chapter upon architecture
deserves repetition here--that the Italian style of building gave more
scope to independent sculpture, owing to its preference for flat walls,
and its rejection of multiplied niches, canopies, and so forth, than the
Northern Gothic. Thus, however subordinated to architecture, sculpture in
Italy still had more scope for self-assertion than in Germany or France.

[75] See Perkins, _Italian Sculptors_, p. 109, for a description of the
Arca di S. Agostino, which he assigns to Matteo and Bonino da Campione.
This shrine, now in the Duomo, was made for the sacristy of S. Pietro in
Cielo d'Oro, where it stood until the year 1832.

[76] Bonino da Campione, the Milanese, who may have had a hand in the
Arca di S. Agostino, carved the tomb of Can Signorio. That of Mastino II.
was executed by another Milanese, Perino.

[77] See Trucchi, _Poesie Italiane inedite_, vol. ii.

[78] See the Illustrated work, _Il Tabernacolo della Madonna d'Or
sammichele_, Firenze, 1851.

[79] The weighty chapter in Alberti's _Treatise on Painting_, lib. iii.
cap. 5, might be used to support this paragraph.

[80] Quercia, born 1374; Ghiberti, 1378; Brunelleschi, 1379; Donatello,
1386.

[81] They are engraved in the work cited above, _Le Tre Porte, seconda
Porta_, Tavole i. ii.

[82] The bas-reliefs of S. Petronio were executed between 1425 and 1435.
Those of the font in the chapel of S. John (not the lower church of S.
John), at Siena, are ascribed to Quercia, and are in his manner; but when
they were finished I do not know. They set forth six subjects from the
story of Adam and Eve, with a compartment devoted to Hercules killing the
Centaur Nessus, and another to Samson or Hercules and the Lion. The
choice of subjects, affording scope for treatment of the nude, is
characteristic; so is the energy of handling, though rude in detail. It
may be worth while to notice here a similar series of reliefs upon the
facade of the Colleoni Chapel at Bergamo, representing scenes from the
story of Adam in conjunction with the labours of Hercules.

[83] Ruskin's _Modern Painters_, vol. ii. chap, vii., Repose.

[84] See Flaxman's _Lectures on Sculpture_, p. 310.

[85] This criticism of the "Gate of Paradise" sounds eve