in its
place over one of the side doors of the Cathedral of San Martino at
Lucca. This work was most excellent as the attempt of a young artist,
and it was also excellent when compared with the work of other Italian
sculptors who had preceded him. (Fig. 79.)

[Illustration: FIG. 79.--RELIEF BY NICOLA PISANO. _Lucca._]

During the twelve years following this time Nicola Pisano was chiefly
employed as an architect, and it was not until 1260 that he established
his fame as a sculptor; but when we consider the pulpit for the
Baptistery of Pisa, which he now did, it is plain that he must have
given much thought and study to sculpture since his first work at Lucca;
and this last work has such qualities as indicate that he had studied
the sculpture of classic days. The work upon this pulpit is a wonderful
advance upon the sculpture of the period; and though there are marks of
his inexperience in its arrangement, as a whole it is above criticism
when the time to which it belonged and the circumstances of its
sculpture are taken into account. (Fig. 80.)

Nicola went next to Bologna to make a sarcophagus to contain the remains
of St. Dominick, who had died there in 1221. This burial-case was
completed in 1267, and is very interesting as an illustration of the art
of the thirteenth century. The next work of this sculptor was a pulpit
for the Cathedral of Siena. When he undertook this work he agreed to
live at Siena until it was completed, with the exception of short visits
to Pisa--four in each year. He had assistants in this work, and it was
completed in about a year and a half. Meantime he exerted a great
influence upon the sculpture of Siena, which up to this time had
amounted to little more than good stone-cutting. Indeed, Nicola Pisano
had an effect upon the art of all Italy: in the north at Padua, in the
south at Naples, and in Central Italy at Pisa, Lucca, and Siena.

[Illustration: FIG. 80.--RELIEF FROM THE PULPIT AT PISA. _Nicola
Pisano._]

In 1269 he was commissioned to build a convent and an abbey at La
Scorgola, which are now in ruins. In 1274 Nicola commenced his last
work, the Fountain of Perugia. He did not remain constantly in that
city, but after making the plans he left his son Giovanni in charge of
the work, while he returned to Pisa and occupied himself with making the
figures for its decoration. This fountain was held in such esteem that
laws were enacted for its preservation, and it was called the most