s designs
and methods proves his immense originality. By profession he was
an architect. Of his pulpit in Siena Charles Eliot Norton speaks
with much appreciation. Alluding to the lions used as bases to its
columns, he says: "These are the first realistic representations
of living animals which the mediaeval revival of art has produced;
and in vivacity and energy of rendering, and in the thoroughly
artistic treatment of leonine spirit and form, they have never
been surpassed." It is usually claimed that one may learn much of
the rise of Gothic sculpture by studying the models in the South
Kensington Museum. In a foot-note to such a statement in a book
edited by Ruskin, the indignant editor has observed, "You cannot
do anything of the kind. Pisan sculpture can only be studied in
the original marble: half its virtue is in the chiselling!" Nicola
was assisted in the work on his shrine of St. Dominic at Bologna
by one Fra Guglielmo Agnelli, a monk of a very pious turn, who,
nevertheless, committed a curious theft, which was never discovered
until his own death-bed confession. He absconded with a bone of
St. Dominic, which he kept for private devotions all his subsequent
life! An old chronicler says, naively: "If piety can absolve from
theft, Fra Guglielmo is to be praised, though never to be imitated."

[Illustration: PULPIT OF NICOLA PISANO, PISA]

Andrea Pisano was Nicola's greatest scholar, though not his son.
He took the name of his master after the mediaeval custom. His work
was largely in bronze, and the earlier gates of the Baptistery in
Florence are by him. We have already alluded to the later gates
by Ghiberti, when speaking of bronze. Andrea had the honour to
teach the celebrated Orcagna,--more painter than sculptor,--whose
most noted work in this line was the Tabernacle at Or San Michele.
Among the loveliest of the figures sculptured by the Pisani are
the angels standing in a group, blowing trumpets, on the pulpit at
Pistoja, the work of Giovanni. Among Nicola's pupils were his son
Giovanni, Donatello, Arnolfo di Cambio, and Lorenzo Maitani, who
executed the delightful sculptures on the facade of the Cathedral
of Orvieto,--perhaps the most interesting set of bas-reliefs in
detail of the Early Renaissance, although in general symmetrical
"bossiness" of effect, so much approved by Ruskin, they are very
uneven. In this respect they come rather under the head of realistic
than of decorative art.

Lorenzo Maitani