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was a genuine leader of his guild of craftsmen, and superintended the large body of architects who worked at Orvieto, stone masons, mosaicists, bronze founders, painters, and minor workmen. He lived until 1330, and practically devoted his life to Orvieto. It is uncertain whether any of the Pisani were employed in any capacity, although for a time it was popularly supposed that the four piers on the facade were their work. An iconographic description of these sculptures would occupy too much time here, but one or two features of special interest should be noted: the little portrait relief of the master Maitani himself occurs on the fourth pier, among the Elect in heaven, wearing his workman's cap and carrying his architect's square. Only his head and shoulders can be seen at the extreme left of the second tier of sculptures. In accordance with an early tradition, that Virgil was in some wise a prophet, and that he had foretold the coming of Christ, he is here introduced, on the second pier, near the base, crowned with laurel. The incident of the cutting off of the servant's ear, by Peter, is positively entertaining. Peter is sawing away industriously at the offending member; a fisherman ought to understand a more deft use of the knife! In the scenes of the Creation, depicted on the first pier, Maitani has proved himself a real nature lover in the tender way he has demonstrated the joy of the birds at finding the use of their wings. The earliest sculptures in France were very rude,--it was rather a process than an art to decorate a building with carvings as the Gauls did! But the latent race talent was there; as soon as the Romanesque and Byzantine influences were felt, a definite school of sculpture was formed in France; almost at once they seized on the best elements of the craft and abandoned the worthless, and the great note of a national art was struck in the figures at Chartres, Paris, Rheims, and other cathedrals of the Ile de France. Prior to this flowering of art in Northern France, the churches of the South of France developed a charming Romanesque of their own, a little different from that in Italy. A monk named Tutilon, of the monastery of St. Gall, was among the most famous sculptors of the Romanesque period. Another name is that of Hughes, Abbot of Montier-en-Der. At the end of the tenth century one Morard, under the patronage of King Robert, built and ornamented the Church of St. Germain des Pres, Par
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