woe se Bleee nN ASe 0, 5 weeree dee ee +-« ’ that period..in tive and the way an other base or nude all great art to the x, is aa sense Go + we we Pe Fee 6 © we Nem see Bo os 8 epee © wie. Said, of relief. decorating the. front another child, as bold rior pulpit at a decorative artists through present time, the to motif, Prato and on the of crea-. the use of singing demonstrates the breath of a static or academic the more tse of 7 and opened. Reanaissance, the the and: for undraped , all human find many exam this purpose, *» being the exts - Gallery of Cathedral, now in the Museum of the Opera ~ fh in all, even a casual review of the Great‘genius style, never great innovation, - in the rigure as the greatest means for expression. We ples of Donatello! s use of’the human figure for mainly in his base relisfs, the most well known ne the artist. example of Putto, great» meee evex ty beautiful is for Mme individual ‘The stal, +4 the Florenti- del Duomo.» carreer of this %** and richness of his art.His nature, incorporated the ** full range of expressive values, and was never restricted by the mannerisms or affectations of lesser artists, and his influence* upon all art history from his time is incalculable. ~ The plate out-t ext eceemein Baptistery of Nicola Pisano one of itects of Brener «= naubeee: pulpht for the Pisan % the chief sculptors and arch- medioéval “ftaly. in. 1260, ‘as an incised inscription records, he pintshed thepulpit; this is on the whole the finest of is works. It is a ##* high octagon on semicircular arches, with trefoil cusps, suppor ted by nine marble columns, three of which rest on white lions.* In design it presents that curious combination of gothic ** forms with classical details which is one of the characteristics of the mediaeval architecture of.northern Italy; though much enriched with sculpture both in relief and in the round, the general lines of the design are not:sacrificed to this, but the wwe Sculpture is kept subordinate to the whole. Five of the sides of the main octagon have- panels with subjects - the Nativity, the Adoration of the Magi, the Presenta-** tion in the Temple, the Crucifixion and the Doom.- These est are all especially beauty had been and a wonderful produced the first advance on three, works of the high anyting of by Nicola's, predecessors+ the sort ‘ that* ‘ The drapery is gracefully. arranged in broad Sf al folds;* the heads are full of the most noble dignity: and.the sweet vets stately beauty of the Madonna could: hardly be surpassede The panel with the Adoration of the Magi is-perhaps the one in which Nicola's study of the antique, is most apparent, Certains figures in others of, the. panels: are no less deeply inbued with classical feeling. . For all that, Nicola was: "RO aull ‘eopysé: eiaean = | emnancipa ted himself from the stiffness and. wmreality of earlier sculpture, yet his admiration and knowledge of the, physical beauty of * the human form is no-way Releases eR mae er eee and religtous spirit of his BRP ICE OTe vs