SCULPTURE

Niccola Pisano—­Obscurity of the Sources for a History of Early Italian
Sculpture—­Vasari’s Legend of Pisano—­Deposition from the Cross at
Lucca—­Study of Nature and the Antique—­Sarcophagus at Pisa—­Pisan
Pulpit—­Niccola’s School—­Giovanni Pisano—­Pulpit in S. Andrea at
Pistoja—­Fragments of his work at Pisa—­Tomb of Benedict xi. at
Perugia—­Bas-reliefs at Orvieto—­Andrea Pisano—­Relation of Sculpture to
Painting—­Giotto—­Subordination of Sculpture to Architecture in
Italy—­Pisano’s Influence in Venice—­Balduccio of Pisa—­Orcagna—­The
Tabernacle of Orsammichele—­The Gates of the Florentine Baptistery
—­Competition of Ghiberti, Brunelleschi, and Della Quercia—­Comparison
of Ghiberti’s and Brunelleschi’s Trial-pieces—­Comparison of Ghiberti
and Della Quercia—­The Bas-reliefs of S. Petronio—­Ghiberti’s
Education—­His Pictorial Style in Bas-relief—­His Feeling for the
Antique—­Donatello—­Early Visit to Rome—­Christian Subjects—­Realistic
Treatment—­S.  George and David—­Judith—­Equestrian Statue of
Gattamelata—­Influence of Donatello’s Naturalism—­Andrea Verocchio—­His
David—­Statue of Colleoni—­Alessandro Leopardi—­Lionardo’s Statue of
Francesco Sforza—­The Pollajuoli—­Tombs of Sixtus iv. and Innocent
viii.—­Luca della Robbia—­His Treatment of Glazed Earthenware—­Agostino
di Duccio—­The Oratory of S. Bernardino at Perugia—­Antonio
Rossellino—­Matteo Civitali—­Mino da Fiesole—­Benedetto da
Majano—­Characteristics and Masterpieces of this Group—­Sepulchral
Monuments—­Andrea Contucci’s Tombs in S. Maria del Popolo—­Desiderio da
Settignano—­Sculpture in S. Francesco at Rimini—­Venetian
Sculpture—­Verona—­Guido Mazzoni of Modena—­Certosa of Pavia—­Colleoni
Chapel at Bergamo—­Sansovino at Venice—­Pagan Sculpture—­Michael Angelo’s
Scholars—­Baccio Bandinelli—­Bartolommeo Ammanati—­Cellini—­Gian
Bologna—­Survey of the History of Renaissance Sculpture.

CHAPTER IV

PAINTING

Distribution of Artistic Gifts in Italy—­Florence and Venice —­Classification by Schools—­Stages in the Evolution of Painting—­Cimabue —­The Rucellai Madonna—­Giotto—­His widespread Activity—­The Scope of his Art—­Vitality
—­Composition—­Colour—­Naturalism—­Healthiness—­Frescoes at Assisi and Padua—­Legend of S. Francis—­The Giotteschi—­Pictures of the Last Judgment—­Orcagna in the Strozzi Chapel—­Ambrogio Lorenzetti at Pisa—­Dogmatic Theology—­Cappella degli Spagnuoli—­Traini’s “Triumph, of S. Thomas Aquinas”—­Political Doctrine expressed in Fresco—­Sala della Pace at Siena—­Religious Art in Siena and Perugia—­The Relation of the Giottesque Painters to the Renaissance.

CHAPTER V

PAINTING