[51] I am far from meaning that the earlier architects had not been guided by ancient authors.  Alberti’s Treatise on the Art of Building is a sufficient proof of their study of Vitruvius, and we know that Fabio Calvi translated that writer into Italian for Raphael.  In the later Renaissance this study passed into purism.

[52] It must be confessed that this grandiose and picturesque structure is but a shell to mask an earlier Gothic edifice.

[53] Compare Vol.  II., Revival of Learning, p. 370, for the same transference of power in literature from Central to Northern Italy at this time.

[54] Palladio’s Four Books of Architecture, first published at Venice in 1570, and Vignola’s Treatise on the Five Orders, have been translated into all the modern languages.  Scamozzi projected, and partly finished, a comprehensive work on Universal Architecture, which was printed in 1685 at Venice.

[55] See Vol.  II., Revival of Learning, chap. viii.

CHAPTER III

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.