The real history of ancient sculpture may be said to have ended even before the period to which it has here been carried. It is both unsatisfactory and painful to attempt to trace it farther, when each step taken only shows ruin and devastation. The monuments of the Romans are numerous, and have been useful in illustrating ancient writings and in making us acquainted with the manners and customs of that people ; but Roman sculpture has not the same claim upon our attention as that of the Greeks. Indeed in following the history of the art in Italy it is obvious that the interest is chiefly kept up by con sidering sculpture in Rome as a continuation of that of Greece, and not as an art which the Italians cultivated with any original feeling. The best works produced were by Greek artists; and the attempts of the Romans are characterised, if it can be called character, by poverty of invention, meanness of design, and for the most part unskilful execution. The art was seldom patronised but when it was required to flatter the pride or please the vanity of individuals by portrait statues or busts; and consequently it never rose to that excellence or elevation which it attained in Greece, where it was made the means of embodying the grand conceptions of genius by the union of expression and sentiment with the most beautiful forms.
Revival of Sculpture.—After the subjugation of the Creek and the division of the Roman empire, tho fine arts gradually declined. Occasionally efforts were made to revive them, but as these arose from individual feeling, and were not supported by any general interest in the subject, the attempt had little success. Charlemagne endeavoured to restore them ; but his edicts, unresponded to by the sympathy of those about him, were unable to effect his object. Still the arts were kept alive by the monks of the early Greek and Latin churches, who, with pious diligence, illuminated manuscripts, and sometimes even decorated the walls of their chapels and convents with rudo paintings.
It has been usual to date the revival of art in Italy at about the 10th or 11th century. The beginning of modern art may however be reckoned from an earlier time; rather, as Flaxman says, from the reign of Constantine, seven centuries earlier, when Christianity became the religion of the empire. Painting and sculpture then ceased to be employed, as heretofore, on the pagan gods, but wero engaged to illustrate subjects connected with Christian worship. Even during the reigns of those emperors by whom the Christians were most persecuted, they ornamented their subterraneous retreats with sacred portraits and subjects from Scripture. (Flaxman's Lectures on Sculpture.') The adists to whom the chief merit of reviving art is due, are supposed to have derived no small benefit from the study of the remains of ancient sculpture which were still scattered about Italy, and particularly in Pisa, the native city of the presumed founder of the first school of modern sculpture. Without denying this very probable effect of superior works upon minds just awakening to the beauties of art, it may be disputed whether its influence was so great as some have imagined. It scarcely can be traced where it might most reasonably be supposed to exist, namely, in any peculiarities or finer qualities of style or execution ; and it surely must be conceded that the mind and spirit that are observable in the paintings and sculptures of the time of the revival are of an entirely original character and quite independent of the ancient schools. This is remarkable in a class of design which at first seems peculiarly calculated to tempt modern artists to recur to the manner of the ancients, namely, that in which symbols and allegorical figures are employed. In the examples that exist by one of the earliest painters, Giotto di Bondone (chiefly in the Capella dell' Aununziata and in the Salono at I'adua), there cer tainly is no apparent imitation of any of the :nmerous and varied modes of treating such subjects that were offered to him in the monuments of antiquity. Without the most remote idea of under
rating the excellence of fine ancient models, it seems only just to assert a claim for the distinct and original character which divides modern Christian art from that of the Greek schools. A depth of thought, an intention pervades the Christian art, which show an entirely altered feeling; and, after the in period of the rude and almost frightful attempts at design (usually in single figures, gaunt and staring images of the Apostles and saints), the revivers of art seem to have aimed at appealing to the sympathies, rather than gratifying the eye and pleasing the fancy only, by presenting to them beautiful forms. On this ground the artists of this age were essentially men of genius ; for, instead of servilely copying, they drew from their own original sources; and the art that proceeded from them eventually became, as was the case with Greek art while master-spirits directed it, great and admirable.
Passing over the performances of the artists who were employed in different parts of Italy in the century before his appearauee, i'iccolo Pisano may be considered the father of modern sculpture. Many of the artists alluded to united, as was usual in those days, the three pro fessions of painting, sculpture, and architecture, and their works are interesting monuments of their ingenuity; but sculpture only assumed a distinct and appropriate character when the two Pisani, Niecelo and his son Giovanni, devoted themselves to it, and by their talents diffused a love of art throughout Italy. The cathedrals of Pisa, Pistoja, Siena, and Orvieto are rich in the productions of the Pisani. They consist of magnificent marble pulpits enriched with bassi-rilievi and statues, and are evidence of great power both in composition and in deep feeling. An account of these artists and their principal works will be found under NICCOLA DI PISA, in the Bioo One of the most masterly compositions of any school of sculpture is a semicircular basso-rilievo, in marble, of Niecelo Pisano, representing the ' Taking down from the Cross,' which is placed over one of the side doors in front of the Duomo of Lucca. Another remarkable work of Niccolo Pisano is a basso-rilievo representing the Last Judgment and Punishment of the Wicked, in the cathedral at Siena. His power seems to have been in treating gentle, delicate, or touching representa tions; but the performance alluded to has great merit for the boldness of the conception, the eager crowding or fearful shrinking of the figures, and for the masterly composition. Niccolo Pisan commenced his pro fession early in 1200. He lived to an advanced age, and was succeeded by his eon Giovanni di Pisa, Arnolfo of Florence, and other scholars. Giovanni executed some esteemed works, but in natural genius he was inferior to his father, and be was satisfied rather to imitate what had been done than desirous or able to advance the art. Sculpture did not make that progress after the death of Niccolo that might have been expected from the merit of his works and the fine openinghe had made for its improvement. Arnolfo was much employed both as an archi tect and sculptor. Two of his works in tho latter art, the monument of Boniface and tho Tabernacle in the church of St. Paul (fuore le mura), are preserved in Rome. The date of their execution is about 1300, or rather later. Among the more successful imitators of Niccolo Pisano may be noticed Blargaritone d'Arezzo, Guido da Como, and "Maestro" Buono.