ITALY. The school of Pisa was the first to achieve the revival of sculpture in Italy, in the person of Niccolcr Pisano (c. 1206-1280). Though belonging to the Gothic epoch, his sculptures owe all their inspiration to the antique, forming a sort of Proto-Renaissance. (See RENAISSANCE ART.) His son Giovanni (c. 1250-c. 1320), how ever, accepted the dramatic and naturalistic ele ments of Gothic art, and under Andrea Pisano, who was chiefly active in Florence, Gothic sculp ture reached its highest development between 1310 and 1335. (For these three masters see the article PISANI.) Its chief monuments in Tuscany are the sculptures of the facade of the Cathedral of Orvieto, the marble reliefs on the Campanile, and the bronze doors of the Baptist ery of Florence. The style was further developed by the Florentine Andrea Orcagna (c. 1329-68) (q.v.), whose masterpiece is the tabernacle of Orsanmichele. The most important school out side of Florence was that of Siena, whence the art was transplanted to Naples and Lombardy,.
with Verona as a centre. In Lombardy the school developed a series of sepulchral monuments of great magnificence and originality, the most im portant of which are those of the Scaliger family. The Roman school of sculpture, which came to an end c. 1300, was not properly Gothic, but found all its inspiration in antiquity. (See CoSmAri.) In like manner, the admirable South Italian School, which developed in the early thirteenth century under the patronage of the Emperor Frederic IL, found its inspiration in Greek originals. (See ROMANESQUE ART.) As else where, marble and stone were the chief materials used, though bronze casting was brought to high perfection by Andrea Pisano. Italian sculptors lacked the imagination of the French, their sub jects being the traditional ones of the Old and New Testaments.