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Updated: May 2, 2025
After the beautiful convention of Byzantium had passed away, and Gruamone and Adeodatus had carved at Pistoja, Biduinus at S. Cassiano, Robertus at Lucca, Bonamicus and Bonannus at Pisa, and Guido da Como again at Pistoja, in the work of Niccolò Pisano at Pisa we come upon the first thought of the Renaissance, the reliefs of the pulpit in the Baptistery, in which the Middle Age seems to have passed over the work of Antiquity almost like a caress.
At the same time the general effect of the embossed work of this font is fine; nor do we fail to perceive that the artist retained some portion of the classic feeling for grandiose and monumental composition. Far less noteworthy, yet still not utterly despicable, is the bas-relief of Biduinus over the side-door of S. Salvatore at Lucca.
Thus in a moment this Southerner transforms the rude art of his time here in Tuscany, the work of Bonannus, for instance, the carvings of Biduinus, and the bas-reliefs at San Cassiano, with the faint memory of Rome that lingered like a ghost in the minds of men, that already had risen in the laws and government of the cities, in the desire of men here in Pisa, for instance, for liberty, and that was soon to recreate the world.
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