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Updated: June 9, 2025
They were nearing the black trees at the entrance to San Niccola bridge. On the other side of the river the vague fields displayed their sadness, intensified by night. Seeing that he was calm and full of a soft languor, she thought that his love, all imagination, had fled in words, and that his desires had become only a reverie. She had not expected so prompt a resignation.
The pulpit of Niccola da Foggia does not materially differ from other ambones in Italy from several, for instance, in Amalfi and Ravello; while the distinctive features of Niccola Pisano's work the combination of classically studied bas-reliefs with Gothic principles of construction, the feeling for artistic unity in the composition of groups, the mastery over plastic form, and the detached allegorical figures are noticeable only by their total absence from it.
"Did you tell them?" demanded the skipper. "There was no easy way to tell them by diagrams, sir." Taine's voice cut in. It was feverish. It was strident. It was triumphant. "Sir! The Niccola is effectively a wreck and unrepairable. But the Plumie ship is operable if cut loose.
They heard the skipper's grunt as they hurried through the door. A moment later the ship's normal gravity returned also through the Plumie generator. Up was up again, and down was down, and the corridors and cabins of the Niccola were brightly illuminated.
It followed of necessity that the carved work destined to decorate a Christian temple could never be the main feature of the building. It existed for the Church, and not the Church for it. Through Andrea Pisano the style of Niccola was extended to Venice. There is reason to believe that he instructed Filippo Calendario, to whom we should ascribe the sculptured corners of the Ducal Palace.
The strength of this order, when its own conduct was upright, and its opposition to the military body was not in avaricious cowardice, but in the resolve to compel justice and to secure peace, can only be understood by you after an examination of the great changes in the government of Florence during the thirteenth century, which, among other minor achievements interesting to us, led to that destruction of the Tower of the Death-watch, so ingeniously accomplished by Niccola Pisano.
I will take leave, therefore, to begin to-day with a sentence from Vasari, which many of you have often heard quoted, but of which, perhaps, few have enough observed the value. "Niccola Pisano finding himself under certain Greek sculptors who were carving the figures and other intaglio ornaments of the cathedral of Pisa, and of the temple of St.
Like Niccola Pisano, Giotto not only founded a school in his native city, but spread his manner far and wide over Italy, so that the first period of the history of painting is the Giottesque.
And as I must in this place bid farewell, for a time, to Niccola and to his son, let me remind you of the large commission which the former received on the occasion of the battle of Tagliacozzo, and its subsequent massacres, when the victor, Charles, having to his own satisfaction exterminated the seed of infidelity, resolves, both in thanksgiving, and for the sake of the souls of the slain knights for whom some hope might yet be religiously entertained, to found an abbey on the battle-field.
Niccola, meanwhile, did not follow his Roman models in any slavish spirit. They were neither numerous nor excellent enough to compel blind imitation or to paralyse inventive impulse. The thoughts to be expressed in marble by the first modern artist were not Greek. This in itself saved him from that tendency to idle reproduction which proved the ruin of the later neo-pagan sculptors.
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