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Updated: June 9, 2025
He could not serve on a ship with a multiracial crew, because he was invincibly suspicious of and hostile to all but his own small breed. Yet he seemed ideal for weapons officer on the Niccola, provided he never commanded the ship. Because if the Plumies were hostile, a well-adjusted, normal man would never think as much like them as a Taine.
This invention was copied by Bramante from S. Niccolò at Pisa, as was said in the Lives of Giovanni and Niccola of Pisa. The fancy took Bramante to make, in a frieze on the outer façade of the Belvedere, some letters after the manner of ancient hieroglyphics, representing the name of the Pope and his own, in order to show his ingenuity: and he had begun thus, "Julio II, Pont.
Against this latter hung three pictures from the famous Sansevero collection: a Holy Family by Leonardo da Vinci, a triptych by Perugino, and a Madonna by Correggio. Hardly less celebrated, but sharply at odds with the ecclesiastical subjects of the paintings, was the mantle, carved in a bacchanalian procession of satyrs and nymphs a model said to have been made by Niccola Pisano.
It was faintly blurred with the fading lines of past gyrations, but the golden ship was much nearer the Niccola than it had been. "Radar reporting," said Baird sickishly. "Mr. Taine is correct. The Plumie ship did approach us while it danced." Taine's voice snarled: "Reload even numbers with chemical-explosive war heads. Then remove atomics from odd numbers and replace with chemicals.
Radar had to be informed of all orders and activity, so it could check their results outside the ship. So Baird heard the orders for the engine room to be sealed up and the duty-force to get into pressure suits, in case the Niccola fought and was hulled. Damage-control parties reported themselves on post, in suits, with equipment ready.
This leads them to ask whether Niccola did not owe his origin and education to some other part of Italy.
There were more of those inadequate noises as rockets went out every tube on the starboard side emptied itself in a series of savage grunts and the Niccola's magnetronic drive roared at full flux density. The two ships were less than a mile apart when the Niccola let go her full double broadside of missiles. And then it seemed that the Plumie ship was doomed.
The fact is that the art of the stone-carvers or marmorarii had never entirely died out since the days of Roman greatness; nor was Niccola without respectable predecessors in the very town of Lucca, where he produced the first masterpiece of modern sculpture.
The hexagonal pulpit in the Baptistery of Pisa, the octagonal pulpit in the cathedral of Siena, the fountain in the marketplace of Perugia, and the shrine of S. Dominic at Bologna, all of them designed and partly finished between 1260 and 1274 by Niccola and his scholars, display his mastery over the art of sculpture in the maturity of his genius.
Fastened to his shoulder there was a tiny scanner and microphone, which would relay everything he saw and heard back to the radar room and to Diane. She watched tensely as he went inside the Plumie ship. Other screens relayed the image and his voice to other places on the Niccola. He was gone a long time. From the beginning, of course, there were surprises.
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