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Updated: June 14, 2025
Niccolo's brave defense making it probable that the war would be of considerable duration, the duke deemed to necessary to prevent the League from obtaining the victory, and said that if this were not effected he would very soon have to look at the defense of his own territories.
It's made to cheat sword, or poniard, or arrow. But, for my part, I would never put such a thing on. It's like carrying fear about with one." Niccolo's words had an unpleasant intensity of meaning for Tito. But he smiled and said "Ah, Niccolo, we scholars are all cowards. Handling the pen doesn't thicken the arm as your hammer-wielding does. Addio!"
Fra Guglielmo, another pupil of Niccolò's, in his work at Perugia more nearly preserves the manner of his master, though always inferior to him in beauty and force: but in the work of Arnolfo which remains to us chiefly in the tomb of Cardinal de Braye in S. Domenico at Orvieto, and in the Tabernacle of S. Paolo Fuori at Rome, and more especially in the work of Giovanni Pisano in the pulpit for the Duomo of Pisa, now in the Museo, for instance, we may see the beginnings of that new Tuscan sculpture which in Andrea Pisano and Andrea Orcagna was to make the work of Nanni di Banco, of Ghiberti and Donatello possible, and through them to inspire the art of all the sculptors of the fifteenth century, that is to say of the Renaissance itself.
In these panels of the pulpit at Pisa, where Madonna masquerades as Ariadne and the angel speaks with the gesture of Hermes, some sentiment of a new sweetness in the world seems to lurk amid all the naïve classicism, finding expression at last in such a thing, for instance, as the divine figure of Virtue in the pulpit of the Duomo of Siena, in which some have thought to find French influence, the work of the artists of Chartres and Rheims, visible enough, one might think, in the work of Niccolò's son Giovanni Pisano, whose ivory Statue of Madonna is to-day perhaps the greatest treasure of the sacristy of the Duomo at Pisa.
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