not to return to Herod (Math. v. 12. C. II.) was essen tially worthy of attention, the angel being amongst the fine productions of Giovanni. Equally good was the relief of the nativity. But the best portions of the pulpit were undoubtedly the statues in the angles, amongst which that of the angel, with a book, and surrounded by the signs of the three remaining evangelists, was the most splendid classical group he had yet produced — re markable alike for firmness of attitude and animation — and impressed in the features with the character of an antique Alexander. Here, as it is natural to suppose, the master was assisted by pupils to whom the feebler por tions of the monument may be assigned. 1 He surpassed himself, however, in a small monument at S. Giovanni Evangelista of Pistoia — a font resting on a central group of three and supported at the angles by four figures of virtues, which were thus represented together in classic attitudes, expression, and movement. This was a monument which required no religious feel ing and to which the style of Giovanni was admirably appropriate; and hence it may be called the finest pro duction of the master. Returning to Pisa in 1302, Giovanni commenced there the pulpit of the Duomo 2 which afterwards suffered from a most unfortunate dismemberment, having been deranged, and part of the bas-reliefs set aside and fixed to the wail in an upper passage. 3 If however this pulpit be in thought opus ad honorem Dei et Saneti Petri apostoli.” 1 The following inscription gives the name of the author and the date of the execution: Laude dei trini rem ceptam copulo fini Cure presentis sub primo mille tricentis Princeps est operis plebanus vel dator eris Arnoldus dictus qui semper sit benedictus. Andreas unus Vitelli quoque Tinus Natus Vitali bene notus nomine tali Despensatores hi dicti sunt me- liores Sculpsit Johannes qui res non egit inanes Nicholi natus sensia meliore beatus Quern Genuit Pisa doctum super omnia visa. 2 Commissioned by Borgogni di Tado as appears by the inscrip tion, for which, see Morrona ub. sup. Vol. I. p. 336. 3 This took place in the 16 th century after the fire which de-