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nature. The nude had not hitherto been rendered with more spontaneity or force; nor is it possible to find any thing approaching it except when, later, Giotto shed his influence on the schools of Italian sculpture. They may therefore be by Andrea Pisano. 1 The temptation, and Adam and Eve hiding at the voice of the Lord, — the expulsion, and our first parents labouring by the sweat of their brow, — the sacrifice, of Cain and Abel, and the mur der of the latter, were of that advanced art which seemed to foreshadow the manner of Pollaiolo. Noah teaching his children, Tubal Cain and Seth in the uppermost course, were no longer in the same style, but revealed, in their short and square figures, the manner of the followers of Niccola. The second pilaster was devoted to the genealogy of the house of David, and terminated at the upper part by a relief of the crucifixion. The third was occupied by incidents from the life of the Saviour, admirably com posed and grouped, but recalling, like the second, the styles of Niccola and Giovanni’s followers. In the fourth pilaster, the upper course representing the Saviour in glory was of the same class; but the lower compartment, far dif ferent, exhibited more modern types, and seemed the perfection of the manner of Giovanni Pisano. It would have been difficult to find a more fertile fancy, greater skill in rendering form, more vigour or character in the beginning of the fourteenth century than were exhibited in the resurrection of the dead from their graves, and in the agonies of tortured souls in the Inferno. Here, Lucifer was no longer the quaint hybrid of Niccola and Gio vanni, but a monster in a more human form, writhing with bound hands, and supported by hissing dragons, whose scaly frames were twined round his. The most inex haustible invention seemed hardly taxed by the variety of pain inflicted and endured by the sinners; nor would it be easy to find more truthful imitations of nature in 1 Ho is proved to have been I son Nino in 1347—9. Ann. to capo maestro of Orvieto with his I Vas. Note to Vol. III. p. 11.