r his mode of conception and
treatment. If Giovanni Pisano developed the dramatic and emphatic
qualities of Gothic sculpture, Andrea was attracted to its allegories; if
Giovanni infused romantic vehemence of feeling into the frigid classicism
of his father, Andrea diverged upon another track of picturesque
delineation. A new sun had now arisen in the heavens of art. This was the
sun of Giotto, whose genius, eminently pictorial, brought the Italians to
a true sense of their aesthetical vocation, illuminating with its
brightness the elder and more technically finished craft of the
stone-carver. Sculpture, which in the school of Niccola Pisano had been
subordinate to architecture, became a sub-species of painting in the hands
of Andrea.

It was thus, as I have elsewhere stated, that the twofold doom of plastic
art in Italy was accomplished. In order to embody the ideas of
Christianity, art had to think more of expression than of pure form.
Expression is the special sphere of painting; and therefore sculpture
followed the lead of the sister art, as soon as painting was strong enough
to give that lead, instead of remaining, as in Greece, the mistress of her
own domain. On the deeper reasons for this subordination of sculpture to
painting I have dwelt already, while showing that a large class of
subjects, where physical qualities are comparatively indifferent and of no
account, were forced upon the artist by Christianity.[71] Humility and
charity may be found alike in blooming youth or in ascetic age; nor is it
possible to characterize saints and martyrs by those corporeal
characteristics which distinguish a runner from a boxer, or a chaste
huntress from a voluptuous queen of love. Italian sculpture abandoned the
presentation of the naked human body as useless. The emotions written on
the face became of more importance than the modelling of the limbs, and
recourse was had to allegorical symbols or emblematic attitudes for the
interpretation of the artist's thought. Andrea Pisano's figure of Hope,
raising hands and eyes toward an offered crown, seems but a repetition of
the motive expressed by Giotto in the chiaroscuro frescoes of the Arena
chapel.[72] Owing to similar causes, drapery, which in Greece had served
to illustrate the structure or the movement of the body it clothed, was
used by the Italian sculptors to conceal the limbs, and to enhance by
flowing skirt or sinuous fold or agitated scarf some quality of the
emotions