credit Giovanni with having introduced an
independent art into Italy; but let that be as it may, he had not the
feeling for beauty, neither had he the repose which was such a charm in
the works of his father. At the same time his works are full of life and
dramatic action, and could never have been designed or executed by any
man who had not an uncommon genius.

ARNOLFO DI CAMBIO (1232-1310) was also a pupil of Nicola Pisano, and
though eight years older than Giovanni Pisano he did not become an
independent master until after Giovanni had won much fame. There are
some works in Rome which are attributed to Arnolfo, but as there are
uncertainties about his being their author, it is not best for us to
discuss them here. He erected at Orvieto, in the church of San Domenico,
a monument to the Cardinal de Braye. It was a very elaborate work, and
the statue of the Madonna, which is placed above that of the cardinal,
is full of majestic spirit and dignified repose. This is the only
well-authenticated sculptural work by Arnolfo, but this is one of the
most finished monuments of the art of the Pisan school, and is quite
sufficient to bring his name through the centuries with honor.

ANDREA PISANO (1270-1345) is principally famous as a bronze-caster, and
his chief work was the making of the gates to the Baptistery of
Florence, which have since been replaced by those of Ghiberti. When
these gates were finished, in 1339, the Signory went in procession to
view them; this proves in what esteem they must have been held, for the
Signory never left the Palazzo Vecchio in a body except on the most
important occasions. After examining the gates they conferred the honor
of citizenship upon the sculptor. These gates told the story of John
the Baptist, and the work is full of sentiment, beauty, and simplicity,
while the design is pure, the draperies full of elegant grace, and the
execution of the whole almost perfect.

NINO PISANO was the son of the latter. The time of his birth is not
known; he died before 1361. His works are pleasing, and he especially
excelled in drapery. They are not numerous, and are seen in the churches
of Pisa.

But by far the most important pupil of Andrea Pisano, and, indeed, the
most important Tuscan master of the end of the fourteenth century, was
ANDREA ARCAGNUOLO DI CIONE, commonly called ANDREA ORCAGNA (1329-1376?).
This artist was the son of Maestro Cione, a goldsmith of Florence.
Orcagna was an architect,