This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1882 edition. Excerpt: ... CHAPTER I. INTRODUCTORY. BETWEEN the decline of the Pisan school at the end of the fourteenth century and the rise of the Florentine, nearly half a century elapsed, during which sculpture, as an art, slumbered. Orcagna reared his church of Or San Michele and the graceful Loggia de' Lanzi, but the hands which were destined to adorn these buildings with their priceless beauties of carven stone, were not yet in existence. Orcagna himself heralded the Renaissance--as the first red streak heralds the dawn--in his sculptures on the altar of Or San Michele. The school which Giotto founded was essentially one of painting. The great master had so filled the hearts of the Florentines with the marvellous Christian truths which he impressed on their walls in colour, that Art--which seems to lie dormant in most nations till the right spring is touched to awaken it--arose, and found full expression 'in the silent harmonies of colour. Thus, while the Memmi, the Gaddi, and others were all following the steps of Giotto in painting, and even Orcagna left off building to paint Dantesque frescoes, --no worthy disciple of Andrea Pisano was found. During the fourteenth century, so barren of sculpture in Florence, one of the plastic arts nourished still, -- that of goldworking; an art which is sure to prosper in the early days of a nation's wealth: that time when riches are valued for themselves, and when, before a perfect banking system and commercial security are established, wealth is more easily and safely kept in the form of personal ornament. This custom, which filled Florence with goldsmiths five hundred years ago, still lingers amongst the Italian peasantry, who carry the savings of generations in the coral and pearl necklaces, the gold rings and.

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