Casting a glance backward over the foregoing sketch of Italian sculpture, it will be seen that three distinct stages were traversed in the evolution of this art. The first may be called architectural, the second pictorial, the third neo-pagan. Defined by their artistic purposes, the first idealises Christian motives; the second is naturalistic; the third attempts an idealisation inspired by revived paganism. As far as the Renaissance is concerned, all three are moments in its history; though it was only during the third that the influences of the classical revival made themselves overwhelmingly felt. Niccola Pisano in the first stage marked a fresh point of departure for his art by a return to Graeco-Roman standards of the purest type then attainable, in combination with the study of nature. Giovanni Pisano effected a fusion between his father's manner and the Gothic style. The Pisan sculpture was wholly Christian; nor did it attempt to free itself from the service of architecture. Giotto opened the second stage by introducing new motives, employed by him with paramount mastery in painting. Under his influence the sculptors inclined to picturesque effects, and the direction thus given to sculpture lasted through the fifteenth century. For the rest, the style of these masters was distinguished by a fresh and charming naturalism and by rapid growth in technical processes. While assimilating much of the classical spirit, they remained on the whole Christian; and herein they were confirmed by the subjects they were chiefly called upon to treat, in the decoration of altars, pulpits, church façades, and tombs. The revived interest in antique literature widened their sympathies and supplied their fancy with new material; but there is no imitative formalism in their work. Its beauty consists in a certain immature blending of motives chosen almost indiscriminately from Christian and pagan mythology, vitalised by the imagination of the artist, and presented with the originality of true creative instinct. During the third stage the results of prolonged and almost exclusive attention to the classics, on the part of the Italians as a people, make themselves manifest. Collections of antiquities and libraries had been formed in the fifteenth century; the literary energies of the nation were devoted to the interpretation of Greek and Latin texts, and the manners of society affected paganism. At the same time a worldly Church and a corrupt hierarchy had done their utmost to enfeeble the spirit of Christianity. That art should prove itself sensitive to this phase of intellectual and social life was natural. Religious subjects were now treated by the sculptors with superficial formalism and cynical indifference, while all their ingenuity was bestowed upon providing pagan myths with new forms. How far they succeeded has been already made the matter of inquiry. The most serious condemnation of art in this third