copying his model, but by divining the secret of the grand style. His work at Pisa contains abundant evidence that, while he could not wholly free himself from the defects of the later Romanesque manner, betrayed by his choice of short and square-set types, he nevertheless learned from the antique how to aim at beauty and freedom in his imitation of the living human form. A marble vase, sculptured with Indian Bacchus and his train of Maenads, gave him further help. From these grave or graceful classic forms, satisfied with their own goodliness, and void of inner symbolism, the Christian sculptor drank the inspiration of Renaissance art. In the "Adoration of the Magi," carved upon his Pisan pulpit, Madonna assumes the haughty pose of Theseus' wife; while the high priest, in the "Circumcision," displays the majesty of Dionysus leaning on the neck of Ampelus. Nor again is the naked vigour of Hippolytus without its echo in the figure of the young man--Hercules or Fortitude--upon a bracket of the same pulpit. These sculptures of Pisano are thus for us a symbol of what happened in the age of the Revival. The old world and the new shook hands; Christianity and Hellenism kissed each other. And yet they still remained antagonistic--fused externally by art, but severed in the consciousness that, during those strange years of dubious impulse, felt the might of both. Monks leaning from Pisano's pulpit preached the sinfulness of natural pleasure to women whose eyes were fixed on the adolescent beauty of an athlete. Not far off was the time when Filarete should cast in bronze the legends of Ganymede and Leda for the portals of S. Peter's, when Raphael should mingle a carnival of more than pagan sensuality with Bible subjects in Leo's Loggie, when Guglielmo della Porta should place the naked portrait of Giulia Bella in marble at the feet of Paul III. upon his sepulchre.[61]