And now for the sculptors of the lodge. A famous master of the twelfth century was Biduinus, who sculptured the façade of the ancient church of S. Cassiano, near Pisa, the building of which was undoubtedly the work of the Pisan Lodge. It is a round-arched church of the usual large smooth square-cut blocks of stone, and is externally adorned by pilasters with capitals of varied form and sculpture. Biduinus' façade has five round arches with a simple double-light window above. The capitals and architraves are all carved with the mystic beasts and hippogriffs belonging to the religion of the day. The architraves show the resurrection of Lazarus, and Christ's entry into Jerusalem. On one of the doors is the inscription in Gothic letters--"_Hoc opus quod cernis. Biduinus docte peregit_"; the other bears the date 1180. The whole style of the church is similar to the Pistoja buildings of that epoch, and recalls the school of Gruamonte. It is certain that Biduinus as well as Gruamont worked in Lucca, for the relief of the architrave of S. Salvatore at Lucca is signed "BIDUVINO ME FECIT HOC OPUS." [Illustration: PULPIT IN THE CHURCH OF S. GIOVANNI FUORCIVITAS, PISTOJA. BY MAGISTER GUGLIELMO D'AGNELLO, 13TH CENTURY. _See page 223._] The next great names are Niccolò and Giovanni Pisani, the glory not only of their own lodge, but of the universal Guild. Until the time when his famous pulpit was sculptured, Niccolò seems to have worked little in Pisa, though he endowed it with one of his most original designs--the bell-tower of S. Niccolò. From the evidence of southern influence in his style, it is probable that his father Pietro was one of the artists whom Frederic called to South Italy, and that Niccolò passed his novitiate with him there. In any case, by the time he wrote _Magister_ before his name he had already attained a high rank as sculptor and architect, and was chosen for most important works out of Pisa, such as the Arca di S. Domenico at Bologna, and the building of the church and convent near it. Niccolò Pisano's work in Florence was almost exclusively architectural; he also designed the cathedral churches of Arezzo and Cortona. His pupil, Fra Guglielmo, a relative of the Doge dell' Agnello of Pisa who was Niccolò's assistant in the Arca di S. Domenico at Bologna in 1272, worked in 1293 at the reliefs in the façade of Orvieto, and in 1304 put the Romanesque front to S. Michele in Borgo, in Pisa. The Virgin and Child over the door of the latter is a copy of Niccolò's famous statue. Some authors give him the credit of being the _Tedesco_ who Vasari says sculptured the fine pulpit in S. Gio. Fuorcivitas at Pistoja, and who assisted Bonanno in the tower of Pisa.