Anatomy, perspective, colour, drapery, effects of light, of water, of shadow, forms of trees and flowers, converging lines of architecture, all this at once absorbed and distracted the attention of the artists of the early Renaissance; and while they studied, copied, and calculated, another thought began to haunt them, another eager desire began to pursue them: by the side of Nature, the manifold, the baffling, the bewildering, there rose up before them another divinity, another sphinx, mysterious in its very simplicity and serenity--the antique. The exhumation of the antique had, as we have seen, been contemporaneous with the birth of painting; nay, the study of the remains of antique sculpture had, in contributing to form Niccoto Pisano, indirectly helped to form Giotto; the very painter of the "Triumph of Death" had inserted into his terrible fresco two-winged genii, upholding a scroll, copied without any alteration from some coarse Roman sarcophagus, in which they may have sustained the usual _Dis Manibus Sacrum_. There had been, on the part of both sculptors and painters, a constant study of the antique; but during the Giottesque period this study had been limited to technicalities, and had in no way affected the conception of art. The mediæval artists, surrounded by physical deformities, and seeing sanctity in sickness and dirt, little accustomed to observe the human figure, were incapable, both as men and as artists, of at all entering into the spirit of antique art. They could not perceive the superior beauty of the antique; they could recognize only its superior science and its superior handicraft, and these they studied to obtain. Giovanni Pisano, sculpturing the unfleshed, carved carcases of the devils who leer, writhe, crunch, and tear on the outside of Orvieto Cathedral, and the Giottesques painting those terrible green, macerated Christs, hanging livid and broken from the cross, which abound in Tuscany and Umbria, the artists who produced these loathsome and lugubrious works were indubitably students of the antique; but they had learned from it not a love for beautiful form and noble drapery, but merely the general shape of the limbs and the general fall of the garments; the anatomical science and technical processes of antiquity were being used to produce the most intensely un-antique, the most intensely mediæval works. Thus matters stood in the time of Giotto. His followers, who studied only arrangement, probably consulted the antique as little as they consulted Nature; but the contemporary sculptors were brought by the very constitution of their art into close contact both with Nature and with the antique; they studied both with determination, and handed over the results of their labours to the sculptor-taught painters of the fifteenth century.