begun in 1266, the year after Dante's birth. It marks an epoch in the history of Italian sculpture--even more so than did that earlier one in the Baptistery of Pisa, when, in Carducci's splendid phrase, the sculptor saw "the new and holy Venus of Italy" rise "from the Greek sepulchre of German bones."[86] The sculptures of the pulpit at Pisa are imitated from Roman bas-reliefs and differ little from the work of Niccolò's predecessors and contemporaries, save in their superior technical excellence; but here at Siena we recognise the working of a new spirit; side by side with this close study of antiquity, we have a direct return to natural models.[87] The pulpit is octagonal, supported by eight pillars at the angles, each second pillar resting upon a lion rending his prey, or a lioness giving suck to her young; a central pillar, resting on the pedestal, being adorned with eight figures representing arts and crafts. The capitals are beautifully worked with birds and foliage, and above them are figures of the Virtues, while above these again are symbolical figures between and uniting the scenes in the bas-reliefs. First comes a Sibyl, as announcing the great mystery among the Gentiles. Then we have the Visitation, Birth of the Baptist, Nativity of Christ, and Adoration of the Shepherds--with Niccolò's favourite troop of goats, one of them leaping up to look at the Madonna, just as you may see one doing when a herd is driven over the bridge of Spoleto past the shrine. Next is a group of Prophets, followed by the Adoration of the Magi, a scene which contains some obvious and successful attempts at portraiture. At the next angle are the Madonna and Child, a very beautiful work which may rank as the first Italian masterpiece in this kind. After this the Presentation in the Temple, Joseph's Dream, the Flight into Egypt are united in one history. A group of Angels is next, followed by the Massacre of the Innocents, full of movement and dramatic vigour. Then comes a symbolical representation of Christ as the Redeemer of the World; He is trampling upon two monsters, while a lion crouches at His feet (possibly a reference to Psalm xci. 13); above His head are the Dove, the empty Throne, the hand of the Father. The Crucifixion follows, and, after it, supporting the reading-desk, the symbols of the four Evangelists. Finally comes the Last Judgment in two divisions, Christ as Judge appearing in the midst, surrounded with Angels bearing the emblems and instruments of the Passion. It is the conventional mediaeval representation; the saved to the right of the Judge, with, highest of all, the Madonna in intercession; the lost to the left, with a hideous bestial Satan down in the lowest corner; the dead rising to judgment, the Angels severing the wicked from among the just. We find for the first time that dramatic motive which became traditional--the casting out of the hypocritical monk who had tried to insinuate himself among the just. Though the forms