Abstract
After offering some useful definitions of classicism as it relates to the Italian Gothic period, this study explores the use of classical sources in the sculpture of Andrea Pisano. The bronze doors on the Baptistry of Florence contain isolated quotations from or references to the antique with no consistent integration of classical motifs to the Gothic idiom. On the Campanile there is evident an increasing appreciation of the aesthetic qualities of classical sculpture--indeed, of Roman sculpture derived from the most classic phases of Greek art. The Campanile hexagons reveal interests that anticipate those of the Renaissance: the depiction of naturalistic landscape, the representation of interior space, the portrayal of the nude as an idealized and sensuous form, and the idealization of contemporary topical concerns by means of their identification with ancient imagery.
Published Version
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