It existed for the Church, and not the Church for it.[74] Through Andrea Pisano the style of Niccola was extended to Venice.

There is reason to believe that he instructed Filippo Calendario, to whom we should ascribe the sculptured corners of the Ducal Palace.

Venice, however, invariably exercised her own controlling influence over the arts of aliens; so we find a larger, freer, richer, and more mundane treatment in these splendid carvings than in aught produced by Pisan workmen for their native towns of Tuscany.
Nino, the sculptor of the "Madonna della Rosa," the chief ornament of the Spina chapel, and Tommaso, both sons of Andrea da Pontadera, together with Giovanni Balduccio of Pisa, continued the traditions of the school founded by Niccola.

Balduccio, invited by Azzo Visconti to Milan, carved the shrine of S.Peter Martyr in the church of S.Eustorgio, and impressed his style on Matteo da Campione, the sculptor of the shrine of S.Augustine at Pavia.[75] These facts, though briefly stated, are not without significance.

Travellers who have visited the churches of Pavia and Milan, after studying the shrine, or _arca_ as Italians call it, of S.Dominic at Bologna, must have noticed the ascendency of Pisan style in these three Lombard towns, and have felt how widely Niccola's creative genius was exercised.