That spirit is Florentine in a general sense, and specifically Giottesque.

Charity, again, with a flaming heart in her hand, crowned with a flaming brazier, and suckling a child, is Giottesque not only in allegorical conception but also in choice of type and treatment of drapery.
While admiring the tabernacle of Orsammichele, we are reminded that Orcagna was a goldsmith to begin with, and a painter.

Sculpture he practised as an accessory.

What the artists of Florence gained in delicacy of execution, accuracy of modelling, and precision of design by their apprenticeship to the goldsmith's trade, was hardly perhaps sufficient to compensate for loss of training in a larger style.

It was difficult, we fancy, for men so educated to conceive the higher purposes of sculpture.
Contented with elaborate workmanship and beauty of detail, they failed to attain to such independence of treatment as may be reached by sculptors who do not carry to their work the preconceptions of a narrower handicraft.