His work at Pisa contains abundant evidence that, while he could not wholly free himself from the defects of the later Romanesque manner, betrayed by his choice of short and square-set types, he nevertheless learned from the antique how to aim at beauty and freedom in his imitation of the living human form.

A marble vase, sculptured with Indian Bacchus and his train of Maenads, gave him further help.

From these grave or graceful classic forms, satisfied with their own goodliness, and void of inner symbolism, the Christian sculptor drank the inspiration of Renaissance art.

In the "Adoration of the Magi," carved upon his Pisan pulpit, Madonna assumes the haughty pose of Theseus' wife; while the high priest, in the "Circumcision," displays the majesty of Dionysus leaning on the neck of Ampelus.

Nor again is the naked vigour of Hippolytus without its echo in the figure of the young man--Hercules or Fortitude--upon a bracket of the same pulpit.