Angels lift Eve in the air above Adam, in whose side there is now no open wound, and sustain her face to face with God, who calls her into life.

Della Quercia, on the facade of S.
Petronio, confines himself to the creative act, expressed by the raised hand of the Maker, and the answering attitude of Eve; and this conception receives final treatment from Michael Angelo in the frescoes of the Sistine.
[70] _Le Tre Porte del Battistero di San Giovanni di Firenze, incise ed illustrate_ (Firenze, 1821), contains outlines of all Andrea Pisano's and Ghiberti's work.
[71] See above, Chapter I, Greek and Christian Ideals.
[72] See above, Chapter I, Greek and Christian Ideals.
[73] What Giotto himself was, as a designer for sculpture, is shown in the little reliefs upon the basement of his campanile.
[74] What has previously been noted in the chapter upon architecture deserves repetition here--that the Italian style of building gave more scope to independent sculpture, owing to its preference for flat walls, and its rejection of multiplied niches, canopies, and so forth, than the Northern Gothic.

Thus, however subordinated to architecture, sculpture in Italy still had more scope for self-assertion than in Germany or France.
[75] See Perkins, _Italian Sculptors_, p.

109, for a description of the Arca di S.Agostino, which he assigns to Matteo and Bonino da Campione.
This shrine, now in the Duomo, was made for the sacristy of S.Pietro in Cielo d'Oro, where it stood until the year 1832.
[76] Bonino da Campione, the Milanese, who may have had a hand in the Arca di S.Agostino, carved the tomb of Can Signorio.

That of Mastino II.
was executed by another Milanese, Perino.
[77] See Trucchi, _Poesie Italiane inedite_, vol.ii.
[78] See the Illustrated work, _Il Tabernacolo della Madonna d'Or sammichele_, Firenze, 1851.
[79] The weighty chapter in Alberti's _Treatise on Painting_, lib.