Page:Archaeological Journal, Volume 3.djvu/225

Rh We must consider the revival of Sculpture to have been formed on the remains of Grecian and Roman Art, whilst there was a constant struggle with native genius to banish the Lombardo Gothic, which, owing to German influence at that period, and to the skill which German artists had exhibited, was established throughout Italy.

A misunderstanding, which arose in the year 1250, between the Emperor Frederick II. and the people, but more especially with the sculptors employed in building the church at Milan, contributed greatly to effect this object. These artists, being distributed about the country, not only improved their style by studying the works of Arnolfo and Niccola Pisano, but it appears that several Lombards and Germans were employed in assisting Niccola, both at Orvicto and Florence.

The example which I here offer, is the representation of a head in my possession, a work of the thirteenth century, formerly in Hereford cathedral. I find by a drawing made by my late friend, Mr. Phillips, at Rouen cathedral, representing a specimen of sculpture applied in like manner to the springing of an arch, precisely the same style and feeling; shewing that both countries were supplied from the same source, and I believe that every one conversant with Art, will agree with me that the specimen before them is of the Pisan school.

The character of Anglo-Saxon art, which prevailed to the year 1189, may be considered as having changed gradually through the times of the Plantagenet family to the reign of Henry III., A.D. 1216 to 1272, when the Decorative style of architecture gave full employment to the sculptor, and demanded greater efforts of his art. This period, including about 180 years, from the reign of Edward I. to the latter part of that of Henry VI., may be regarded as the Augustan age of Art in England.