History of mediæval art . the end of the twelfth century,was at the same low stand-point in both provinces. Some few attempts were made at this time to elevate the stand-ards of monumental art. Benedictus Antelamus, otherwise known ITALY. 467 as Antelami or De Antelamo, in the fragment of a pulpit in a sidechapel of the Cathedral at Parma representing the Crucifixion anddated 1178, exhibits some understanding of composition; and inlater sculptures upon the portal of the Baptistery of Parma, dated1196, shows a variety of subject and a novelty of treatment whichis pleasing, despite the defective
History of mediæval art . the end of the twelfth century,was at the same low stand-point in both provinces. Some few attempts were made at this time to elevate the stand-ards of monumental art. Benedictus Antelamus, otherwise known ITALY. 467 as Antelami or De Antelamo, in the fragment of a pulpit in a sidechapel of the Cathedral at Parma representing the Crucifixion anddated 1178, exhibits some understanding of composition; and inlater sculptures upon the portal of the Baptistery of Parma, dated1196, shows a variety of subject and a novelty of treatment whichis pleasing, despite the defective form. Neither the contempora-neous sculptures upon the lower part of the facade of the Cathedralof Lucca and upon the portal of the Pieve of Arezzo, nor the reliefs,considerably later, of the Pulpit of Guido da Como in S. Bartolom-meo at Pistoja, equalled in importance those of Antelamus. Otherworks, however, were rendered of far greater significance by anunhesitating return to classic models. It is questionable whether. Fig. 285.—Sculptured Frieze of Gruamons and Adeodatus above the Portal of S. Andrea, in Pistoja. these tendencies appeared in any work earlier than the sculptures ofthe baptismal font in the Baptistery of Verona, referable to the firstyears of the thirteenth century, in which the draperies and gestures,as well as certain other features, breathe the spirit of the new tendencies are more consequentially and thoroughly developedin the choir screen of the Pieve of Ponte alio Spino near Siena, nowin the transept of the Cathedral at Siena {Fig. 286), which is thework of an anonymous artist of about the same period, and unmis-takably shows the way to have been already open for a systematicadoption of the classic methods of design. A conscious effort to follow antique models, and thus to redeemstone sculpture from the coarseness and rudeness which had charac-terized this art during the eleventh and twelfth centuries, is evident 468 SCULPTURE OF THE ROMA
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