History of mediæval art . inferior to the average productions of theirage. Even in Tuscany the brothers Gruamons and Adeodatus wereconsidered by their contemporaries as sculptors of great may be seen by the vainglorious inscriptions upon the reliefsof S. Giovanni Fuor Civitas and of S. Andrea in Pistoja {Fig. 285),dating to 1165. The same remarks apply to the sculptures uponthe facades of the cathedrals of Modena and Ferrara, as well as ofS. Zeno in Verona, works of the masters Wilhelmus and Nicolaus, 30 466 SCULPTURE OF THE ROMANIC EPOCH. who in their time were greatly renowne
History of mediæval art . inferior to the average productions of theirage. Even in Tuscany the brothers Gruamons and Adeodatus wereconsidered by their contemporaries as sculptors of great may be seen by the vainglorious inscriptions upon the reliefsof S. Giovanni Fuor Civitas and of S. Andrea in Pistoja {Fig. 285),dating to 1165. The same remarks apply to the sculptures uponthe facades of the cathedrals of Modena and Ferrara, as well as ofS. Zeno in Verona, works of the masters Wilhelmus and Nicolaus, 30 466 SCULPTURE OF THE ROMANIC EPOCH. who in their time were greatly renowned; and also to the sculpturesof the Porta Romana at Milan, built between 1167 and 1171. In theinscription of the latter the artist is compared to Daedalus, more fit-tingly, indeed, than could at that period have been Amicus, sculptor of the frieze of the Campo Santo at Pisa,and that of the Church at Mensano,—Robertus, designer of the bap-tismal font of S. Frediano at Lucca,—and Biduinus, who executed. Fig. 284.—Pulpit in the Church of St. Michael, Groppoli. the reliefs of S. Casciano, near Pisa, and those of S. Carita in Lucca,were in no wise superior to the masters before mentioned. Fromall these, and from various anonymous works, it may be gatheredthat, in Tuscany and in Upper Italy, sculpture in stone was moreactively pursued, but, until towards 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 sculptu
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