existing architectural lines, and it is precisely in the statuary applied to completed buildings that we can trace the most interesting transitions from Gothic to Renaissance. It is needless to discuss closely the work which was erected before Donatello's return from Rome: much of it has unhappily perished, and what remains is for the purposes of this book merely illustrative of the early inspiration of Donatello. Piero Tedesco made a number of statues for the Cathedral, Mea and Giottino worked for the Campanile. Lorenzo di Bicci, sculptor, architect, and painter, was one of those whose influence extended to Donatello; Niccolo d'Arezzo was perhaps the most original of this group, making a genuine effort to shake off the conventional system. But, on the whole, the last quarter of the fourteenth century showed but little progress. Indeed, from the time of the later Pisani there seems to have been a period of stagnation, a pause during which the anticipated progress bore little fruit. Orcagna never succeeded in
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