See also the article Byzantine Art; and for sculpture elsewhere the sections Art in the articles Egypt, China, Japan.

Medieval

For medieval sculpture, almost entirely an adjunct to architecture and particularly ecclesiastical architecture, see, besides the treatment in the historical part of the article Sculpture (pp. 490–496), the articles Architecture and Effigies, Monumental, comparing with the latter the article Brasses, Monumental (with 13 illustrations).

Renaissance

The close of the medieval period and the beginning of the more individualistic Renaissance are marked by the occurrence of the names of great individual artists, whose biographies are the best summary of the sculpture of the period.

See on Italy: the articles Niccola Pisano (Vol. 20, p. 648); Vittore Pisano (Vol. 20, p. 649); Andrea Pisano (Vol. 20, p. 647) and the article immediately following on his son, Giovanni Pisano; each of these four with an illustration; Vittore Pisano or Pisanello; Agostino and Agnolo da Siena (Vol. 1, p. 381); Orcagna, “the last great master of the Gothic period,” by J. H. Middleton; Della Quercia, who “heralds ... the boldest and most original achievements of two generations hence,” by E. T. Strange, assistant keeper, South Kensington; Ghiberti, “the first of the great sculptors of the Renaissance”; Donatello, by P. G Konody; Michelozzo; Della Robbia family (with 3 illustrations), by J. H. Middleton and William Burton, author of English Stoneware and Earthenware; Leonardo, by Sir Sidney Colvin; Verrocchio, by J. H. Middleton; Leopardo; Pollaiuolo; Michelangelo, by Sir Sidney Colvin; Bandinelli; Ammanati; and in the 16th century period of decline Giovanni da Bologna, Lombardo family, Cellini, by W. M. Rossetti and E. Alfred Jones, author of Old English Gold Plate, etc.

On the Renaissance in France: Jean Goujon, Sarrazin.

—In Germany: Veit Stoss, Adam Krafft, the Vischers.

—In England: the Italian Torrigiano.