The pulpit in the pieve of Sant'Andrea, Pistoia, Italy is a masterpiece by the Italian sculptor Giovanni Pisano, completed in 1301. It has many similarities with the groundbreaking pulpit in the Pisa Baptistery of 1260 by Giovanni's father Nicola Pisano, which was followed by the Siena Cathedral Pulpit, which Giovanni had assisted with.
These very advanced works are often described in terms such as "proto-Renaissance", and draw on Ancient Roman sarcophagi and other influences to form a style that represents an early revival of classical sculpture, while also remaining Gothic, and drawing on sources such as French ivory carvings. However, Giovanni's style moved away from the strong classicism of his father's style to one more influenced by northern Gothic art. [1]
According to an inscription running between the pulpit's arcades and parapets, it was commissioned by Canon Arnoldus (Arnoldo) and supervised by the treasurers Andrea Vitelli and Tino di Vitale. Vasari says the commission was given in 1297, and the inscription records its completion in 1301. There is no false modesty: "Giovanni carved it, who performed no empty work. The son of Nicola, and blessed with higher skill, Pisa gave him birth, endowed with mastery greater than any seen before". [2]
Giovanni was approaching the age of fifty when he began the work, and had worked on his father's projects, and possibly visited France.
The structure is similar to the pulpit in Pisa: a hexagonal plan with seven columns (one in the middle), two of which are supported by lions and one by a stooping figure of Atlas, while the central one rests on three winged gryphons and the remaining ones on plain bases. The organization of the parapet's reliefs is inspired by the pulpit in Siena.
The iconographic program is also inspired by Nicola's work, with "Allegories" in the pendentives of the arches, "Sibyls" and "Prophets standing on the capitals' tops, and the five parapets with the following scenes from the Life of Christ :
The sixth parapet is missing, as its side provides access to the pulpit; the original stairway has now been removed.
The scenes are as crowded and dramatic as those of the Sienese pulpit. Most notable is the scene of the "Massacre of the Innocents", for which it has been supposed that Giovanni took inspiration from German models, or even from the Trajan column in Rome. One of the Sibyls, portrayed in the sudden gesture of fleeing towards an angel, is also of particular distinction. For the first time Pisano tilted the reliefs, with the upper parts projecting further than the lower, to allow for the position of the viewer below. [3]
Jacopo della Quercia, also known as Jacopo di Pietro d'Agnolo di Guarnieri, was an Italian sculptor of the Renaissance, a contemporary of Brunelleschi, Ghiberti and Donatello. He is considered a precursor of Michelangelo.
Nicola Pisano was an Italian sculptor whose work is noted for its classical Roman sculptural style. Pisano is sometimes considered to be the founder of modern sculpture.
Giovanni Pisano was an Italian sculptor, painter and architect, who worked in the cities of Pisa, Siena and Pistoia. He is best known for his sculpture which shows the influence of both the French Gothic and the Ancient Roman art. Henry Moore, referring to his statues for the facade of Siena Cathedral, called him "the first modern sculptor".
A pulpit is a raised stand for preachers in a Christian church. The origin of the word is the Latin pulpitum. The traditional pulpit is raised well above the surrounding floor for audibility and visibility, accessed by steps, with sides coming to about waist height. From the late medieval period onwards, pulpits have often had a canopy known as the sounding board, tester or abat-voix above and sometimes also behind the speaker, normally in wood. Though sometimes highly decorated, this is not purely decorative, but can have a useful acoustic effect in projecting the preacher's voice to the congregation below, especially prior to the invention of modern audio equipment. Most pulpits have one or more book-stands for the preacher to rest his bible, notes or texts upon.
Siena Cathedral is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary.
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Santa Maria della Spina is a small church in the Italian city of Pisa. The church, erected around 1230 in the Pisan Gothic style, and enlarged after 1325, was originally known as Santa Maria di Pontenovo for the newer bridge that existed nearby, collapsed in the 15th century, and was never rebuilt.
The Pisa Baptistery of St. John is a Roman Catholic ecclesiastical building in Pisa, Italy. Construction started in 1152 to replace an older baptistery, and when it was completed in 1363, it became the second building, in chronological order, in the Piazza dei Miracoli, near the Duomo di Pisa and the cathedral's free-standing campanile, the famous Leaning Tower of Pisa. The baptistery was designed by Diotisalvi, whose signature can be read on two pillars inside the building, with the date 1153.
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Santa Caterina d'Alessandria is a Gothic-style Roman Catholic church in Pisa, Tuscany, Italy.
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Sant'Andrea is a church in Pistoia, Tuscany, central Italy that served as a pieve or place that congregations from surrounding village churches use for baptism. It is dedicated to St. Andrew the Apostle, and includes the famous Pulpit of Sant' Andrea by Giovanni Pisano. The church probably dates from as early as the 8th century, though in a smaller size. In the 12th century it was extended in length.
San Giovanni Fuoricivitas is a Romanesque religious church and adjacent buildings in Pistoia, Tuscany, central Italy. The adjective fuoricivitas refers to it location, outside of the first set of city walls, when it was founded during the era of Lombard rule in Italy.
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The Siena Cathedral Pulpit is an octagonal structure in Siena Cathedral sculpted by Nicola Pisano and his assistants Arnolfo di Cambio, Lapo di Ricevuto, and Nicolas' son Giovanni Pisano between the fall of 1265 and the fall of 1268. The pulpit, with its seven narrative panels and nine decorative columns carved out of Carrara marble, showcases Nicola Pisano's talent for integrating classical themes into Christian traditions, making both Nicola Pisano and the Siena pulpit forerunners of the classical revival of the Italian Renaissance.
The pulpit in the Pisa Baptistery was completed by Nicola Pisano and his assistants in 1260, and has long been regarded as a landmark in Italian art, especially for its large relief panels around the platform. For Kenneth Clark the pulpit was "that false dawn of the Renaissance", as its innovations were not followed up for some time. The nude male figure, called Daniel or Fortitude, but based on a Roman Hercules, has long been a particular focus of attention as "the first heroic nude in Italian art".