Pulpit of Sant' Andrea, Pistoia (Giovanni Pisano)
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[[File:Giovanni pisano, pulpito di sant'andrea, 1298-1301, 05.jpg|thumb|Pulpit of St. Andrew.]] |
[[File:Giovanni pisano, pulpito di sant'andrea, 1298-1301, 05.jpg|thumb|Pulpit of St. Andrew.]] |
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| ⚫ | The pulpit in the [[pieve di Sant'Andrea, Pistoia|''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. |
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| ⚫ | The pulpit in the [[pieve di Sant'Andrea, Pistoia|''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]] (1268), which Giovanni had assisted with. |
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| ⚫ | 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 carving]]s. However, Giovanni's style moved away from the strong classicism of his father's style to one more influenced by northern [[Gothic art]].Pope-Hennessy, |
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| ⚫ | 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 carving]]s. However, Giovanni's style moved away from the strong classicism of his father's style to one more influenced by northern [[Gothic art]].Pope-Hennessy, pp. 1–3; Olson, pp. 11–24; White, chapter 5. |
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==History== |
==History== |
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According to an inscription running on the [[cornice]] between the pulpit's pointed arches 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".White, 122 (quoted); Olson, 19 |
According to an inscription running on the [[cornice]] between the pulpit's pointed arches 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".White, p. 122 (quoted); Olson, p. 19. |
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Giovanni was approaching the age of fifty when he began the work, and had worked on his father's projects, and possibly visited France. |
Giovanni was approaching the age of fifty when he began the work, and had worked on his father's projects, and possibly visited France. |
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==Description== |
==Description== |
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| ⚫ | The structure is similar to the pulpit in Pisa: a [[Hexagon|hexagonal]] plan with seven columns (one in the middle), two of which are supported by lions and one by a stooping figure of [[Atlas (architecture)|Atlas]], while the central one rests on three winged [[Griffin|gryphons]] and the remaining ones on plain bases. The capitals of the [[Porphyry (geology)|porphyry]] columns are inventive derivations of the [[Corinthian order]]. The organization of the parapet's [[relief]]s is inspired by the pulpit in Siena. |
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| ⚫ | The structure is similar to the pulpit in Pisa: a [[Hexagon|hexagonal]] plan with seven columns (one in the middle), two of which are supported by lions and one by a stooping figure of [[Atlas (architecture)|Atlas]], while the central one rests on three winged [[Griffin|gryphons]] and the remaining ones on plain bases. The organization of the parapet's [[relief]]s is inspired by the pulpit in Siena. |
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The iconographic program is also inspired by Nicola's work, with [[allegorical sculpture]]s in the [[pendentive]]s of the arches, [[Sibyl]]s and [[Prophet]]s standing on the [[Capital (architecture)|capital]]s' tops, and the five parapets with the following scenes from the ''[[Life of Christ in art|Life of Christ]]'': |
The iconographic program is also inspired by Nicola's work, with [[allegorical sculpture]]s in the [[pendentive]]s of the arches, [[Sibyl]]s and [[Prophet]]s standing on the [[Capital (architecture)|capital]]s' tops, and the five parapets with the following scenes from the ''[[Life of Christ in art|Life of Christ]]'': |
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*"[[Last Judgement]]" |
*"[[Last Judgement]]" |
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The sixth parapet is missing, as its side provides access to the pulpit; the original stairway has now been removed. On the corner between the reliefs of the Massacre of the Innocents and The Crucifixion, an [[eagle lectern]] rises above the parapet. Beneath the symbol of [[John the Evangelist]], the [[Four Evangelists|other three Evangelists]] are represented by their symbols as well. |
The sixth parapet is missing, as its side provides access to the pulpit; the original stairway has now been removed. On the corner between the reliefs of the Massacre of the Innocents and The Crucifixion, an [[eagle lectern]] rises above the parapet. Beneath the symbol of [[John the Evangelist]], the [[Four Evangelists#Symbols|other three Evangelists]] are represented by their symbols as well: the lion for [[Mark the Evangelist|Saint Mark]], in the middle the angel (or winged man) for Saint Matthew, and Saint Luke's ox on the right. |
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==Style== |
==Style== |
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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 [[Sibyl]]s, portrayed in |
The scenes of the reliefs 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 [[Sibyl]]s, portrayed in a sudden turn disconcerted by the inspiration of an angel, is also of particular distinction. For the first time Giovanni tilted the reliefs, with the upper parts projecting further than the lower, to allow for the position of the viewer below.Olson, p. 19. |
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The only relief deviating from the extremely congested composition of the dramatic action is the panel of the Magi. Instead of the figures protruding in several strata from the background, the lying figures of the dreaming Magi on the left and Joseph on the bottom right are voluminous and take their space, without showing off at least some elaborated drapery. The relief as a whole, which depicts nevertheless three independent scenes, is less dense and more airy than any other of the panels on the pulpit. |
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File:Giovanni pisano, pulpito di sant'andrea, 1298-1301, simboli degli evangelisti 01.jpg|The eagle of Saint John above the other three [[Four Evangelists|Symbols of the Evangelists]] |
File:Giovanni pisano, pulpito di sant'andrea, 1298-1301, simboli degli evangelisti 01.jpg|The eagle of Saint John above the other three [[Four Evangelists|Symbols of the Evangelists]] |
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File:Pistoia chiesa san andria 007.JPG| |
File:Pistoia chiesa san andria 007.JPG|Massacre of the Innocents |
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File:Giovanni pisano, pulpito di sant'andrea, 1298-1301, crocifissione 03.jpg| |
File:Giovanni pisano, pulpito di sant'andrea, 1298-1301, crocifissione 03.jpg|The Crucifixion |
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File:Giovanni pisano, pulpito di sant'andrea 10 crop-edit.jpg| |
File:Giovanni pisano, pulpito di sant'andrea 10 crop-edit.jpg|Sybil and insinuating Angel |
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==References== |
==References== |
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*{{cite book|first=Pierluigi |last=De Vecchi |author2=Elda Cerchiari |title=I tempi dell'arte|volume |
*{{cite book|first=Pierluigi |last=De Vecchi |author2=Elda Cerchiari |title=I tempi dell'arte|volume=1 |publisher=[[Bompiani]] |location=Milan |year=1999 |isbn=88-451-7107-8}} |
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* Henderson, George. ''Gothic'' |
* Henderson, George. ''Gothic''. 1967, Penguin, {{ISBN|0-140-20806-2}}. |
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* [[Roberta Olson|Olson, Roberta J.M.]], ''Italian Renaissance Sculpture'' |
* [[Roberta Olson|Olson, Roberta J.M.]], ''Italian Renaissance Sculpture'', Thames & Hudson (''World of Art''), London 1992, {{ISBN|978-0-500-20253-1}}. |
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* [[John Pope-Hennessy|Pope-Hennessy, John]] |
* [[John Pope-Hennessy|Pope-Hennessy, John]]. ''An Introduction to Italian Sculpture, Vol. 1: Italian Gothic Sculpture''. Phaidon, London 1986 [1955], {{ISBN|0-714-82415-1}}. |
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* [[John White (art historian)|White, John]]. ''Art and Architecture in Italy, 1250 to 1400'' |
* [[John White (art historian)|White, John]]. ''Art and Architecture in Italy, 1250 to 1400''. Penguin Books, London 1987 [1966] (now ''Yale History of Art'' series), {{ISBN|0-140-56128-5}}. |
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