Pulpit

Giovanni Pisano's pulpit in Pisa Cathedral, probably commissioned by Burgundio di Tadio, Operaio of the Cathedral Works, who is recorded in the inscription, was made between 1302 and 1310; it replaced an earlier pulpit by Guglielmo, now in Cagliari Cathedral. The pulpit was dismantled after a fire in 1595 and has suffered much damage from restorations, particularly those in 1926-29; its present position, between two of the nave columns instead of under the dome, makes it impossible to view it in the round.

This, the most sumptuous of the Pisano pulpits, is of unprecedented size; it is dominated by the sense of continuous, multi-directional movement and frenetic energy. The interpretation of its complex iconographic programme, probably at least partly devised by the Dominicans of Santa Caterina, Pisa, is controversial, and many of the symbols and allegories of the pulpit bear more than one level of sometimes conflicting meaning; the female (known as the Mater) figure of the base, for example, has been successively interpreted as Pisa, Eve, Jerusalem, Ecclesia, Mary, Charity, and Mother Earth. The themes and sequences of the programme were prescribed by the patrons, but they were absorbed by Giovanni into his own harsh and dramatic vision, and he may have influenced the choice of some of the scenes.

The octagonal pulpit has a central support formed by three caryatids, clearly modelled on Classical prototypes and representing Faith, Hope, and Charity; they stand on an octagonal pedestal adorned with figures of the Liberal Arts and Philosophy. The outer supports consist of columns standing on low plinths or lions, or of full-length figures: the Mater, her pedestal surrounded by the Four Cardinal Virtues (the Prudence figure is based on an Antique Venus Pudica); Christ with the Four Evangelists; St Michael; and Hercules. Above rise the arches richly carved with exuberant acanthus scrolls, with Prophets in the spandrels and standing Sibyls above the capitals.

The parapet, set between corbelled cornices, appears to be circular, but the statues at the corners, set on projecting, semicircular platforms, define its octagonal plan. On the eight sides are reliefs with narrative scenes.

<ol> <li>Annunciation, Visitation, and Birth of St John the Baptist</li> <li>Nativity and Annunciation to the Shepherds</li> <li>Dream and Adoration of the Magi</li> <li>Presentation in the Temple, Herod and the Magi, the Angel Warning the Holy Family to Flee, and the Flight into Egypt</li> <li>Massacre of the Innocents</li> <li>Passion scenes</li> <li>Crucifixion</li> <li>Last Judgment (in two parts)</li> </ol>

An effect of opposing tensions is created by the densely crowded figures that project at different angles and in different directions, the twisted draperies and the necks bent in sudden movements. The climax of dramatic intensity is reached in the Massacre of the Innocents. The contrast between the rough, sketchy modelling in some of the Passion scenes, for example, and the more translucent statues of the base, and between the sense of overflowing energy in the figures of the upper part of the pulpit and the calmer, classicizing figures of the base - the severe Mater and the introspective Hercules - demonstrates the vast range of Giovanni's expressive powers.

The pulpit was originally coloured, as described in later documents, but only traces of this remain: backgrounds were rendered in blue and gold enamel, draperies were painted red and blue, faces were tinted pink with dark pupils to the eyes, and gold was used for crowns and borders.