Pisa Cathedral

src: upload.wikimedia.org

Pisa Cathedral (Italy: Cattedrale Metropolitana Primaziale di Santa Maria Assunta; Duomo di Pisa ) is a medieval Roman Catholic cathedral that dedicated to the Assumption of the Virgin Mary, at Piazza dei Miracoli in Pisa, Italy. This is a noteworthy example of the Romanesque architecture, especially the style known as Romanesque Pisan . This is the seat of the Archbishop of Pisa.

Video Pisa Cathedral

History

Construction at the cathedral began in 1063 (1064 according to the Pisan calendar at the time) by Buscheto architects, and fees were paid using the spoils received against the Muslims in Sicily in 1063. These included various elements of style: classic, Lombard- Emilian, Byzantine and Islamic , utilizing the international presence of Pisan merchants at that time. In the same year, St. Basilica Mark began a reconstruction in Venice, evidence of strong competition between two maritime republics to see which one could create the most beautiful and luxurious place of worship.

The church was established outside the high medieval walls of Pisa, to show that Pisa is so strong, not afraid of being attacked. The selected area has been used in the Lombard era as a necropolis and at the beginning of the 11th century a church has been erected here, but never finished, which will be named Santa Maria . The new large church of Buscheto, originally called Santa Maria Maggiore until officially named Santa Maria Assunta .

In 1092 the cathedral was declared a primate church, the archbishop of Dagobert was given the title of Primate by Pope Urban II. The cathedral was ordained in 1118 by Pope Gelasius II, who came from the powerful Caetani family both in Pisa and in Rome.

At the beginning of the 12th century the cathedral was enlarged under the direction of architect Rainaldo, which increased the length of the nave by adding three bays consistent with the original Buscheto style, expanding the transept, and plotting a new facade completed by the worker under the direction of the sculptors Guglielmo and Biduino. The exact date of the job is unclear: according to some, the work was done right after Buscheto's death around 1100, though others say it was done closer to 1140. In any case, the work was completed in 1180, as documented on the date written on The bronze knocko made by Bonanno Pisano is found at the main door.

The present structure's appearance is the result of various restoration campaigns conducted in different eras. The first radical intervention occurred after the fire of 1595, after which the roof was replaced and the sculptor from the workshop Giambologna, among them Gasparo Mola and Pietro Tacca, created three bronze doors from the facade. In the early 18th century begins redecoration of the inner walls of the cathedral with large paintings, "quadroni", depicting the stories of blessings and the saints of Pisa. These works were made by the main artists of the time, and a group of citizens arranged the project's specific financing. Interventions took place in the nineteenth century and included both internal and external modifications; among the last is the removal of the original facade sculpture (currently in the cathedral museum) and their replacement with a copy.

Other important interventions include: the dismantling of the pulpit Giovanni Pisano between 1599 and 1601 which was only in 1926 reassembled and returned to the cathedral (with some original pieces missing, including the staircase); and the dismantling of monuments to Henry VII made by Lupo in Francesco found at the door of San Ranieri and subsequently replaced with a simpler symbolic version.

Maps Pisa Cathedral

Description

The original building plan is a Greek cross with a large cupola at the intersection, but today the plan is a Latin cross with a central nave flanked by two side alleys on each side, with apse and transepts having three naves. The interior offers a spatial effect similar to a large mosque thanks to the use of raised lancet arches, alternating layers of black and white marble, and elliptical dome, inspired by the Moors. The presence of two increasing matroneas in the middle, with solid granite columns, monolithic, is a clear sign of Byzantine influence. Buscheto welcomed the influence of Islam and Armenia.

Exterior

The rich exterior decoration contains colorful marble, mosaics, and many bronze objects from spoils of war, among them is a griffin taken in Palermo in 1061 and then placed on the eastern part of the roof. At the beginning of the 19th century the original statue, which can now be seen in the cathedral museum, was removed from the roof and replaced with a copy. The high arch shows the influence of Islamist and southern Italy. Blind arches with candy forms remember similar structures in Armenia. The gray and white marble facade, adorned with colored marble inserts, was built by Master Rainaldo. Above three doors is a four-level loggia divided by a cornice with marble intarsia, behind which opens a single, double, and triple window.

The heavy bronze doors of the facade were made by different Florentine artists in the 17th century. Contrary to what might be thought, from the beginning the faithful entered the cathedral through the door of Saint Rainerius, found in the same name, overlooking the bell tower. This is because the city's nobles, who approach the cathedral through Santa Maria, will find themselves right at this entrance. The door was thrown around 1180 by Bonanno Pisano, and it was the only door that was not destroyed by the fire of 1595 that destroyed the cathedral.

The Saint Rainerius door is adorned with 24 bronze relief sculptures showing the stories of the New Testament. This door was one of the first produced in Italy during the Middle Ages, after importing many examples from Constantinople (to Amalfi, Salerno, Rome, Montecassino, Venice, etc.), and the full sensitivity of the west, apart from the Byzantine tradition, can be admired. Above the door are four open galleries, with, above, Madonna and Son and, in the corners, four evangelists. Buscheto's tomb was found to the left of the north door of the facade.

Interior

The inside, divided in front into a central nave flanked by two side alleys on both sides and with transept and apse in three naves, covered with white and black marble, with monolithic gray marble columns having the capital of Corinth. It has a 17th century wooden ceiling, painted and decorated with gold leaf, made by Domenico and Bartolomeo Atticciati; it bears the Medici emblem. Presumably the previous ceiling was a structure with wooden scrolls.

The interior of the dome, found in which the nave centers and transepts cross, is decorated using a rare painting technique called encaustic and portrays the Virgin in glory with the saints by artists Pisan Orazio and Girolamo Riminaldi (1627-1631). Recovery of the dome begins in 2015 and is expected to expire in 2018.

The Corinthian granite column between the nave and apse comes from the Palermo mosque, and Pisan's booty was retained in 1063 after a successful joint attack with Normandy on Muslims in the city.

The great mosaic in apse Christ enthroned among the Virgin and Saint John is famous for the face of Saint John, painted by Cimabue in 1302, miraculously survived the fire of 1595. This is the last work painted by Cimabue and the one- the only work that we have certified documentation. The work evokes mosaics from the Byzantine and Norman churches found in CefalÃÆ'¹ and Monreale in Sicily. Mosaics, mostly made by Francesco da Pisa, were brought to completion by Vincino da Pistoia with Madonna on the left side (1320).

Among the medieval works that prevented the destruction during the fire of 1595 were Madonna's paintings with the Son in the triumphal arches by the Pisan Maestro artist at San TorpÃÆ'¨, as well as the cosmic sidewalk, a job rarely found outside Lazio. It was made using ornamental marble to create geometric patterns (mid-12th century). Other fresco fragments from the late medieval period have survived, among them being Saint Jerome on one of the four middle poles, as well as Saint John the Bapstist , a Crucifixion, and Saints Cosmas and Damian in one of the pylons near the entrance, partially hidden by the driveway.

Pulpit

The pulpit, a masterpiece made by Giovanni Pisano (1302-1310), survived the fire but was dismantled during the restoration work and not reassembled until 1926. With its intricate architecture and intricate sculptural decoration, this work presents one of the most sweeping narratives from a thirteenth-century imagination that reflects the renewal of religion and the spirit of the age. In a slightly curved panel carved with expressive language episodes of Christ's life. The structure is polygonal (exactly as seen in analog works in Baptism of Pisa, in the Pulpit of Siena Cathedral, and in the church of St. Andrew); but this is the first example in this type of work where the panel is slightly curved. Other original features include:

• the presence of caryatids, sculptured figures in place of simple columns, which symbolize Virtue;
• the use of 'rack' is scrolled in place of arch to support the enhanced platform;
• the sense of movement given by many figures that fill every empty space.

For these qualities combined with the skillful narrative art of nine scenes, the pulpit is generally considered [by whom?] To be a masterpiece, but more widely regarded as the masterpiece of Italian gothic sculpture. This pulpit replaces the one previously made by Guglielmo (1157-1162) who was sent to Cagliari Cathedral. Given the lack of documentation prior to its demolition, the pulpit was placed in a location different from where it came from, and without hesitation, the parts were also not in the original position. It is not known whether the original work has a marble ladder.

Artwork

The Church also keeps the relics of Saint Rainerius, the patron saint of Pisa, and the fragmentary tomb of Henry VII, Holy Roman Emperor, who died in Buonconvento while carrying Florence, in vain, under siege. The tomb, carved by Tino da Camaino between 1313-1315, was also reconstructed and reconstructed and today sits on the right transept, while its original position is at the center of the apsis as a sign of city ghibbeline compliance. Moved several times for political reasons, eventually split into many parts (some inside the church, some on the facade, others in Camposanto, and others in the cathedral museum).

The 27 paintings covering the gallery behind the main altar, depicting the stories of the Old Testament and the stories of the life of Christ, were made between the 16th and 17th centuries mainly by the Tuscan Artists, among them are Andrea del Sarto (three works: Saint Agnes , Saints Catherine and Margaret , and St. Peter and John the Baptist ) il Sodoma, and Domenico Beccafumi (The Stories of Moses and Evagelists).

Many and prestigious are the sacred furnishings of the church, including bronze crosses found on the main altar, and an angel chandelier placed at the ends of a rich marble transducer, made by Giambologna, as well as a large ciborium in silver designed by Giovanni Battista Foggini (1678-86 ) on the altar of the Blessed Sacrament of the Blessed Sacrament. On the altar side many lies paintings of the 16th and 17th centuries. Among these works are , by Mannerist Florentine Andrea del Sarto, and Madonna reigns with people saints in transept rights, by Perin del Vaga, a student of Raphael, both completed by Giovanni Antonio Sogliani. In the Baroque style are: Disputa del Sacramento by the painter Sienese Francesco Vanni, and Cross with saints by Genoan Giovanni Battista Paggi. Particularly beloved is the 13th-century picture of Madonna col Bambino, also called Madonna under the organ, which is associated with Berlinghiero Berlinghieri of Volterra.

The cathedral, like a skewed bell tower, sinks clearly to the ground, and some indications of this instability are visible. For example, the floor-level differences from the original Buscheto nave and bay were added later by Rainaldo.

The original cathedral grÃÆ' dule , built by Giovanni Pisano and dating from the late 13th century, was replaced in 1865 by the present parvise. This marble panel, emblazoned with carved figures and faces of animals, is used to create low walls placed close to the perimeter of the cathedral and which creates a cage that provides space for many of the sarcophagi of the Roman period. During the Middle Ages, these panels were reused for the burial of the nobles (among them Beatrice of Lorraine) and other famous people. Some fragments are still visible in the cathedral museum, while the sarcophagus is all transferred into the Camposanto fence.

Organ

Inside the cathedral found Serassi organs made between 1831-1835, as well as organs made in 1977 by the company Mascioni of Cuvio.

src: www.worldsiteguides.com

The main artist working in the cathedral

• Buscheto (architect)
• Rainaldo (facade)
• Guglielmo (original pulpit and marble decor)

The three artists listed above are buried in the cathedral.

• Cimabue (mosaic in apse)
• Tino da Camaino (Henry VII's funeral monument)
• Bonanno Pisano (original bronze door)
• Giambologna and his school (bronze door of the facade)
• Giovanni Pisano (pulpit)
• Nicola Pisano e Giovanni Pisano (crown around the dome)
• Pietro Tacca (cross and angel candle bearer)
• Andrea del Sarto (various paintings)
• Il Sodoma (various paintings)
• Giovanni Battista Tempesti (various paintings)
• Biduino (marble ornament)
• Giuliano Vangi (pulpit and main altar)
• Orazio Riminaldi and Girolamo Riminaldi (fresco in cupola)
• Vincenzo Possenti (candlestick)

src: lovefromtuscany.com

Next interest

• At the end of the 10th century, Pisa established March 25 as the beginning of its new year. This date is considered very important because it is a Feast of Warning (occurring nine months before the birth of Christ on December 25) and falls very close to the spring turning point. To mark the beginning of Pisan's new year, a system was made in a cathedral where a beam of light shone through a circular window on the south side of the nave and, at exactly noon on March 25, landed in the same place every year: on a shelf attached to a pole in the opposite side of the church. This shelf rests on a marble egg, a symbol of birth and a new life. In 1750 the first day of the new year was officially changed to January 1, but the event is still celebrated every year with serious religious and civil celebrations.
• The light in the center of the nave is called the Galileo lamp, because a legend says that a great scientist formulates his theory of isochronism from the pendulum while observing his oscillation from the nave roof. The original, however, smaller and very different from this one, found today in Camposanto.

• On the north side, to the left side of the facade in front of Camposanto around the eye level, is the original part of Roman marble (as witnessed by partially visible decorations), which is a series of small black marks. Legend has it that these signs are abandoned by the devil when he ascends to the dome that tries to stop its construction, so they are referred to as scratch the devil . (The legend also says that although the number of strokes always changes when counting.)
• The legend says that the amphora is placed on a small column on the right side of the apse used by Christ at Cana's wedding when she turns water into wine.
• Pope Gregory VIII is buried in the cathedral.

src: www.askideas.com

Other images

Note


src: previews.123rf.com




See also

• Piazza dei Miracoli
• the Archdiocese of Pisa
• Pisa tower tower
• Baptistry of Pisa



src: www.featurepics.com




External links

• Faith Places in Tuscany (in Italian and English)
• Stained glass windows in Pisa cathedral (In Italian)

Source of the article : Wikipedia