Page:Encyclopædia Britannica, Ninth Edition, v. 19.djvu/132

Rh 122 P I S - P I S eluding the suburbs a total of 44,518. Its university is one of the best in Italy; it is an important railway centre ; its commerce and manufactures are continually on the increase; its agriculture is rich and flourishing; and it is the chief city of a province numbering 283,563 inhabitants. See P. Tronei, Annali Pisani, 2 vols., Pisa, 1868-1871 ; Koncioni, &quot;Istorie Pisane, &quot; in the Archivio Storico Italiano, vol. vi. pt. 1 ; &quot;Cronache Pisane,&quot; iu the same Archivio, vol. vi. pt. 2 ; Repetti, Dizionario Geografico Storico della Toscana, s.r. &quot;Pisa.&quot; (P. V.) A few details regarding the principal buildings may be given by way of supplement to the foregoing article. The architects of the cathedral were Boschetto and Kinaldo, both Italians, probably Pisans. It is in plan a Latin cross, with an internal length of 311^ feet and a breadth of 252 feet. The nave, 109 feet high, has double vaulted aisles and the transepts single aisles ; and at the inter section of nave and transepts there is a cupola. The basilica is still the predominant type, but the influence of the domed churches of Constantinople and the mosques of Palermo is also apparent. The pillars which support the nave are of marble from Elba and Giglio ; those of the side aisles are the spoils of ancient Greek and Roman buildings brought by the Pisan galleys. Externally the finest part of the building is the west front, in which the note struck by the range of arches running round the base is repeated by four open arcades. Of the four doors three are by John of Bologna, who was greatly helped by Francavilla, Tacca, and others ; that of the south side, of much oLler date, is generally supposed to be the work of Bonanno. Of the interior decorations it is enough to mention the altars of the nave, said to be after designs by Michelangelo, and the mosaics in the dome and the apse, which were among the latest designs of CIMABUE (q.v.). The baptistery was completed only in 1278, and marred in the 14th century by the introduction of Gothic details. The building is a circle 100 feet in diameter, and is covered with a cone-surmounted dome 190 feet -high, on which -stands a statue of St Kaniero. The lowest range of semicircular arches consists of twenty columns and the second of sixty ; and above this is a row of eighteen windows in the same style separated by as many pilasters. In the interior, which is supported by four pilasters and eight columns, the most striking features are the octagonal font and the hexagonal pulpit, erected in 1260 by Niccola PlSAN O (q.v.). The campanile or &quot; leaning tower of Pisa&quot; is a round tower, the noblest, according to Freeman, of the southern Romanesque. Though the walls at the base are 13 feet thick, and at the top about half as much, they are constructed throughout of marble. The basement is surrounded by a range of semicircular arches supported by fifteen columns, and above this rise six arcades with thirty columns each. The eighth story, which contains the bells, is of much smaller diameter than the rest of the tower, and has only twelve columns. It is less to the beauty of its archi tecture, great though that is, than to the fact that, being 11 feet 2 inches (or if the cornice be included 13 feet 8 inches) out of the perpendicular, it strikes the imagination in a way peculiarly its own. The entire height is 183 feet, but the ascent is easy by a stair in the wall, and the visitor hardly perceives the inclination till he reaches the top and from the lower edge of the gallery looks &quot; down &quot; along the shaft receding to its base. There is no reason to suppose that the architects, Bonanno and William of Innsbruck, intended that the campanile should be built in this oblique position ; it would appear to have assumed it while the work was still in pro gress. The Campo Santo, lying to the north of the cathedral, owes i s origin to Archbishop Ubaldo (1188-1200), who made the spot peculiarly sacred by bringing fifty-three shiploads of earth from Mount Calvary. The building, erected in the Italian Gothic style between 1273 and 1283, by Giovanni Pisano, is of special interest chiefly for its famous frescos noticed above (see also ORCAGNA, vol. xvii. p. 815). PISA, LEONARDO OF. See PISANUS. PISANELLO. See PISANO, VITTOEB. PISANO, ANDREA. Andrea da Pontadera (c. 1270- 1348), generally known as Andrea Pisano, the chief pupil of GIOVANNI PISANO (q.v.), was born about 1270, and first learned the trade of a goldsmith, as did many other after wards celebrated artists. This early training was of the greatest value to him in his works in bronze, to which the manipulation of the precious metals gave precision of design and refinement of execution. He became a pupil of Giovanni Pisano about 1300, and worked with him on the sculpture for S. Maria della Spina at Pisa and elsewhere. But it is at Florence that his chief works were executed, and the formation of his mature style was due rather to Giotto than to his earlier master. Of the three world-famed bronze doors of the Florentine baptistery, the earliest one that on the south side was the work of Andrea ; he spent many years on it; and it was finally set up in 1336. 1 This marvellous piece of bronze work, in many respects perhaps the finest the world has ever seen, has all the breadth of a sculptor s modelling, with the finish of a piece of gold jewellery. It consists of a number of small quatrefoil panels the lower eight containing single figures of the Virtues (see the figure), and the rest scenes from the Part of the first bronze door of the Baptistery at Florence, by Andrea Pisano. life of the Baptist. In design the panels owe much to Giotto : the composition of each is simple and harmonious, kept strictly within the clue limits of the plastic art, no attempt at pictorial effects and varied planes being made, in this very unlike the perhaps more magnificent but less truly artistic reliefs on the third door, that last executed by Ghiberti. Andrea Pisano, while living in Florence, also produced many important works of marble sculpture, all of which show strongly Giotto s influence. In some cases probably they were actually designed by that artist, as, for instance, the double band of beautiful panel-reliefs which Andrea executed for the great campanile. The sub jects of these are the Four Great Prophets, the Seven Virtues, the Seven Sacraments, the Seven Works of Mercy, and the Seven Planets. The duomo contains the chief of Andrea s other Florentine works in marble. In 1347 he was appointed architect to the duomo of Orvieto, which had already been designed and begun by Lorenzo Maitani. The exact date of his death is not known, but it must have been shortly before the year 1349. Andrea Pisano had two sons, Nino and Tommaso, both, especi ally the former, sculptors of considerable ability. Nino was very successful in his statues of the Madonna and Child, which are full of human feeling and soft loveliness, a perfect embodiment of the Catholic ideal of the Divine Mother. Andrea s chief pupil was Andrea di Cione, better known as OKCAONA (q. v. ). Balduccio di Pisa, another, and in one branch (that of sculpture) equally gifted pupil, executed the wonderful shrine of S. Eustorgio at Milan a most magnificent mass of sculptured figures and reliefs. PISANO, GIOVANNI (c. 1250-1330), son of NICCOLA PISANO (see below), born about 1250, was but little inferior to his father either as an architect or a sculptor. Together 1 The date on the door, 1330, refers to the completion of the wax model, not of the casting, which was at first unsuccessful, and had to be done over again by Andrea himself.