The Santa Maria Assunta Cathedral in Pisa is located in the Piazza dei Miracoli, together with the other important places of interest in the city. The Duomo was built in the 11th century, with a major reconstruction after a fire in 1595. Though many of the original works of art are now in the Museo dell’Opera del Duomo, the interior is still one of the city’s must-sees.
Santa Maria Assunta Cathedral Pisa, a brief history
Although there probably already was a cathedral in the 6th century, construction of the present structure was only started in 1063, after the Canonici della Cattedrale had acquired several buildings in the area.
Construction onstruction of St. Mark’s in Venice began more or less at the same time. This happened after a Pisan fleet attacked the Sicilian city of Muslim-occupied Palermo. They fought alongside the Norman leader Robert Guiscard. It was the spoils of this war that made the construction of the Cathedral possible.
The architect Buscheto, who worked on the cathedral till he died in 1110, used many different (from Arab to Norman and from early Christian to Byzantine) influences in his design. Very little is known about the architect.
After the death of Buscheto, his successor Rainaldo oversaw its completion, which included an enlargement of both the facade and the apse. The first five arches on the sides show the size of th enlargement.
Although the work had not yet been completed, the new cathedral was consacrated in 1118.
The grandeur of the cathedral was also meant to convey what a mighty sea nation Pisa was at that time.
In 1595 there was a big fire, in which the original doors and part of the interior were destroyed. Most of the church needed to be refurbished after this. The present gilded cassette ceiling replaced the original timber roof truss. The tomb of Gregory VIII, who died in Pisa after only two months of pontificate, did not survive the fire.
A restoration in the 19th century saw many works of art being replace by copies, Several of the originals can be seen in the Museo dell’Opera del Duomo.
What to see
Exterior
Buscheto designed a church with a high nave, flanked by two lower aisles, and a transept. The upper part of the façade, generally attributed to Rainaldo, consists of four loggias built on top of each other. The statue topping the façade depicts the “Madonna and Child”.
Busqueto‘s tomb is visible on the left side of the facade. Placed there by Rainaldo, it is accompanied by two inscriptions eulogising the original architect. Another, smaller inscription, referring to Rainaldo himself, is visible in the space between two of the arches.
After the fire of 1595, the wooden doors, including the central one with a bronze covering by Bonanno Pisano, were replaced. The biggest, central door is a copy. The original is in the Museo dell’Opera del Duomo. The columns are originals. The lions are not, although one of the originals is also in the museum. Many other decorations, including several capitols, are also copies. The new doors were made by Giambologna and his pupils.
The mosaics in the lunettes above the three doors were made in the 18th century, by Giuseppe Modena da Lucca. They represent, from left to right, “Santa Reparata”, “The Assumption” and “John the Baptist”.
The Griffin of Pisa
The bronze Griffin of Pisa stands on a column on the roof of the Duomo. The 12th century original of this sculpture is in the Museo dell’Opera del Duomo.
Doors
After the fire of 1595, Giambologna, who was of Flemish origin and whose real name was Jean Boulogne, was commissioned to make new doors.
Interior
The interior consists of five naves. Buscheto had to invent special “machines” to help him lift the enormous monolythic granite columns separating the naves and ends in an apse. The transept also consists of three naves and ends in apses.
The current ceiling dates back to the years after the fire of 1595, which destroyed the original wooden one. It was the work of Domenico and Bartolomeo Atticciati.
Cupola
The cupola was decorated between 1627 and 1630 by Orazio Riminaldi, with frescoes depicting the “Madonna in Glory”.
There are two triumphal arches, the first one was frescoed by the Maestro di San Torpè (“Madonna and Child”, early 14th century).
Jesus Pantocrator Mosaic
An absolute highlight is the mosaic in the apse attributed to Cimabue, depicting “Jesus as Pantocrator”. According to tradition, the Pantocrator is depicted frontally, with a Gospel book in his left hand, making a blessing gesture with his other hand. However, Cimabue died in 1302 and the work was only completed in 1320. In addition to Christ, Mary and John the Evangelist are depicted, and it is assumed that Cimabue himself only worked on the latter. The rest of the mosaic is the work of Francesco da Pisa and Vincino da Pistoia.
The Latin text on the book means, “I am the light of the world”. The words on his garment refer to the viper and the basilisk he is trampling under his feets and the lions and dragons on both sides of his throne.
Pulpit
The pulpit Giovanni Pisani made between 1302 and 1311 also survived the fire. The nine panels on the chair depict New Testament scenes. In 1926, the chair, which had been considered lost for almost 3 centuries by that time, was recovered. The pulpit in the cathedral is a replica.
Tomb of Henry VII
In 1315, Timo di Caimano, built the tomb of the Holy Roman Emperor Henry VII, which was placed behind the altar, above the grave itself. A statue of the emperor was lying on top, and it was surrounded by several other statues. Later, for political reasons, the tomb was dismantled and its component parts moved elsewhere. Some statues were placed on the façade, while other elements ended up in the Museo dell’Opera del Duomo. The statues of the Emperor and his counsillors were moved to the cemetery. The grave remained where it was till 1985, when it was moved to the right transept.
San Ranieri
A copy of the famous Porta di San Raniero is in the right transept, together with the urn of the saint. The urn is decorated with elements that used to be part of the original 1315 tomb made by Timo da Caimano for the Emperor Henry VII. (The statues of the emperor and his dignitaries, that also formed part of his tomb, are in the museum.)
Madonna di Sotto gli Organi
Also in the right transept, you can find the Madonna sotto gli Organi, so-called because of its location, underneath the organs of the church. This 13th century tempera painting is attributed to Berlinghiero Berlinghieri. The exact date of the painting is unknown, but it is supposed to be after 1210. After it had been save from the fire, for a long time it was covered with precious cloths and only displayed once every 25 years.
Presbytery
The late 18th century bronze crucifix adorning the main altar is the work of Giambologna. The original altar itself was recently replaced with a new one by the sculptor Vangi. The paintings on the pillars at the front of the presbytery represent “Sant’Agnese” (Andrea del Sarto, painted between 1524 and 1530) and “Madonna and Child” (Antonio Sogliani, 1538). The tribune is decorated with 27 paintings by 16th and 17th century artists, such as Beccafumi, Bilivert, Riminaldi, Rosselli and Sogliani.
Side-naves
Many paintings in the side naves of the Cathedral are embellished with paintings showing Pisa at its most magnificent. The paintings date back to the 18th and 19th century.
Chandelier
The bronze chandelier above the central hallway was made in 1588, by Possenti after a design by Lorenzi.
Museo dell’Opera del Duomo
Some of the statues and other sculptures adorning the cathedral are not the originals. These are exhibited in the Museo dell’Opera del Duomo. Giovanni Pisani‘s original pulpit can also be seen in this museum.
What to know before you go
The address of the Cathedral of Santa Maria Assunta is Piazza del Duomo – 56126 Pisa (tel. +39). Bus: A, 3. Opening hours: In winter, the Cathedral is open from 10:00 to 12:45 and from 15:00 to 16:45 during the week and from 15:00 to 16:45 on weekends. The rest of the year it is open from 08.00 to 20.00 hours. Admission: Free.
Santa Maria Assunta Cathedral – Piazza del Duomo, Pisa
Bibliography
Bertini, Luca, Pisa itinerari. Guida alla visita della città.
Leave a Reply