Pulpit of Sant' Andrea, Pistoia

The Pulpit of Sant' Andrea, known locally as the Pulpito di Sant'Andrea, is a breathtaking masterpiece of medieval art nestled within the heart of Pistoia, Italy. Crafted by the renowned sculptor Giovanni Pisano between 1298 and 1301, this pulpit stands as a testament to the artistic prowess and innovative spirit of the late 13th century. As you stroll through the Church of Sant' Andrea, the pulpit's intricate carvings and symbolic figures beckon you to delve deeper into its rich history and captivating iconography.

The History of the Pulpit of Sant' Andrea

Commissioned in 1298, the Pulpit of Sant' Andrea was the brainchild of Giovanni Pisano, a master sculptor whose works have left an indelible mark on the landscape of Italian Gothic art. An inscription on the pulpit itself confirms Giovanni's authorship and notes the completion date in 1301. The commission was overseen by Arnoldo, with financial backing from Andrea Vitelli and Tino di Vitale, ensuring that this grand project would come to fruition.

Giovanni Pisano, following in the footsteps of his father Nicola Pisano, brought his unique vision to the Pulpit of Sant' Andrea. While it shares the hexagonal shape of Nicola's earlier work, the pulpit in Pistoia is distinguished by its more modest dimensions, designed to harmonize with the Romanesque architecture of the church it adorns. This harmonious blend of form and function is a hallmark of Giovanni's genius, making the pulpit a standout piece in the annals of medieval art.

The Base of the Columns

As you approach the pulpit, your eyes are immediately drawn to the base of its columns, where a menagerie of symbolic figures comes to life in marble. The pulpit is supported by six lateral columns and one central column, each adorned with intricate carvings that convey profound theological messages.

Among the six lateral columns, three are particularly noteworthy for their figurative depictions:

• A lioness nursing her cubs while clutching a hare in her paws, symbolizing Christ's nurturing and protective nature towards his followers.
• A lion triumphing over a horse, representing Christ's victory over the Antichrist.
• An Atlas figure in a tormented pose, embodying the weight of sin borne by those who reject the truth.

The central column, meanwhile, is adorned with a lion, an eagle, and a griffin, each representing different aspects of Christ's dual nature. The lion, king of the earth, and the eagle, king of the sky, converge in the griffin, a symbol of immortality and perfection that encapsulates Christ's divine and earthly natures.

The Middle Section

Moving upwards, the middle section of the pulpit captivates with its trilobed arches and spandrels, which depict scenes from the Old Testament. Here, the kings David and Solomon, along with various prophets, stand as silent witnesses to the unfolding drama of salvation history. The capitals of the columns are adorned with sibyls from pagan antiquity, bridging the gap between the ancient world and the new covenant brought by Christ.

The Upper Section

The upper section of the pulpit is where Giovanni Pisano's artistic genius truly shines. The five panels decorating the parapet are a tour de force of emotional intensity and narrative depth, each one a vivid tableau that draws the viewer into the heart of the Christian story.

• The first panel depicts the Annunciation, the Nativity, and the Announcement to the Shepherds, capturing the joyous arrival of the Savior.
• The second panel illustrates the Epiphany, the angelic warning to the Magi, and Joseph's dream, highlighting the divine guidance that safeguarded the Holy Family.
• The third panel, dedicated to the Massacre of the Innocents, is a poignant and harrowing scene that showcases Giovanni's ability to convey dramatic tension and human suffering.
• The fourth panel presents the Crucifixion, with Christ's lifeless body depicted in a strikingly realistic manner. The surrounding figures, from the fainting Virgin Mary to the remorseful Hebrews, add layers of emotional resonance to the scene.
• The final panel portrays the Last Judgment, divided into two distinct zones. Above, Christ welcomes the elect, while below, the damned writhe in grotesque contortions as they fall prey to Satan's grasp.

Between these panels, statues of saints and apostles, including Saint Stephen, Saint Andrew, and a mystical representation of Christ, stand as sentinels, further enriching the pulpit's iconographic program.

Conclusion

The Pulpit of Sant' Andrea is more than just a liturgical fixture; it is a profound narrative carved in stone, a testament to the spiritual and artistic fervor of its time. Giovanni Pisano's masterful blend of symbolism, emotion, and craftsmanship invites visitors to embark on a journey through the pivotal moments of Christian salvation history. As you stand before this magnificent work, you are not merely an observer but a participant in the timeless story it tells, making the Pulpit of Sant' Andrea an unmissable highlight of any visit to Pistoia.