Nicola Pisano, Pulpit, Pisa Baptistery; and Giovanni Pisano, Slaughter of the Innocents, Pulpit, Sant'Andrea church, Pistoia발음듣기
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Nicola Pisano, Pulpit, Pisa Baptistery; and Giovanni Pisano, Slaughter of the Innocents, Pulpit, Sant'Andrea church, Pistoia
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(music) [Male] Here we're looking at the Baptistry in Pisa, a building that was begun in the mid 12th century.발음듣기
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[Male] That's right. The Leaning Tower of Pisa, as it's known, is actually the bell tower of the Cathedral.발음듣기
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Usually this is how the buildings were arranged in these late Medieval Italian cities; the Cathedral with the Baptistry in front of it as a kind of religious and civic center of the city.발음듣기
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That had a great, great importance in these cities which were dominated by their Christian faith and practices because it was a place where essentially the individual, through baptism, was welcomed into the Christian community of that city.발음듣기
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[Female] So it makes sense that this is a place that the city government would want to decorate.발음듣기
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[Male] They were usually very richly decorated places, focus of a lot of patronage and attention because of their importance in cities of this type.발음듣기
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[Male] Well, inside we're seeing something that's leading to a great transition; relatively revolutionary, in fact.발음듣기
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This is the Pulpit by Nicola Pisano in the Pisa Baptistry, which was finished by about 1260.발음듣기
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Then this eagle supports a little stand where a book or other writings could be placed and the preacher would speak from it.발음듣기
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Then above are these reliefs that we see here, historiated reliefs, showing narratives from the life of Christ.발음듣기
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[Male] One of the virtues on top of the capital, below the reliefs. Fortitude means strength.발음듣기
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Here we see a figure, an allegorical figure, representing the virtue of strength, of fortitude.발음듣기
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What it is, though, is extremely influenced by Classical antiquity, both in terms of how it looks, but also in terms of what it means.발음듣기
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We can go even further in terms of who this figure is because as you can see, there's a lion's skin wrapped around his left arm and a lion cub that he holds on top of his right shoulder.발음듣기
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That helps us identify this nude, athletic, muscular figure as, in fact, Hercules, or Heracles, the Greek and Roman mythological half diety who is famous for his strength.발음듣기
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[Female] He's both Classical looking and a Classical figure and a Christian virtue, all at the same time.발음듣기
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[Male] That's right. It's a Christian virtue of fortitude as personified by the Classical figure of Hercules, therefore it has this Classical meaning.발음듣기
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Here we're looking at the figure of Fortitude by Nicola Pisano, compared to Diadumenos, a Classical figure probably by Polyclitus, a marble version of it.발음듣기
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What you can see are the ways that obviously Nicola Pisano was emulating, copying, influenced by, the Classical sculpture from centuries before.발음듣기
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There's a lot of attention to human anatomy, to the muscles of the body, to a kind of naturalism of the body.발음듣기
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Also, think about how Nicola Pisano's figure, even though it's attached to the pulpit, it exists really freely of it.발음듣기
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[Male] Exactly. What we're seeing here is this very, very Classical looking figure and it's also a Classical figure in terms of its subject matter a little bit because it does represent Hercules.발음듣기
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This is pretty important because throughout the Middle Ages up until this point, occasionally you would see figures that looked sometimes Classically influenced.발음듣기
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Here, for one of the first times in this period, we're seeing a kind of reconnection of Classical form and Classical content, even though, as we said, ultimately its representing a Christian virtue on a very Christian structure inside an extremely Christian building.발음듣기
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What we're seeing is an increasing interest in a kind of influence and a kind of rediscovery of Classical antiquity in various ways.발음듣기
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This is from the west portal at Chartres Cathedral. which is begun in the mid 12th century, Around the same time that the Pisa Baptistry was being built, these figures were being carved; a little bit earlier than Nicola Pisano's Pulpit.발음듣기
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But what we're showing here is very different schools of sculpture around the same general time.발음듣기
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You can see that the Gothic style, as you may know, is really characterized by very stiff, elongated, stylized figures, purposefully distant from any kind of naturalism, with the repeating folds of the drapery, the unindividualized faces, the repeating gestures.발음듣기
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Their proportions and their appearance are really dictated by the Gothic structure that they decorate.발음듣기
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They don't seem to interact with any kind of psychological verity with the world around them.발음듣기
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[Male] No contrapposto. So again, compared to Nicola Pisano's figure, they're really a world away.발음듣기
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You can see how he's moving very strongly away from that kind of Gothic tradition and other Medieval Romanesque traditions as well.발음듣기
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Here's a view of the upper part of the Pulpit, the same one, so we can see our friend, Fortitude, down here.발음듣기
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Then above, as we said, are these reliefs that represent stories or moments from the life and death of Christ.발음듣기
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In this particular scene that we see above and to the right of Fortitude is the Adoration of the Magi, which shows the three kings coming to visit the newly born Christ and the Virgin Mary who sits here in a chair.발음듣기
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What you can see is that this Classicizing aesthetic that's moving away from more Romanesque and Gothic styles is evident in these reliefs as well.발음듣기
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What we can see is that it's definitely moving away from that and heavily influenced by Classical antiquity.발음듣기
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This is relevant to the Pisans, the people who would be using and seeing this object when it was originally built.발음듣기
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There were many, many fragments and pieces like this, some of which were actually incorporated into the Medieval walls and buildings of the city, so there really was this sense that Classical antiquity made up the fabric and the identity of Pisa itself.발음듣기
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[Female] Still it had been sort of neglected for a long time and is being, now, rediscovered.발음듣기
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[Male] But now they're feeling like they can reconnect with that Classical heritage and identity.발음듣기
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This particular sarcophagus is important because it shows, especially related to the reliefs that we just looked at, how the figures are quite large.발음듣기
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They fill up the height of the relief completely, just like in Nicola Pisano's reliefs later on.발음듣기
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This standing male nude figure looks very, very much like the figure of Fortitude so might have been the influence for that figure.발음듣기
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Here we see a seated female figure who, although she's seated, takes up the whole height of the relief in exactly the same way that the Virgin Mary does in the Adoration of the Magi we looked at a second ago.발음듣기
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This might be the very example that Nicola Pisano might have looked at and it is very nearby, in a cemetery called the Camposanto, which is just a few yards away from the Baptistry.발음듣기
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He's probably from Southern Italy, maybe connected to the court of the Holy Roman Emperor, Frederick II, who in his patronage and interests was revitalizing a Classical revival.발음듣기
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Perhaps the artist influenced by that in his origins comes to Pisa, finds a city that's rich in Classical heritage, a people that are open to these new kinds of connections, and from there these changes start blossoming.발음듣기
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There's colored marble columns with capitals, allegorical figures on top of the capitals below reliefs that make up the low walls of the pulpit itself.발음듣기
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One difference you can see right away is that the corners that separate the reliefs are no longer small columns, but rather figures.발음듣기
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What this does is give a greater sense of continuity and connection between the individual reliefs as opposed to them being very distinctly separated by the frames that we saw in his father's example from 40 years before.발음듣기
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[Male] I want to look at one specific thing in this Pulpit, which is the relief that we see here on top of the Massacre of the Innocents.발음듣기
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This tells a story from the New Testament where Herod orders that all the newly born male children in Bethlehem be executed because he's heard that Christ has been born and this new leader that's going to bring great changes that he doesn't want, according to the text, so he orders this execution.발음듣기
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What we are looking at here is this really emotional, disturbing scene of Roman soldiers slaughtering children.발음듣기
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[Male] Their mothers trying to, as we see here, protect them or mourning over their dead bodies.발음듣기
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But what makes Giovanni Pisano's sculpture of the early 1300s more distinct is obviously his great interest in communicating emotions; a kind of vibrant expressionistic representation of the feelings that communicates the horrifying scene that we're looking at.발음듣기
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[Male] Exactly. Those are the keys for him and other artists throughout this period, using gestures and facial expressions to tell a story as powerfully as possible.발음듣기
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[Female] Of course this is another sign of moving away from the Middle Ages, from those Gothic, expressionless faces.발음듣기
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[Male] Especially in terms of marrying those kinds of expressions, that kind of emotion, with naturalism, because sometimes in Gothic art you do see things that are very graphic or violent looking, but also very stylized.발음듣기
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Here we have a kind of naturalistic representation that's naturalistic in terms of the physical appearance, and also naturalistic in terms of the psychological expressiveness.발음듣기
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