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Male: Here we're looking at the Baptistry in Pisa,
a building that was begun in the mid 12th century.
It's in a very famous location
that perhaps people have seen.
Female: It is where the Leaning Tower of Pisa is.
Male: That's right.
The Leaning Tower of Pisa, as it's known,
is actually the bell tower of the Cathedral.
This building, the Baptistry,
is in front of the Cathedral.
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.
Female: We see that in cities like Florence, too.
Male: That's right.
You see the same kind of arrangement there.
Baptistries were especially important buildings.
Of course, it was where baptisms would be performed.
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.
Female: So it makes sense that this is a place
that the city government would want to decorate.
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.
Female: Cool, so let's go inside.
We're in the Middle Ages when we're thinking about
the architecture, right?
When we go inside, we see something ...
Male: Well, inside we're seeing something
that's leading to a great transition;
relatively revolutionary, in fact.
That's when we look at this structure here,
which is inside the Baptistry.
This is the Pulpit by Nicola Pisano
in the Pisa Baptistry, which was finished by about 1260.
Female: A pulpit would be a place where
the priest would stand to deliver sermons.
Male: That's right.
They would climb up and these reliefs here
are essentially a low wall.
Then this eagle supports a little stand
where a book or other writings could be placed
and the preacher would speak from it.
Female: So everyone could see him
and everyone could hear him.
Male: We see these multicolored columns with capitals.
Above the capitals are these figures of virtues.
Then above are these reliefs that we see here,
historiated reliefs, showing narratives
from the life of Christ.
Those reliefs are separated by small columnettes.
What I'd like to draw our attention to
is this very interesting figure of Fortitude.
Female: This is one of the virtues.
Male: One of the virtues on top of the capital,
below the reliefs.
Fortitude means strength.
Here we see a figure, an allegorical figure,
representing the virtue of strength, of fortitude.
This figure is interesting and brings about
a change, points in a new direction.
Female: Really doesn't look like
a Medieval sculpture anymore.
Male: No. It's not very Romanesque looking.
As we'll see, it's definitely not very Gothic looking.
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.
Of course a muscular athletic figure makes sense
as a representation of fortitude.
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.
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.
Female: He's both Classical looking and
a Classical figure and a Christian virtue,
all at the same time.
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.
As you said, it also looks very, very Classicizing.
Female: Incredibly so.
Male: Perhaps we can best see that by comparing it
to an actual Classical sculpture.
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.
What you can see are the ways that obviously
Nicola Pisano was emulating, copying, influenced by,
the Classical sculpture from centuries before.
Female: It's remarkable. They both stand in contrapposto.
Male: That's right.
Female: So they both look very relaxed
and very natural in their pose.
There's a lot of attention to human anatomy,
to the muscles of the body, to a kind of
naturalism of the body.
Male: That's right.
The body kind of twists.
It looks in different directions.
The hips shift.
The shoulders shift.
It's relatively naturalistic in attention
to the musculature and the way a body stands.
Also, think about how Nicola Pisano's figure,
even though it's attached to the pulpit,
it exists really freely of it.
Female: He looks like he could walk away from it.
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.
This is pretty important because throughout
the Middle Ages up until this point,
occasionally you would see figures that looked
sometimes Classically influenced.
But usually their meaning was very far removed
from any kind of Classical meaning.
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.
What we're seeing is an increasing interest
in a kind of influence and a kind of rediscovery
of Classical antiquity in various ways.
Female: Yeah, that's so obvious.
Let's compare it to a Medieval sculpture
to make that point, some Gothic sculpture.
Male: Here's some Gothic sculpture.
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.
Female: And far away, in Paris.
Male: And far away, too.
But what we're showing here is very different
schools of sculpture around the same general time.
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.
Here are figures that do not really exist
autonomously from their background.
Their proportions and their appearance
are really dictated by the Gothic structure
that they decorate.
Female: Look at their feet.
There's no way that they could stand.
Male: They don't seem to really be standing.
They don't seem to interact with any kind
of psychological verity with the world around them.
Female: No contrapposto.
Male: No contrapposto.
So again, compared to Nicola Pisano's figure,
they're really a world away.
You can see how he's moving very strongly
away from that kind of Gothic tradition
and other Medieval Romanesque traditions as well.
Here's a view of the upper part of the Pulpit,
the same one, so we can see our friend,
Fortitude, down here.
Then above, as we said, are these reliefs
that represent stories or moments
from the life and death of Christ.
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.
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.
Female: Absolutely.
Male: Monumental, heavy figures with
Female: Yeah, big folds of drapery.
Male: Very heavy, somewhat naturalistic folds
of drapery that give you
Female: Very different than those lines
of the drapery in the Gothic.
Male: There's a little bit of repetition.
There's some stylization, certainly, to be found.
What we can see is that it's definitely moving
away from that and heavily influenced
by Classical antiquity.
This is relevant to the Pisans, the people
who would be using and seeing this object
when it was originally built.
Female: How so?
Male: Because their city actually has
a very strong Classical heritage.
Pisa was founded by ancient Romans.
The Medieval Pisans, they knew that.
The heritage of that Classical antiquity
surrounded them everywhere they looked.
There were lots of remnants
of Classical sculpture around them.
One example is this sarcophagus, this carved tomb,
which was, and still is, in Pisa.
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.
Female: Still it had been sort of neglected
for a long time and is being, now, rediscovered.
Male: But now they're feeling like they can reconnect
with that Classical heritage and identity.
This particular sarcophagus is important
because it shows, especially related to
the reliefs that we just looked at,
how the figures are quite large.
They fill up the height of the relief completely,
just like in Nicola Pisano's reliefs later on.
This standing male nude figure looks
very, very much like the figure of Fortitude
so might have been the influence for that figure.
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.
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.
Here we can really see that Classical influence in action.
Nicola Pisano, his last name means the Pisan,
but he's not actually from Pisa.
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.
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.
Female: Makes sense.
Male: Now, Nicola has a son named Giovanni.
They worked together on several projects.
Then around 1300, Giovanni Pisano starts
his own workshop and his own independent projects.
This is one of them.
This is the Pulpit from the Church of Sant'Andrea
in Pistoia, which is dated to 1301.
This is by Giovanni Pisano.
You can see the structure is essentially the same.
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.
One difference you can see right away is that
the corners that separate the reliefs
are no longer small columns, but rather figures.
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.
Female: Where they were attached columns there.
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.
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.
What we are looking at here is this really
emotional, disturbing scene of Roman soldiers
slaughtering children.
Female: And mothers.
Male: Their mothers trying to, as we see here,
protect them or mourning over their dead bodies.
Female: Or averting their glances.
Male: Averting their eyes, running away.
Soldiers with knives in their hands
actually executing infants.
Women covering their faces.
Here's Herod giving the order.
Now, in some ways Giovanni Pisano's sculpture
is connected to that of his father.
There's this naturalism that we saw
developing earlier on.
There's Classicism, especially in some of
the other areas of the Pulpit.
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.
It really connects with the viewer.
Female: Through their gestures, their facial expressions.
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.
Female: Of course this is another sign of moving away
from the Middle Ages,
from those Gothic, expressionless faces.
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.
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.
What's interesting is to think that this is happening
in the first years of the 1300s,
exactly at the same time that Giatto
is doing the very same thing in painting.
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