Pisa Cathedral

The exterior

The rich exterior decoration contains multicolored marble, mosaic, and numerous bronze objects from the spoils of war, among which is the griffin. The arrival of the griffin in Pisa has been attributed to numerous Pisan military victories of the 11th and 12th centuries, including the 1087 Mahdia Campaign and the 1113–15 Balearic Expedition. The griffin was placed on a platform atop a column rising from the gable above the apse at the east end of the roof, probably as continuation of the original construction that started in 1064. In the early 19th century the original sculpture, which can now be seen in the cathedral museum, was removed from the roof and replaced with a copy. The high arches show Islamic and southern Italian influence.^Ref? The blind arches with lozenge shapes recall similar structures in Armenia.^Ref? The facade of grey and white marble, decorated with colored marble inserts, was built by Master Rainaldo. Above the three doorways are four levels of loggia divided by cornices with marble intarsia, behind which open single, double, and triple windows.

Detail of the west facade with inscription on the right above the main portal

Upper right wing of the central door with Latin inscription: He ordered it to be rebuilt in a more magnificent manner at his own expense in the year 1602

The cathedral was heavily damaged by a fire in 1595. The heavy bronze doors of the façade were newly designed, executed and completed in 1602 by sculptors around Giambologna on the expense of Ferdinando I de' Medici, the Grand Duke of Tuscany. At the top there is a Madonna and Child and, in the angles, the four evangelists. The tomb of Buscheto is found to the left of the north door of the facade.

Door of St. Ranier

Contrary to what might be thought, from the beginning the faithful entered the cathedral through the Gate of Saint Rainerius, found in the south transept of the same name, which faces the bell tower. For townsfolk approaching by via Santa Maria it was the shortest way to enter the cathedral. The door wings were cast about 1180 by Bonanno Pisano, and it is the only door not destroyed in 1595. The 24 bronze reliefs show stories of the New Testament. This bronze portal is one of the first produced in Italy during the Middle Ages, and is a forerunner of the bronze doors created by Andrea Pisano for the Baptistery in Florence (1329–1336).

Interior with coffered ceiling

Floor plan

Blessed sacrament chapel

The interior, subdivided at the front into a central nave flanked by two side aisles on either side and with the transept and apse in three naves, is covered with white and black marble, with monolithic grey marble columns having corinthian capitals. It has a wooden 17th-century coffered ceiling, painted and decorated with gold leaf, made by Domenico and Bartolomeo Atticciati; it bears the Medici coat of arms. Presumably the earlier ceiling was a structure with wooden trusses.

The inside of the dome, found where the central nave and the transepts cross, is decorated using a rare painting technique called encaustic[6][7] and depicts the Virgin in glory with saints by the Pisan artists Orazio and Girolamo Riminaldi (1627–1631). Restoration of the dome began in 2015 and was concluded in 2018.[8]

The granite Corinthian columns between the nave and the apse come from the mosque of Palermo, and are Pisan spoils retained in 1063 after a successful joint attack with the Normans on the Muslims in that city.

The large mosaic in the apse of Christ enthroned between the Virgin and Saint John is famous for the face of Saint John, painted by Cimabue in 1302, which miraculously survived the fire of 1595. This is the last work painted by Cimabue and the only work of his for which we have certified documentation. The work evokes the mosaics of the Byzantine and Norman churches found in Cefalù and Monreale in Sicily. The mosaic, in large part made by Francesco da Pisa, was brought to completion by Vincino da Pistoia with the Madonna on the left side (1320).

Among the medieval works that avoided destruction during the fire of 1595 are the fresco of the Madonna with Child in the triumphal arch by the Pisan artist Maestro di San Torpè, as well as the cosmati pavement, work rarely found outside of Lazio. It was made using inlaid marble to create geometric patterns (mid-12th century). Other fresco fragments from the late medieval period have survived, among which is Saint Jerome on one of the four central pylons, as well as Saint John the Bapstist, a Crucifixion, and Saints Cosmas and Damian on one of the pylons near the entrance, partially hidden by the entry way.

The pulpit of Giovanni Pisano

The pulpit, a masterpiece made by Giovanni Pisano (1302–1310), survived the fire but was dismantled during the work of restoration and was not reassembled until 1926. With its intricate architecture and its complex sculptural decoration the work presents one of the most sweeping narratives of the 13th-century imagination which reflects the religious renewal and fervor of the era. On the slightly curved panels are sculpted with an expressive language the episodes of the life of Christ. The structure is polygonal (exactly as seen in the analogous works in the Baptistery of Pisa, in the Siena Cathedral Pulpit, and in the church of Saint Andrew); but this is the first example in a work of this type in which the panels are slightly curved. Other original features include:

the presence of caryatids, sculpted figures in place of simple columns, that symbolize the Virtues; the use of scrolled 'shelving' in place of arches to support the raised platform; the sense of movement given by the numerous figures that fill up every empty space. For these qualities united to the skillful narrative art of the nine scenes the pulpit is generally considered to be a masterpiece, but more broadly it is considered a masterpiece of Italian gothic sculpture. This pulpit substituted the previous one made by Guglielmo (1157–1162) that was sent to the Cagliari Cathedral. Given the lack of documentation prior to its dismantling, the pulpit was placed in a location different from its original spot, and without doubt, its parts are not in their original positions either. It is unknown if the original work possessed a marble staircase.

The church also houses the relics of Saint Rainerius, patron saint of Pisa, and the fragmentary tomb of Henry VII, Holy Roman Emperor, who died at Buonconvento while holding Florence, in vain, under siege. The tomb, sculpted by Tino da Camaino between 1313 and 1315, was also dismantled then reconstructed and today sits in the right transept, while its original position was in the center of the apse as a sign of the city's ghibbeline adherence. Moved several times for political reasons, it eventually was separated into many parts (some inside the church, some on the facade, others in the Camposanto, and yet others in the cathedral museum).

The 27 paintings that cover the galleries behind the main altar, depicting Stories of the Old Testament and Stories of the Life of Christ, were made between the 16th and 17th centuries mostly by Tuscan artists, among whom are Andrea del Sarto (three works: Saint Agnes, Saints Catherine and Margaret, and Saints Peter and John the Baptist), il Sodoma, and Domenico Beccafumi (Stories of Moses and the Evangelists).

Numerous and prestigious are the sacred furnishings of the church, including the bronze crucifix found on the main altar, and the angel candleholders placed at the ends of the rich marble transenna, made by Giambologna, as well as the large ciborium in silver designed by Giovanni Battista Foggini (1678–86) on the altar of the Blessed Sacrament chapel. On the numerous side altars are located 16th and 17th century paintings. Among these works are the Our Lady of Graces with Saints, by the Florentine Mannerist Andrea del Sarto, and the Madonna Enthroned with Saints in the right transept, by Perin del Vaga, a student of Raphael, both finished by Giovanni Antonio Sogliani. In the Baroque style are: the Disputation of the Holy Sacrament by the Sienese painter Francesco Vanni, and the Cross with Saints by Genoan Giovanni Battista Paggi. Particularly well-loved is the 13th century image of a Madonna and Child, called the Madonna Under the Organ, attributed to Berlinghiero Berlinghieri of Volterra.

The cathedral, like the leaning bell tower, is sinking perceptibly into the ground, and a few indications of this instability are visible. For example, the difference in the floor levels of the original nave of Buscheto and the bays which were added later by Rainaldo.

One of the original marble panels of the gràdule, now in the cathedral museum

The cathedral's original gràdule^?, constructed by Giovanni Pisano and dating from the late 13th century, were replaced in 1865 by the present parvise. These marble panels, decorated with carved animal figures and faces, were used to create a low wall which was placed close to the outer perimeter of the cathedral and which created an enclosure that provided space for the numerous sarcophagi from the Roman period. During the Middle Ages, these panels were reused for burials of nobles (among them Beatrice of Lorraine) and other well known persons, such as the architect Buscheto himself, who is buried under the outer left arch of the west facade. Some fragments are still visible in the cathedral museum, while the sarcophagi were all moved inside the fence of the Camposanto.

Inside the cathedral are found the Serassi organ made between 1831 and 1835, as well as an organ made in 1977 by the company Mascioni of Cuvio.