But returning to Niccola, who was no less excellent as sculptor than as architect; in the façade of the Church of S. Martino in Lucca, under the portico that is above the lesser door, on the left as one enters into the church, where there is seen a Christ Deposed from the Cross, he made a marble scene in half-relief, all full of figures wrought with much diligence, having hollowed out the marble and finished the whole in a manner that gave hope to those who were previously working at the art with very great difficulty, that there soon should come one who, with more facility, would give them better assistance. The same Niccola, in the year 1240, gave the design for the Church of S. Jacopo in Pistoia, and put to work there in mosaic certain Tuscan masters who made the vaulting of the choir-niche, which, although in those times it was held as something difficult and of great cost, moves us to-day rather to laughter and to compassion than to marvel, and all the more because such confusion, which comes from lack of design, existed not only in Tuscany but throughout all Italy, where many buildings and other works, that were being wrought without method and without design, give us to know no less the poverty of their talents than the unmeasured riches wasted by the men of those times, by reason of their having had no masters who might execute in a good manner any work that they might do.
Niccola, then, by means of the works that he was making in sculpture and in architecture, was going on ever acquiring a greater name than the sculptors and architects who were then working in Romagna, as can be seen in S. Ippolito and S. Giovanni of Faenza, in the Duomo of Ravenna, in S. Francesco, in the houses of the Traversari, and in the Church of Porto; and at Rimini, in the fabric of the public buildings, in the houses of the Malatesti, and in other buildings, which are all much worse than the old edifices made about the same time in Tuscany. And what has been said of Romagna can be also said with truth of a part of Lombardy. A glance at the Duomo of Ferrara, and at the other buildings made by the Marquis Azzo, will give us to know that this is the truth and how different they are from the Santo of Padua, made with the model of Niccola, and from the Church of the Friars Minor in Venice, both magnificent and honoured buildings. Many, in the time of Niccola, moved by laudable envy, applied themselves with more zeal to sculpture than they had done before, and particularly in Milan, whither there assembled for the building of the Duomo many Lombards and Germans, who afterwards scattered throughout Italy by reason of the discords that arose between the Milanese and the Emperor Frederick. And so these craftsmen, beginning to compete among themselves both in marble and in building, found some little of the good. The same came to pass in Florence after the works of Arnolfo and Niccola had been seen; and the latter, while the little Church of the Misericordia was being erected from his design in the Piazza di S. Giovanni, made therein in marble, with his own hand, a Madonna with S. Dominic and another Saint, one on either side of her, which may still be seen on the outer façade of the said church.
Alinari
THE ADORATION OF THE MAGI
(Detail, after Niccola Pisano, from the Pulpit of the Baptistery, Pisa) View larger image
The Florentines had begun, in the time of Niccola, to throw to the ground many towers made formerly in barbaric manner throughout the whole city, in order that the people might be less hurt by reason of these in the brawls that were often taking place between the Guelphs and the Ghibellines, or in order that there might be greater security for the State, and it appeared to them that it would be very difficult to pull down the Tower of Guardamorto, which was in the Piazza di S. Giovanni, because the walls had been made so stoutly that they could not be pulled to pieces with pickaxes, and all the more because it was very high. Wherefore, Niccola causing the foot of the tower to be cut away on one side and supporting it with wooden props a braccio and a half in length, and then setting fire to them, as soon as the props were burnt away it fell and was almost entirely shattered; which was held something so ingenious and useful for such affairs that later it passed into use, insomuch that, when there is need, any building is destroyed in very little time with this most easy method. Niccola was present at the first foundation of the Duomo of Siena, and designed the Church of S. Giovanni in the same city; then, having returned to Florence in the same year that the Guelphs returned, he designed the Church of S. Trinita, and the Convent of the Nuns of Faenza, destroyed in our day in order to make the citadel. Being next summoned to Naples, in order not to desert the work in Tuscany he sent thither Maglione, his pupil, a sculptor and architect, who afterwards made, in the time of Conradin, the Church of S. Lorenzo in Naples, finished part of the Piscopio, and made there certain tombs, wherein he imitated closely the manner of Niccola, his master.
Niccola, meanwhile, being summoned by the people of Volterra, in the year 1254 (when they came under the power of the Florentines), in order that their Duomo, which was small, might be enlarged, he brought it to better form, although it was very irregular, and made it more magnificent than it was before. Then, having returned finally to Pisa, he made the pulpit of S. Giovanni, in marble, putting therein all diligence in order to leave a memorial of himself to his country; and among other things, carving in it the Universal Judgment, he made therein many figures, if not with perfect design, at least with infinite patience and diligence, as can be seen. And because it appeared to him, as was true, that he had done a work worthy of praise, he carved at the foot of it these verses:
ANNO MILLENO BIS CENTUM BISQUE TRIDENO HOC OPUS INSIGNE SCULPSIT NICOLA PISANUS.
The people of Siena, moved by the fame of this work, which greatly pleased not only the Pisans but everyone who saw it, gave to Niccola the making of the pulpit of their Duomo, in which there is sung the Gospel; Guglielmo Mariscotti being Prætor. In this Niccola made many stories of Jesus Christ, with much credit to himself, by reason of the figures that are there wrought and with great difficulty almost wholly detached from the marble. Niccola likewise made the design of the Church and Convent of S. Domenico in Arezzo for the Lords of Pietramala, who erected it. And at the entreaty of Bishop Ubertini he restored the Pieve of Cortona, and founded the Church of S. Margherita for the Friars of S. Francis, on the highest point of that city.
Alinari
THE VISITATION AND THE NATIVITY
(Detail, after Niccola Pisano, from the Pulpit of the Baptistery, Siena) View larger image
Wherefore, the fame of Niccola ever growing greater by reason of so great works, he was summoned in the year 1267, by Pope Clement IV, to Viterbo, where, besides many other works, he restored the Church and Convent of the Preaching Friars. From Viterbo he went to Naples to King Charles I, who, having routed and slain Conradin on the plain of Tagliacozzo, caused to be made on that spot a very rich church and abbey, burying therein the infinite number of bodies slain on that day, and ordaining afterwards that there should be prayers offered by many monks, day and night, for their souls; in which building King Charles was so well pleased with the work of Niccola that he honoured and rewarded him very greatly. Returning from Naples to Tuscany, Niccola stayed in Orvieto for the building of S. Maria, and working there in company with some Germans, he made in marble, for the façade of that church, certain figures in the round, and in particular two scenes of the Universal Judgment containing Paradise and Hell; and even as he strove, in the Paradise, to give the greatest beauty that he knew to the souls of the blessed, restored to their bodies, so too in the Hell he made the strangest forms of devils that can possibly be seen, most intent on tormenting the souls of the damned; and in this work he surpassed not merely the Germans who were working there but even his own self, to his own great credit. And for the reason that he made therein a great number of figures and endured much fatigue, it has been nothing but praised up to our own times by those who have had no more judgment than this much in sculpture.
Niccola had, among others, a son called Giovanni, who, because he ever followed his father and applied himself under his teaching to sculpture and to architecture, in a few years became not only equal to his father but in some ways superior; wherefore Niccola, being now old, retired to Pisa, and living there quietly left the management of everything to his son. Pope Urban IV having died at that time in Perugia, a