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Europe 1300 - 1800
Course: Europe 1300 - 1800 > Unit 2
Lesson 2: Florence, the Late Gothic- Florence in the Late Gothic period, an introduction
- Dante’s Divine Comedy in Late Medieval and Early Renaissance art
- Cimabue, Santa Trinita Madonna
- Giotto, The Ognissanti Madonna
- Cimabue, Santa Trinita Madonna & Giotto's Ognissanti Madonna
- Giotto, Ognissanti Madonna (quiz)
- Giotto, St. Francis Receiving the Stigmata
- Giotto, Arena (Scrovegni) Chapel
- The Arena Chapel (and Giotto's frescos) in virtual reality
- Giotto, Arena (Scrovegni) Chapel (part 1)
- Giotto, Arena (Scrovegni) Chapel (part 2)
- Giotto, Arena (Scrovegni) Chapel (part 3)
- Giotto, Arena (Scrovegni) Chapel (part 4)
- Giotto, Arena Chapel
- Giotto, The Entombment of Mary
- A rare embroidery made for an altar at Santa Maria Novella
- Laudario of Sant’Agnese
- Andrea Pisano's reliefs on the Campanile in Florence
- The Ponte Vecchio (“Old Bridge”) in Florence
- Florence in the 1300s
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Andrea Pisano's reliefs on the Campanile in Florence
Andrea Pisano, Reliefs for the Campanile in Florence, c. 1336
Speakers: David Drogin and Beth Harris. Created by Beth Harris and Steven Zucker.
Want to join the conversation?
- Was Andrea Pisano related to Nicola Pisano?(4 votes)
- A lot of the time Renaissance artist's last names indicate where they are from -- for example, Leonardo da Vinci was actually born in the small town of Vinci. In this way, Andrea Pisano was born in the province of Pisa. Nicola Pisano was not, but he later moved to Pisa and completed most of his work there. While he was there he had a son, Giovanni Pisano, who, as you might be able to guess, hails from Pisa. Hope that clears some things up!(14 votes)
- This video has narration in the left audio channel only.(10 votes)
- Does anyone know how much the Campanile cost to built (approximately) in a conversion to today's money?(1 vote)
- Good historians are generally very cautious when it comes to trying to determine relative value through history. This is a terribly complex question when you consider that at the end of the Medieval period the modern system of wage labor did not exist, direct trade was common, and the costs of labor vs. materials was generally the inverse of what it is now. Labor, even skilled labor, was generally relatively inexpensive while material costs could be astronomically expensive. Add to this the fact that we can only estimate the population, wealth, inflation, deflation etc.(12 votes)
- AtI disagree with David's comment about Gothic-style based on the lack of the form of God's body under His robe. I think this has more to do with Him leaning over, which in turn would make more formless in the front. You'll notice in the sculptor relief that the robes also fall naturally with the way the sculptor is sitting; clearly showing a sense of figure underneath. 2:38(5 votes)
- I agree. I think instead this distinction should be made: Gothic was more focused on courtly elegance, with elongated Madonnas in a graceful S-curve figure; Italian Renaissance art was more interested in naturalistic, classicizing poses, with extra focus on 'realistic' anatomy.(3 votes)
- I notice a lot of Christian art is mingled with astrology. What is the connection?(4 votes)
- what is gothic art? Is it made out of black marble, or painted with dark colors?(1 vote)
- Goth, contrary to popular belief, was actually a style of art from a period of time, not "black" and "dark".(3 votes)
- At, David Drogin says "...there are signs of the zodiac..." on the reliefs around the bottom of this bell tower. Aren't those "pagan" and thus not "christian" images? How would that fly as acceptable in this era? 1:22(1 vote)
- One thing that springs to mind here is the image of Christ Chronocrator, Christ portrayed as the master of the universe and the zodiac, the principle that makes the entire universe and the zodiac move. In this manner, Christians incorporated handy pagan tools into their own worldview so that they could continue to use them to measure the progression of time. For examples of these images and some more explanation see the brilliant book "Symbols and Allegories in Art" by Matilde Battistini, pages 24-29. These particular pages are available on Google Books: http://books.google.be/books?id=Zs07zcj_uosC&printsec=frontcover&dq=symbols+and+allegories+in+art&hl=nl&sa=X&ei=CduvU7yHOo6w7AaamoCwAg&ved=0CB8Q6AEwAA#v=onepage&q=symbols%20and%20allegories%20in%20art&f=false)(2 votes)
- How long did it take to make the pictures on the bottom?(1 vote)
- Do the colors here have any affinity to the Italian flag? Or it's just coincidental? 1:34(1 vote)
- I am guessing that it may just be coincidental. The (current) Italian flag has been in use since just after WWII. The use of the three colors (tricolour) has been used since around Napolean's time - but this is still circa 1800 and the Campanile was built much earlier.
Great question! I never would have made any connection.(1 vote)
Video transcript
Voiceover: Here we have a view of Florence where we can see the bell tower, the Campanile in the
center, and then on the left just a little corner of the Baptistry, and on the back end the
Cathedral of Florence with Brunelleschi's dome at the top. Voiceover: Right. The Baptistry is a medieval building from the 10th century probably. The Cathedral, the Duomo, they began building almost around 1300 and the bell tower starts going up a little bit after that
and then the dome is built from the early 1400s and
finished in the 1470s. Voiceover: So what are we
looking at with the bell tower? Voiceover: The bell tower, right now, we're gonna concentrate
on the very bottom. Around 1340, even though the tower wasn't complete yet, they decided, the town and the guilds of Florence, specifically the wool
guild that was in charge of decorating the cathedral, decided that they wanted to decorate the bottom of the tower
because even though it wasn't complete, it was embarrassing having just this bare undecorated surface where everyone's walking around, as you can see, all the time. And so the two very bottom layers are decorated with many reliefs and these are in stone marble rather than the bronze
that's on the Baptistry. The reliefs cover a lot of subjects. There are Biblical scenes. There are signs of the Zodiac. There are also scenes of
local art and industry. Some of these things may sound unusual. Of course, the Biblical scenes makes sense on the church building. Voiceover: Industry and the - ? Voiceover: Those are a little bit unusual. We'll see why they might
want to include those. We should also say that the Zodiac signs are not unusual because
the medieval Christians were very able or very comfortably blended their belief in Christianity and their Christian devotion with interest in the horoscope. Voiceover: Yep, and we see that a lot on medieval churches. Voiceover: That's right. Let's look at some of these reliefs. Here's one of the religious scenes. This is the Creation of Adam. The artist is Andrea Pisano, who around the same time is working on the bronze reliefs just across the street on the south doors of the Baptistry. Those scenes were about John the Baptist and here's one of the Biblical
scenes on the bell tower. And again, this is typical of his style as we've described it. It's very, very simplified with mostly a blank background, just
a few things to give you a sense of the setting,
here a few stylized trees, and we have God leaning
over and creating Adam. Voiceover: Yeah, literally
out of the dust of the earth and he sort of takes form. Voiceover: Right and this
is another good example of how Andrea Pisano
combines a kind of gothic stylization with a
naturalistic classicism. Voiceover: Where do you
see the gothic stylization? Voiceover: Well, the
figure of God the Father, in some ways the way
the robes are rendered without a great sense
of the body underneath, the kind of rhythmic folds, all of this is pretty traditional. Voiceover: Right so we
have sense of the body, but there's not an entire
sense of a real physical anatomically correct body underneath it. Voiceover: That's right. Voiceover: Like there will
be later with Donatello. Voiceover: Mm hmm and
instead, the figure of Adam is a nude athletic male even though it's damaged here, it's classicizing and it's naturalistic. He's in a contrapposto stance evnen though he's lying down. That doesn't make any sense. Contrapposto is usually something for standing up, but the fact that he's done that anyway shows how interested he was in giving it a classic appearance. Voiceover: Yeah, I mean,
we can see his ribs and some muscles there too. Voiceover: That's right. So this is very typical for his style. Here now we're looking at one of the scenes of local industry. Voiceover: Wow, this looks a lot like the one of God creating Adam. Voiceover: Well, it's
interesting that you say that because the industry that's represented here is sculpture and
this is an interesting way for an artist, Andrea
Pisano, to suggest that the work of the sculptor,
the work of the artist, is in some ways like the work of God. Both are creators. In fact, we also see
again the creator here, the artist, leaning over a bearded man, in rather stylized robes, leaning over a nude, more naturalistic, more classicizing figure. Now, of course, he's not
going to get in trouble. There's a sense of modesty here because look again and compare this to the way God creates Adam. God is in nature, He uses
a gesture of his hand, and Adam is clearly supposed to be a real living person. When we look at the
sculptor in the studio, he's in the studio, he's using tools. The use of the tools
is really conspicuous. Voiceover: He can't
create simply by his word or by some kind of spiritual action. Voiceover: That's right. And also what he's creating is not going to be mistaken for a real person. It's stiff and it's much smaller in scale. Voiceover: But still it
seems to be almost a sign of the desire to elevate
the status of the artist. Voiceover: It absolutely is a sign of that and it's also definitely
a sign of the pride that the Florentines take in their arts. I mean, this is a very important location, the bell tower of the Cathedral, and they're displaying
in a way what makes them proud and prosperous as Florentines. In one part, it's the arts. Voiceover: And so this
could be described as part of that civic pride
that I always think is so important in terms of commissioning so much art in the Renaissance. Voiceover: That's right. Here's another scene of local industry. This is weaving, which is
one of the main reasons why Florence is so very
prosperous around 1340 when these reliefs are being made. You could talk about it
in terms of the style being typical for Andrea Pisano, the boiling down to the
essential ingredients, but really what stands out is
the way it celebrates industry, manual labor and the things that make this city where it is. Voiceover: It's amazing. And so the guilds were really powerful in enriching the city
and decorating the city with beautiful sculptures and reliefs and at the same time wanting to see their own image in a way. Voiceover: That's right.