Siena Cathedral Pulpit

The pulpit, with its seven narrative panels and nine decorative columns carved out of Carrara marble, showcases Nicola Pisano's talent for integrating classical themes into Christian traditions, making both Nicola Pisano and the Siena pulpit forerunners of the classical revival of the Italian Renaissance.

The prosperity of the city of Siena during the thirteenth century led to an increase in civic pride and interest in public works.

For the construction of the pulpit, a contract was drawn up in Pisa on September 29, 1265 between the artist Nicola Pisano and the Cistercian Fra Melano, who was the Master of the Cathedral works of Siena.

This contract stipulated precise clauses such as "the materials, times of work (Nicola was to be absent only for 60 days a year) payment and collaborators.

Before his commission on the Siena Cathedral Pulpit, Nicola had worked on two griffin heads in Apulia modeled with "light surface undulations, giving a soft chiaroscuro effect" which shows that he was influenced by Roman sculpture early on in his career.

[6] Commenting on the inspiration that Roman sarcophagi had on Nicola, Vasari wrote, "Nicola, pondering over the beauty of this work and being greatly pleased therewith, put so much study and diligence into imitating this manner and some other good sculptures that were in these other ancient sarcophagi, that he was judged, after no long time, the best sculptor of his day; there being in Tuscany in those times.

There are eight outer columns made of granite, porphyry and green marble that are "supported alternately, like the Pisa pulpit on flat bases and lions.

To the right of that there are two women, who look like Roman matrons who clasp hands "enacting the visitation" Below them are two midwives washing the child, which may be the work of Arnolfo di Cambi.

[8] In the center of the relief, Mary lounges like a "classical goddess or empress" To the right of her the panel depicts the visiting shepherds, who "are dressed in Roman tunics, while their sheep, clustered around the Virgin’s bed, have surely strayed in from some Virgilian Pastoral, or from Jasons quest.

At the Upper right, above the shepherds, intrudes the large head of a Roman Emperor, his beard and hair well-drilled in true lapidary fashion."

Above the two Roman matrons emerges an image of a Gothic arch and "the character of this architecture, its relative elegance and thinness of proportions, suggests transalpine influence.

The upper right hand corner holds the scene with Jesus being adored by the Magi while sitting on his mother’s lap.

In the center on the panel Jesus hangs upon the cross traditionally shown with his head falling to the side and modestly covered in a loin cloth.

[7] The outer columns that alternate between ending at a base or upon a lions back are examples of medieval traditions as are the tri-lobed arches.