NICCOLA See also:

• PISANO, A
• PISANO, ANDREA
• PISANO, GIOVANNI (c. 1250-1330)
• NICCOLA PISANO (c. 1206-1278)
• PISANO, VITTORE (c. 1380-1456)

PISANO (c. 1206-1278)  , See also:

• ITALIAN

Italian sculptor and architect . Though he called himself Pisanus, from See also:

• PISA
• PISA, COUNCIL OF (1409)

Pisa, where most of his See also:

• LIFE

life was spent, he was not a See also:

• PISAN, CHRISTINE DE (1364-c. 1430)

Pisan by See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth . There are two distinct accounts of his parentage, both derived mainly from existing documents . According to one of these he is said to have been the son of " Petrus, a See also:

• NOTARY, or NOTARY PUBLIC

notary of See also:

• SIENA

Siena;" but this statement is very doubtful, especially as the word " Siena " or " de Senis " appears to be a conjectural addition . Another document among the archives of the Sienese See also:

• CATHEDRAL

Cathedral calls him son of " Petrus de See also:

• APULIA (sometimes APPULIa in manuscripts but never in inscriptions)

Apulia." Most See also:

• MODERN

modern writers accept the latter statement, and believe that he not only was a native of the See also:

• PROVINCE
• PROVINCE (Lat. provincia; perhaps a contraction of providentia)

province of Apulia in See also:

• SOUTHERN

southern See also:

• ITALY
• ITALY (Italia)

Italy, but also that he gained there his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early instruction in the arts of See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture and See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture . Those, on the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, who, with most of the older writers, prefer to accept the theory of Niccola's origin being Tuscan, suppose that he was a native of a small See also:

• TOWN

town called Apulia near See also:

• LUCCA (anc. Luca)
• LUCCA, BAGNI DI (Baths of Lucca, formerly Bagno a Corsena)

Lucca . Except through his See also:

• WORKS

works, but little is known of the See also:

• HISTORY

history of Niccola's life . As early as 1221 he is said to have been summoned to See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples by See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick II., to do See also:

• WORK

work in the new See also:

• CASTEL, LOUIS BERTRAND (1688-1757)

Castel del I'Uovo . This fact supports the theory of his southern origin, though not perhaps very strongly, as, some years before, the Pisan Bonannus had been chosen by the See also:

• NORMAN
• NORMAN, SIR HENRY WYLIE (1826-1904)

Norman See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king as the sculptor to See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast one of the See also:

• BRONZE

bronze doors for See also:

• MONREALE (contraction of monte-reale, so called from a palace built here by Roger I.)

Monreale Cathedral, where it still exists . The earliest existing piece of sculpture which can be attributed to Niccola is a beautiful See also:

• RELIEF

relief of the Deposition from the See also:

• CROSS

Cross in the tympanum of the See also:

• ARCH
• ARCH, JOSEPH (1826– )

arch of a See also:

• SIDE
• SIDE (mod. Eski Adalia)

side See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door at See also:

• SAN

San Martino at Lucca; it is remarkable for its graceful See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition and delicate finish of See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution . The date is about 1237 . In 1260, as an incised inscription records, he finished the See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble See also:

• PULPIT (from Lat. pulpitum, a staging, platform: equivalents are Fr. chaire d'eglise, Ital. pulpito, Ger. Kanzel)

pulpit for the Pisan See also:

• BAPTISTERY (Baptislerium, in the Greek Church 4wrurrilpiov)

baptistery; this is on the whole the finest of his works .

It is a high octagon, on semicircular See also:

• ARCHES, COURT OF

arches, with See also:

• TREFOIL (Lat. trif olium, three-leaved plant, Fr. trk/le, Ger. Dreiblatt and Dreiblattbogen)

trefoil cusps, supported by nine marble columns, three of which See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest on See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white marble lions . In See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design it presents that curious See also:

• COMBINATION (Lat. combinare, to combine)

combination of See also:

• GOTHIC

Gothic forms with classical details which is one of the characteristics of the See also:

• MEDIEVAL

medieval architecture of See also:

• NORTHERN

northern Italy; though much enriched with sculpture both in relief and in the See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round, the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general lines of the design are not sacrificed to this, but the sculpture is kept subordinate to the whole . In this respect it is See also:

• SUPERIOR

superior to the more magnificent pulpit at Siena, one of Niccola's later works, which suffers greatly from want of repose and purity of outline, owing to its being overloaded with reliefs and statuettes . Five of the sides of the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main octagon have panels with subjects—the Nativity, the See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi, the Presentation in the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple, the Crucifixion and the See also:

• DOOM (Old Eng. dOm, a word common to Tent. languages for that which is set up or ordered, from " do," in its original meaning of " place "; cf, Gr. &Ass, from stem of ri'rust)

Doom . These are all, especially the first three, works of the highest beauty, and a wonderful advance on anything of the sort that had been produced by Niccola's predecessors . The drapery is gracefully arranged in broad See also:

• SIMPLE

simple folds; the heads are full of the most See also:

• NOBLE, SIR ANDREW (1832- )

noble dignity; and the sweet yet stately beauty of the Madonna could hardly be surpassed . The See also:

• PANEL (O. Fr. panel, mod. panneau, piece of cloth, from Med. Lat. pannellus, diminutive of pannus, cloth)

panel with the Adoration of the Magi is perhaps the one in which Niccola's study of the See also:

• ANTIQUE (Lat. antiquus, old)

antique is most apparent (see figure) . The veiled and diademed figure of the Virgin See also:

• MOTHER

Mother, seated on a See also:

• THRONE

throne, recalls the See also:

• ROMAN

Roman See also:

• JUNO

Juno; the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph behind her might be that of See also:

• VULCAN (Volcanos)

Vulcan; while the youthful beauty of an See also:

• APOLLO (Gr. 'A2r6XXwv,'Airkkhwv)

Apollo and the mature dignity of a See also:

• JUPITER

Jupiter are suggested by the See also:

• STANDING

standing 2 See See also:

• SCHULTZ, HERMANN (1836- )

Schultz, Denkmdler der Kunst in Unter-Italien. vii . 5 . and kne See also:

• LING, PER HENRIK (1776-1839)

ling figures of the Magi . Certain figures in others of the panels are no less deeply imbued with classical feeling . The next important work of Niccola in date is the See also:

• AREA

Area di San Domenico, in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church at See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna consecrated to that See also:

• SAINT (lat. sanctus, " holy ")

saint, who died in 1221 .

Only the main See also:

• PART

part, the actual See also:

• SARCOPHAGUS (Gr. vapsorg yos, literally " flesh-eating," from vapt, flesh, ¢ayeiv, to eat)

sarcophagus covered with sculptured reliefs of St See also:

• DOMINIC, SAINT (1170-1221)

Dominic's life, is the work of Niccola and his pupils . The sculptured See also:

• BASE

base and curved roof with its fanciful ornaments are later additions . This " Arca " The Adoration of the Magi, one of the panels in the pulpit of the Pisan Baptistery, by Niccola See also:

• PISANO, A
• PISANO, ANDREA
• PISANO, GIOVANNI (c. 1250-1330)
• PISANO, NICCOLA (c. 1206-1278)
• PISANO, VITTORE (c. 1380-1456)

Pisano . was made when St Dominic was canonized, and his bones translated; it was finished in 1267, not by Niccola himself, but by his pupils . The most magnificent, though not the most beautiful, of Niccola's works is the See also:

• GREAT

great pulpit in Siena cathedral (1268) . It is much larger than that at Pisa, though somewhat similar in general design, being an octagon on cusped arches and columns . Its stairs, and a large landing at the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top, with carved balusters and panels, See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich with semi-classical foliage, are an addition of about 1500 . The pulpit itself is much overloaded with sculpture, and each relief is far too crowded with figures . An See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to gain magnificence of effect has destroyed the dignified simplicity for which the earlier pulpit is so remarkable . Niccola's last great work of sculpture was the See also:

• FOUNTAIN (Late Lat. fontana, from ions, a spring)

fountain in the piazza opposite the See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

west end of the cathedral at See also:

• PERUGIA (anc. Perusia)

Perugia . This is a See also:

• SERIES (a Latin word from serere, to join)

series of basins rising one above another, each with sculptured bas-reliefs; it was begun in 1274, and completed, except the topmost See also:

• BASIN, or BASON (the older form bacin is found in many of the Romanic languages, from the Late Lat. baccinus or bacchinus, probably derived from bacca, a bowl)
• BASIN, THOMAS (1412—1491)

basin, which is of bronze, by Niccola's son and See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil Giovanni . Niccola Pisano was not only pre-eminent as a sculptor, but was also the greatest Italian architect of his See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century; he designed a number of very important buildings, though not all which are attributed to him by See also:

• VASARI, GIORGIO (1511-1571)

Vasari .

Among those now existing the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief are the main part of the cathedral at See also:

• PISTOIA
• PISTOIA, SYNOD OF

Pistoia, the church and See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent of Sta Margherita at See also:

• CORTONA

Cortona, and Sta Trinity at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence . The church of Sant' See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio at See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua has also been attributed to him, but without See also:

• REASON (Lat. ratio, through French raison)

reason . Unfortunately his architectural works have in most cases been much altered and modernized . Niccola was also a skilled engineer, and was compelled by the Florentines to destroy the great See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

tower, called the Guardamorto, which overshadowed the baptistery at Florence, and had for See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long been the See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene of violent conflicts between the Guelphs and Ghibellines . He managed skilfully so that it should fall without injuring the baptistery . Niccola Pisano died at Pisa in the See also:

• YEAR

year 1278, leaving his son Giovanni a worthy successor to his great talents both as an architect and sculptor . Though his importance as a reviver of the old traditions of beauty in See also:

• ART

art has been to some extent exaggerated by Vasari, yet it is probable that Niccola, more than any other one See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, was the means of starting that " new birth " of the plastic arts which, in the years following his See also:

• DEATH

death, was so fertile in countless works of the most unrivalled beauty . Both Niccola and his son had many pupils of great See also:

• ARTISTIC

artistic See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power, and these carried the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of the See also:

• PISANI, VETTOR (d. 1380)

Pisani throughout See also:

• TUSCANY
• TUSCANY (Toscana)

Tuscany and northern Italy, so that the whole art of the succeeding generations may be said to have owed the greater part of its rapid development to this one See also:

• FAMILY

family . See SCULPTURE, and general histories of Italian art; See also:

• SYMONDS, JOHN ADDINGTON (184o-180, English critic and poet, was born at Bristol, on the 5th of October 184o. He was the only son of John Addington Symonds, M.D. (1807—1871)
• SYMONDS, WILLIAM SAMUEL (1818-1887)

Symonds,See also:

• RENAISSANCE, THE

Renaissance in Italy; A . Brach, Nicola and Giovanni Pisano and See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die Plastik See also:

• DES

des XIV . Jahrhunderts in Siena (See also:

• STRASSBURG, or STRASBURG (French Strasbourg)

Strassburg, 1904) .