THE LEANING TOWER

Famous world over, it has come to be the symbol of Pisa. Unfortunately, its inclination, now 4.265 meters (13.694 feet), is increasing at the slow but preoccupyng rate of 1 mm a year. Research on static problems relating to the monument is currently underway, with the hope that a solution may be found before it is too late. The tower is 179 feet tall on the north side, and 177 feet on the sounth side. From the top, where Galileo pedormed his experiments on falling masses in the 16th century, visitors can enjoy a splendid view of the city and the countryside around Pisa. The belltower was begun in 1173, probably under the supervision of Bonanno.

When three floors were already up, the terrain on the south side showed the first signs of sinking and work had to be suspended. In 1273 the project was resumed by Giovanni di Simone, although it was not completed until the second half of the 14th century by Tommaso Pisano, son of Andrea. The tower is cylindrical, a shape to be found in earlier belltowers in Ravenna on the east coast. Like the cathedral façade, it has a row of blind arches surmonted by logias which give the massive building a delicate, airy appearance. The bellchamber on the top has blind arches alternating with round arch openings. The Virgin and Child in the lunette over the entrance was sculpted by Andrea Guardi.

When plans for the bapstistry were drawn up by Diotisalvi in 1152, both the architectural design and building materials were selected to harmonize with the style of the cathedral, at time under construction a few yards away. Work progressed slowly but steadily under the supervision as Nicola and Giovanni Pisano, ad was finally completed towards the end of the 14th century.

THE EXTERIOR

The continous blind arcading that encircles the round building is broken up by four portals. The main portal (the one with carved pillars on the cathedral side) is adorned with 13th century reliefs illustrating stories from the Life of St. John the Baptist in the architrave. The Ascnesion, figures of the Apostles, and the months decorate the jambs. The statue of the Virgin in the lunette is a copy of Giovanni Pisano's original, now preserved in the Camposanto. The loggia of the second level is sourmounted by gable shaped cusps and pinnacles adorned with

sculpture by the Pisano's and their pupils. The dome, divided into eight sections by sculpted marble ribbing, strikingly crowns the building. On top is a gigantic bronze statue of St. john the Baptist dating from the early 1400s.

THE INTERIOR

The spacious interior is divided into a central zone surmounted by a matroneo and an outer ambulatory marked by a circle of massive pillars. Inside, the dome is pyramidal. At the center is the huge baptesimal font faced with superb inlaid marble and relief panels executed by Guido Bigarelli from Como in 1246. The bronze statue of St, John the Baptiste set on a Byzantine capital is a modern work. To the left is Nicola Pisano's celebrated PULPIT of 1260. Hexagonal, it is sustained by seven columns, three of which rest on crouching lions. The panels, sculpted in bas relief, represent the Nativity, the Adoration of the magi, the Presentation at the Temple, the Crucifixion, and the Last Judgement. The sculpture of Nicola Pisano, father of Giovanni, represents the link between romanesque and Gothic. Nicola's figures and composition were undoubtedly greatly influenced by Roman sculpture to which he was constantly

exposed, as sustained by seven columns, three of which rest on crouching lions. The panels, sculpted in bas relief, represent the Nativity, the Adoration of the magi, the Presentation at the Temple, the Crucifixion, and the Last Judgement. The sculpture of Nicola Pisano, father of Giovanni, represents the link between romanesque and Gothic. Nicola's figures and composition were undoubtedly greatly influenced by Roman sculpture to which he was constantly exposed, as numerous carved sarcophagi were still extant in medieval Pisa. Along the walls are several sculptures which were once part of the exterior decoration.