The most beautiful of Pistoja's pulpits, though the latest

in date, and the one most celebrated in art history, is that

in San Andrea; but placed as it is within one of the arches

on the north side of a very narrow, dark, Romanesque

church, it is hardly seen to advantage, but the eye is at once

struck with the beauty of its form and detail. There is no

doubt of the authenticity of this pulpit, for, "Giovanni, son

of Niceola,born at Pisa," is proudly written in characteristic

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THE CATHEDRALS OF CENTRAL ITALY

Gothic letters upon it. It bears a striking resemblance to
the one in the Baptistery at Pisa, but is characterised by-
greater delicacy. Out of regard that the Pistojans had for
Niccola Pisano, they confided the construction of this
pulpit to his son Giovanni, who excelled his father in
the delicacy of his work. It stands about 12 feet high, is
about 2 1 feet in circumference, and supported on seven
columns (in allusion to the mystical Biblical number) of
thin red marble from the Pisan mountains. Four of these
columns seem to have scarcely any support; three have their
base, one on the shoulder of a man, a fifth on the back of
a crouching lioness, the sixth on a lion with a horse under
him, while the central shaft is on a base flanked by two eagles
and supported by a lion. All these figures are Scriptural and
allegorical. The Nativity, Epiphany, Massacre of the Inno-
cents, Crucifixion, and Last Judgment, are the five subjects
represented on the pulpit, with endless variety of expression
and design. About one hundred and fifty figures can be
counted in relief, besides the beautifully worked angles,
the figures in which are about 1 foot 6 inches long. The
execution of this marvellous piece of work occupied four
years (1298-1301).
