Pisa, Leaning Tower

   
 

Tuscan art cities | Pisa, the Piazza dei Miracoli

 
 
Although Pisa is known worldwide for its Leaning Tower (the bell tower of the city's cathedral), the city contains more than 20 other historic churches, several palaces and various bridges across the River Arno.
The city is also home of the University of Pisa, which has a history going back to the 12th century

The Leaning Tower of Pisa, situated in Piazza dei Miracoli together with the Duomo, or simply the Tower of Pisa (Torre di Pisa) is the campanile, or freestanding bell tower, of the Duomo. It is situated behind the Cathedral and is the third oldest structure in Pisa's Cathedral Square (Piazza del Duomo) after the Cathedral and the Baptistry.


Pisa, Piazza dei Miracoli, 1931 [Archivio Storico Famiglia Gen. Enrico Pezzi]


Main sights


   

While the Leaning Tower is the most famous image of the city, it is one of many works of art and architecture in the city's Piazza del Duomo, also known, since 20th century, as Piazza dei Miracoli (Square of Miracles), to the north of the old town center. The Piazza del Duomo also houses the Duomo (the Cathedral), the Baptistry and the Camposanto Monumentale (the monumental cemetery).

Other interesting sights include:
* Knights' Square (Piazza dei Cavalieri), where the Palazzo della Carovana, with its impressive façade designed by Giorgio Vasari may be seen.
* In the same place is the church of Santo Stefano dei Cavalieri, also by Vasari. It had originally a single nave; two more were added in the 17th century. It houses a bust by Donatello, and paintings by Vasari, Jacopo Ligozzi, Alessandro Fei, and Jacopo Chimenti da Empoli. It also contains spoils from the many naval battles between the Cavalieri (Knights of St. Stephan) and the Turks between the 16–18th century, including the Turkish battle pennant hoisted from Ali Pacha's flagship at the 1571 Battle of Lepanto.
* Also close to the square is the small church of St. Sixtus. It was formally consecrated in 1133, but previously used as a seat of the most important notarial deeds of the town, also hosting the Council of Elders. It is today one of the best preserved early Romanesque buildings in town.
* The church of St. Francis, designed by Giovanni di Simone, built after 1276. In 1343 new chapels were added and the church was elevated. It has a single nave and a notable belfry, as well as a 15th-century cloister. It houses works by Jacopo da Empoli, Taddeo Gaddi and Santi di Tito. In the Gherardesca Chapel are buried Ugolino della Gherardesca and his sons.
* Church of San Frediano, built by 1061, has a basilica interior with three aisles, with a crucifix from the 12th century. 16th century paintings were added during a restoration, including works by Ventura Salimbeni, Domenico Passignano, Aurelio Lomi, and Rutilio Manetti.
* Church of San Nicola, built by 1097, was enlarged between 1297 and 1313 by the Augustinians, perhaps by the design of Giovanni Pisano. The octagonal belfry is from the second half of the 13th century. The paintings include the Madonna with Child by Francesco Traini (14th century) and St. Nicholas Saving Pisa from the Plague (15th century). Noteworthy are also the wood sculptures by Giovanni and Nino Pisano, and the Annunciation by Francesco di Valdambrino.
* The small church of Santa Maria della Spina, attributed to Lupo di Francesco (1230), is another excellent Gothic building.
* The chiesa di San Paolo a Ripa d'Arno, founded around 952 and enlarged in the mid-12th century along lines similar to those of the Cathedral. It is annexed to the Romanesque Chapel of St. Agatha, with an unusual pyramidal cusp or peak.
* The Borgo Stretto, a neighborhood where one can stroll beneath medieval arcades and the Lungarno, the avenues along the river Arno. It includes the Gothic-Romanesque church of San Michele in Borgo (990). Remarkably, there are at least two other leaning towers in the city, one at the southern end of central Via Santa Maria, the other halfway through the Piagge riverside promenade.
* The Medici Palace, once a possession of the Appiano family, who ruled Pisa in 1392–1398. In 1400 the Medici acquired it, and Lorenzo de' Medici sojourned here.
* The Orto botanico di Pisa is Europe's oldest university botanical garden.
* The Palazzo Reale ("Royal Palace"), once of the Caetani patrician family. Here Galileo Galilei showed to Grand Duke of Tuscany the planets he had discovered with his telescope. The edifice was erected in 1559 by Baccio Bandinelli for Cosimo I de Medici, and was later enlarged including other palaces.
* Palazzo Gambacorti, a Gothic building of the 14th century, is now the town hall. The interior shows frescoes boasting Pisa's sea victories.
* Palazzo Agostini, a Gothic building also known as Palazzo dell'Ussero, with its 15th century façade and remains of the ancient city walls dating back to before 1155. The name of the building comes from the coffee rooms of Caffè dell’Ussero, historic meeting place founded on 1 September 1775.
* The mural Tuttomondo, the last public work of Keith Haring, on the rear wall of the convent of the Church of Sant'Antonio, painted in June 1989.

 

Baptistery

Leaning Tower

 
 
Leo von Klenze, The Camposanto in Pisa, 1858, New Pinacothek of Munich


     

The Camposanto Cemetery, near the Duomo (cathedral) and Leaning Tower, was constructed to consolidate the remains of people who were once buried throughout the Field of Miracles. Many of the tombs are decorated with fine sculptures and stone carvings. A number of ancient caskets can be found in the building.
Most scholars attribute many of the huge frescoes of the Camposanto Monumentale in Pisa to Francesco Traini, including the Last Judgement, Inferno, Legends of the Hermits and, the famous Il Trionfo della Morte (the Triumph of Death). Francesco Traini was an Italian painter active between 1321 to 1365. [1] Other scholars attribute this last work to Buonamico Buffalmacco. [2]

The Trionfo della Morte (after 1350) is considered one of the finest and most powerful artworks of the Trecento as it displays the merciless omnipresence of death. It represents- like the earliest examples of Totentanz paintings which were contemporary in Germany - as a reaction to the horrors of the black death in the late 1340s. The fresco, with its naturalistic details, shows direct influences of the Sienese masters, Pietro and Ambrogio Lorenzetti.
American historian Barbara Tuchman examined the Traini fresco and described it thus: "A scroll warns that 'no shield of wisdom or riches, nobility or prowess' can protect them from the blows of the Approaching One. "They have taken more pleasure in the world than in things of God." In a heap of corpses nearby lie crowned rulers, a Pope in tiara, a knight, tumbled together with the bodies of the poor, while angels and devils in the sky contend for the miniature naked figures that represent their souls.[3]"
The frescoes of the Camposanto were unfortunately either severely damaged or destroyed by Allied air raids in World War II.

The legend of the Encounter between the Three Living and the Three Dead as shown in
the Triumph of Pisa, with the figures of the hermits and the admonishing monk makes
clear which role the ascetics played in the busy Italian cities. They held a counter position
against the material values of the world. In this fresco the monk acts as a
mediator between the Three Living and Three Dead. He came down from the mountain to
show a scroll with the following verse: 'What we are you will become'. That is his admonishment to the noble hunters, who have caught sight of the three lying corpses in
putrefaction. In their faces there is the terrible fear that the people of the fourteenth
century must have felt when faced with death. Artists, writers and churchman painted,
composed and preached stories about the dead and death, in order to put across the
message to the onlooker and the reader. All these messages differ in expression and show
a variety of solutions.

 

 

Camposanto
Francesco Traini or Buonamico Buffalmacco, Triumph of Death, fresco, (detail, lower left corner).
This section of the painting refers to the medieval tale of "The Three Living and Three Dead."


Palazzo della Carovana

Pisa, Palazzo della Carovana on the Piazza dei Cavalieri


Knights' Square (Piazza dei Cavalieri), where the Palazzo della Carovana, with its impressive façade designed by Giorgio Vasari may be seen.
In the same place is the church of Santo Stefano dei Cavalieri, also by Vasari. It had originally a single nave; two more were added in the 17th century. It houses a bust by Donatello, and paintings by Vasari, Jacopo Ligozzi, Alessandro Fei, and Jacopo Chimenti da Empoli. It also contains spoils from the many naval battles between the Cavalieri (Knights of St. Stephan) and the Turks between the 16–18th century, including the Turkish battle pennant hoisted from Ali Pacha's flagship at the 1571 Battle of Lepanto.
Also close to the square is the small church of St. Sixtus. It was formally consecrated in 1133, but previously used as a seat of the most important notarial deeds of the town , also hosting the Council of Elders. It is today one of the best preserved early Romanesque buildings in town.
The church of St. Francis, designed by Giovanni di Simone, built after 1276. In 1343 new chapels were added and the church was elevated. It has a single navev and a notable belfry, as well as a 15th century cloister. It houses works by Jacopo da Empoli, Taddeo Gaddi and Santi di Tito. In the Gherardesca Chapel are buried Ugolino della Gherardesca and his sons
Church of San Frediano, built by 1061, has a basilica interior with three aisles, with a crucifix from the 12th century. 16th century paintings were added during a restoration, including works by Ventura Salimbeni, Domenico Passignano, Aurelio Lomi, and Rutilio Manetti.
Church of San Nicola, built by 1097, was enlarged between 1297 and 1313 by the Augustinians, perhaps by the design of Giovanni Pisano. The octagonal belfry is from the second half of the 13th century. The paintings include the Madonna with Child by Francesco Traini (14th century) and St. Nicholas Saving Pisa from the Plague (15th century). Noteworthy are also the wood sculptures by Giovanni and Nino Pisano, and the Annunciation by Francesco di Valdambrino.

The small Church of Santa Maria della Spina is a remarkable example of Pisan Gothic architecture. The church, erected in 1230, was originally known as Santa Maria di Pontenovo: the new name of Spina ("thorn") derives from the presence of a thorn allegedly part of the crown dressed by Christ on the Cross, brought here in 1333. In 1871 the church was dismantled and rebuilt on a higher level due to dangerous inflitration of water from the Arno river: the church was slightly altered in the process, however.

The church is one of the most outstanding Gothic edifices of Europe: it has a rectangular plant, with an external facing wholly composed of marble, laid in polychrome bands. The exterior appearance is marked by cusps, tympani and tabernacles, together with a complicated sculpture decoration with tarsiae, rose-windows and numerous statues from the main Pisane artists of the 14th century. These include Lupo di Francesco, Andrea Pisano with his sons Nino and Tommaso, and Giovanni di Balduccio.

The façade has two gates with lintelled archs. Among these lies the tabernacle with the statues of Madonna with the Child and two Angels, attributed to Giovanni Pisano. Two niches open in the upper part of the façade: these houses the statue of Christ among the two Annunciation ones, and two other angels.

The right side has also a rich decoration with cusps and thirteen statues of the Apostles and Christ, from Lupo's workshop. The small sculptures portraying Saints and Angels over the tympani are from Nino Pisano's workshop, while the niche in the right pillar has a Madonna with Child by Giovanni di Balduccio.

The back side has three round archs with simple windows. The tympani are decorated with the Evangelists' symbols, intervalled by niches with the statues of the Saints Peter, Paul and John the Baptist. The high pyramid-like spires end with the statues of the Madonna with Child between two angels, by Nino Pisano.

If compared to the rich exterior, the interior appears quite simple. It has a single room, with a ceiling painted during the 19th century reconstruction. In the presbytery's centre is one of the highest masterpieces of Gothic sculpture, the Madonna of the Rose by Andrea and Nino Pisano. On the left wall is the tabernacle in which once was the crown's relic, by Stagio Stagi (1534). Another statue by the Pisanos, the Madonna del Latte, was once here, but has been moved to the city's St. Matthew Museum.

Opening Hours - The Church of Santa Maria della Spina

 


Santa Maria della Spina

 

 
   
Francesco Traini or Buonamico Buffalmacco, Triumph of Death, fresco (detail) Campo Santo, Pisa, 1330s
   
 
 


Art in Tuscany | Tuscan art cities | Pisa, Camposanto Monumentale
Pisa | San Piero a Grado or Basilica di San Piero Apostolo
Art in Tuscany | Pisa | Church of San Paolo a Ripa d'Arno

Official website | www.opapisa.it

[1] Francesco Traini was an Italian painter who was demonstrably active from 1321 to approx. 1365 in Pisa and Bologna. He appears to have been a follower of Andrea Orcagna. There is only one work known to be by Traini: in 1345 he signed and dated a polyptych of the Pisan church S. Caterina, showing Saint Dominic and eight hagiographic scenes (now in the Museo Nazionale, Pisa).
Buonamico di [son of] Martino or Buonamico Buffalmacco (active c. 1315–1336) was an Italian painter who worked in Florence, Bologna and Pisa. Although none of his known work has survived, he is widely assumed to be the painter of a most influential fresco cycle in the Camposanto in Pisa, featuring the The Three Dead and the Three Living, the Triumph of Death, the Last Judgement, the Hell, and the Thebais (several episodes from the lives of the Holy Fathers in the Desert). Painted some ten years before the Black Death spread over Europe in 1348, the cycle - a "painted sermon" (L. Bolzoni) - enjoyed an extraordinary success after that date, and was often imitated throughout Italy. The youngsters' party enjoying themselves in a beautiful garden while Death piles mounds of corpses all around is likely to have inspired the setting of Giovanni Boccaccio's Decameron, written a few years after the Black Death.
Boccaccio (in his Decameron) and Franco Sacchetti (in his Il trecentonovelle) both describe Buonamico as being a practical joker. Boccaccio features Buonamico along with his friends and fellow painters Calandrino and Bruno in several tales (Day VIII, tales 3, 6, and 9; Day IX, tales 3 and 5). Typically in these stories, Buonamico uses his wits to play tricks on his friends and associates: convincing Calandrino that a stone he possesses (heliotrope) confers invisibility (VIII/3), stealing a pig from Calandrino (VIII, 6), convincing the physician Master Simone of an opportunity to ally himself with the devil (VIII, 9), convincing Calandrino that he has become pregnant (IX, 3), convincing Calandrino that a particular scroll can cause a woman to fall in love with him (IX, 5). Throughout the stories, Buonamico is frequently depicted at work painting in the houses of notable gentlemen in Florence but eager to take time to eat, drink and be merry.

Giorgio Vasari includes a biography of Buonamico in his Lives, in which he tells several anecdotes about his comic escapades.[1] Vasari tells of Buonamico's youthful tricking of his master Tafi during his apprenticeship, various pranks and tricks that Buonamico played on his patrons, and his habit of embedding texts within his paintings. Dismissed by Vasari as just another of the witty painter's gags, which his "clumsy" contemporaries had misunderstood and foolishly imitated, the Camposanto frescoes are actually scattered with texts, a possible indication of the veracity of Vasari's remark. In the scroll over the cripple beggars in the center of The Triumph of Death, for instance, it says, "Since prosperity has completely deserted us, O Death, you who are the medicine for all pain, come to give us our last supper."
Vasari discusses various paintings by the artist which no longer exist, and many of which had already perished by the time of Vasari's writing in the sixteenth century. He describes a series of paintings at the convent of Faenza in Florence (already destroyed by the sixteenth century), works for the abbey of Settimo (now also lost), tempera paintings for the monks of the abbey of Certosa (also in Florence), and frescoes in the Badia at Florence. He describes a series of paintings depicting the life of Saint Catherine of Siena in a chapel in her honor in Assisi at the Basilica of Saint Francis (an attribution rejected by later scholars), and several prominent commissions at various abbeys and convents in Pisa. Interestingly, Vasari does not attribute the famed Pisan frescoes now associated with Buonamico to the painter, but rather, credits him with four frescoes at the Camposanto depicting the beginning of the world through the building of Noah's Ark, which later scholars have instead attributed to Piero di Puccio of Orvieto.
Vasari presents conflicting information regarding Buonamico's death, dating it to the year 1340, but also stating that he was still alive in 1351. In any case, he is said to have died at the age of 78, in poverty, and to have been buried at the hospital of Santa Maria Novella, in Florence.
[2] The Triumph of Death, fig.19 at the Camposanto in Pisa,has been puzzling generations   of art historians. From G. Vasari to the twentieth century, the attribution and the date of   this grandiose masterwork was very much a matter for debate. J In BufJalmacco e il   Trionfo della Morte L. Bellosi attributed the famous fresco beyond doubt to Buonamico   Buffalmacco. He dates the artwork to about 1336. L. Battaglia Ricci in Ragionare nel   Giardino2 studied the theme in correlation to Boccaccio's Decameron, pointing to the ten   personages, seven women and three men, appearing in the gardens of the famous works   of both Buffalmacco and Boccaccio.   Thus, art historians have changed their view and approach in the understanding of this   famous masterpiece appearing in the first half of the fourteenth century in Italy. Many   scholars have been tempted to relate the famous Triumph of Death and paintings   displaying the Dead and the Death to the Black Death in 1348, which devastated social   life in Tuscany and other regions of Europe. When looking at these frescoes representing   the Triumph of Death there is no doubt that medieval people felt death to be a drama. The   plague may have given reason to personify death in its most dramatic nature, but this was   not the case for having personified death in the shape of a woman armed with scythe and   in the most vivid expression.
Ingrid Valser , The Theme of Death in Italian Art: The Triumph of Death, Department of Art History McGill University, Montréal, pp 59.
[3] The Triumph of Death Page about historian Barbara Tuchman's analysis of the Traini fresco in the Camposanto Monumentale, the Monumental Cemetry.
Barbara Tuchman, A Distant Mirror: The Calamitous 14th Century, 1978

"A strange personification of Death emerged from the plague years on the painted walls of the Camposanto in Pisa. The figure is not the conventional skeleton, but a blackcloaked old woman with streaming hair and wild eyes, carrying a broadbladed murderous scythe. Her feet end in claws instead of toes. Depicting the Triumph of Death, the fresco was painted in or about 1350 by Francesco Traini as part of a series that included scenes of the Last Judgment and the Tortures of Hell. The same subject, painted at the same time by Traini's master, Andrea Orcagna, in the church of Santa Croce in Florence, has since been lost except for a fragment. Together the frescoes marked the start of a pervasive presence of Death in art, not yet the cult it was to become by the end of the century, but its beginning.
Usually Death was personified as a skeleton with hourglass and scythe, in a white shroud or bareboned, grinning at the irony of man's fate reflected in his image: that all men, from beggar to emperor, from harlot to queen, from ragged clerk to Pope, must come to this. No matter what their poverty or power in life, all is vanity, equalized by death. The temporal is nothing; what matters is the afterlife of the soul.
In Traini's fresco, Death swoops through the air toward a group of carefree, young, and beautiful noblemen and ladies who, like models for Boccaccio's storytellers, converse and flirt and entertain each other with books and music in a fragrant grove of orange trees. A scroll warns that "no shield of wisdom or riches, nobility or prowess" can protect them from the blows of the Approaching One. "They have taken more pleasure in the world than in things of God." In a heap of corpses nearby lie crowned rulers, a Pope in tiara, a knight, tumbled together with the bodies of the poor, while angels and devils in the sky contend for the miniature naked figures that represent their souls. A wretched group of lepers, cripples, and beggars (duplicated in the surviving fragment of Orcagna), one with nose eaten away, others legless or blind or holding out a clothcovered stump instead of a hand,implore Death for deliverance. Above on a mountain, hermits leading a religious contemplative life await death peaceably.
Above in a scene of extraordinary verve a hunting party of princes and elegant ladies on horseback comes with sudden horror upon three open coffins containing corpses in different stages of decomposition, one still clothed, one half rotted, one a skeleton. Vipers crawl over their bones. The scene illustrates "The Three Living and Three Dead," a 13th century legend which tells of a meeting between three young nobles and three decomposing corpses who tell them, "What you are, we were. What we are, you will be." In Traini's fresco, a horse catching the stench of death stiffens in fright with outstretched neck and flaring nostrils; his rider clutches a handkerchief to his nose. The hunting dogs recoil, growling in repulsion. In their silks and curls and fashionable hats, the party of vital handsome men and women stare appalled at what they will become."


Tuscany is one of the most popular tourist destinations in the world. Known for its enchanting landscapes, its fantastic and genuine food and beautiful towns as Florence, Pisa, Lucca and Siena. Podere Santa Pia is an elegant and luminous house and attached apartment in the characteristic Maremma region, just a few steps from Montalcino, Pienza, Montepulciano, Abbadia di Sant' Antimo and San Quirico d'Orcia, famous for their artistic heritage, wine, olive oil production and gastronomic traditions. The strategical geographical position in southern Tuscany will give you the opportunity of arriving in Siena and other important cities of art in Tuscany, such as San Gimignano, Volterra and Massa Marittima.
Podere Santa Pia
, with its wide panoramic terrace overlooking the Maremma, is the ideal place to enjoy the beauty of Tuscany and to pass a very relaxing holiday in contemplation of nature, with the advantage of tasting the most typical dishes of Tuscan cuisine and its best wines.
The extreme simplicity of Tuscan cuisine is its strongest strength, as the flavours that emerge during the cooking process are vibrant and pure. A little known fact about Tuscan cuisine is that the French learned how to cook from their Tuscan counterparts when it was imported by Catherine de' Medici into the court of Henry II. The Tuscan style of cooking is richly flavoured and wholesome. With its original kitchen and the wood burning pizza oven, Casa Santa Pia offers an upbeat atmosphere.

Tuscan Holiday houses | Podere Santa Pia
 
 
   
Podere Santa Pia
Podere Santa Pia, garden
Florence, Duomo
         

Villa I Tatti
Spoleto
Villa di Geggiano


Siena, Palazzo Sansedoni
Abbey of Sant 'Antimo
Siena, duomo
         
Pisa | History
 
Ancient times

The origin of the name Pisa is a mystery. Pisa's origins remained unknown for centuries. The city lies at the junction of two rivers, the Arno and the Serchio in the Ligurian Sea forming a laguna area. The Pelasgi, the Greeks, the Etruscans and the Ligurians have variously been proposed as founders of the city. Archeological remains from the 5th century BC confirmed the existence of a city at the sea, trading with Greeks and Gauls. The presence of an Etruscan necropolis, discovered during excavations in the Arena Garibaldi in 1991, clarified its Etruscan origins.

Ancient Roman authors referred to Pisa as an old city. Servius wrote that the Teuti, or Pelopes, the king of the Pisei, founded the town thirteen centuries before the start of the common era. Strabo referred Pisa's origins to the mythical Nestor, king of Pylos, after the fall of Troy. Virgil in his Aeneid states that Pisa was already a great and developed centre by the times described; the foundation of the city in the 'Etruscan lands' has been credited to settlers from the Alpheus coast.

The maritime role of Pisa should have been already prominent if the ancient authorities ascribed to it the invention of the rostrum: it took advantage of being the only port along the western coast from Genoa (then a small village) to Ostia. Pisa served as a base for Roman naval expeditions against Ligurians, Gauls and Carthaginians. In 180 BC, it became a Roman colony under Roman law, as Portus Pisanus. In 89 BC, Portus Pisanus became a municipium. Emperor Augustus fortified the colony into an important port and changed the name in Colonia Iulia obsequens. From 313 it became the seat of a bishopric.

Late Antiquity and Early Middle Ages
During the later years of the Roman Empire, Pisa did not decline as much as the other cities of Italy, probably thanks to the complexity of its river system and its consequent ease of defence. In the 7th century Pisa helped Pope Gregory I by supplying numerous ships in his military expedition against the Byzantines of Ravenna: Pisa was the sole Byzantine centre of Tuscia to fall peacefully in Lombard hands, through assimilation with the neighbouring region where their trading interests were prevailing. Pisa began in this way its rise to the role of main port of the Upper Tyrrhenian Sea and became the main trading centre between Tuscany and Corsica, Sardinia and the southern coasts of France and Spain.

After Charlemagne had defeated the Lombards under the command of Desiderius in 774, Pisa went through a crisis but soon recovered. Politically it became part of the duchy of Lucca. In 930 Pisa became the county centre (status it maintained until the arrival of Otto I) within the mark of Tuscia. Lucca was the capital but Pisa was the most important city, as in the middle of 10th century Liutprand of Cremona, bishop of Cremona, called Pisa Tusciae provinciae caput ("capital of the province of Tuscia"), and one century later the marquis of Tuscia was commonly referred to as "marquis of Pisa". In 1003 Pisa was the protagonist of the first communal war in Italy, against Lucca of course. From the naval point of view, since the 9th century the emergence of the Saracen pirates urged the city to expand its fleet: in the following years this fleet gave the town an opportunity for more expansion. In 828 Pisan ships assaulted the coast of North Africa. In 871 they took part in the defence of Salerno from the Saracens. In 970 they gave also strong support to the Otto I's expedition, defeating a Byzantine fleet in front of Calabrese coasts.

11th century

The power of Pisa as a mighty maritime nation began to grow and reached its apex in the 11th century when it acquired traditional fame as one of the four main historical Maritime Republics of Italy (Repubbliche Marinare).

At that time, the city was a very important commercial centre and controlled a significant Mediterranean merchant fleet and navy. It expanded its powers by the sack in 1005 of Reggio Calabria in the south of Italy. Pisa was in continuous conflict with the Saracens, who had their bases in Corsica, for control of the Mediterranean. In 1017 Sardinian Giudicati were military supported by Pisa, in alliance with Genoa, to defeat the Saracen king Mugahid that settled a logistic base on the north of Sardinia the year before. This victory gave Pisa the supremacy in the Tyrrhenian Sea. When the Pisans subsequently ousted the Genoese from Sardinia, a new conflict and rivalry was born between these mighty marine republics. Between 1030 and 1035, Pisa went on to successfully defeat several rival towns in Sicily and conquer Carthage in North Africa. In 1051–1052 the admiral Jacopo Ciurini conquered Corsica, provoking more resentment from the Genoese. In 1063 admiral Giovanni Orlando, coming to the aid of the Norman Roger I, took Palermo from the Saracen pirates. The gold treasure taken from the Saracens in Palermo allowed the Pisans to start the building of their cathedral and the other monuments which constitute the famous Piazza del Duomo.

In 1060 Pisa had to engage in their first battle with Genoa. The Pisan victory helped to consolidate its position in the Mediterranean. Pope Gregory VII recognised in 1077 the new "Laws and customs of the sea" instituted by the Pisans, and emperor Henry IV granted them the right to name their own consuls, advised by a Council of Elders. This was simply a confirmation of the present situation, because in those years the marquis had already been excluded from power. In 1092 Pope Urban II awarded Pisa the supremacy over Corsica and Sardinia, and at the same time raising the town to the rank of archbishopric.

Pisa sacked the Tunisian city of Mahdia in 1088. Four years later Pisan and Genoese ships helped Alfonso VI of Castilla to push El Cid out of Valencia. A Pisan fleet of 120 ships also took part in the First Crusade and the Pisans were instrumental in the taking of Jerusalem in 1099. On their way to the Holy Land the ships did not miss the occasion to sack some Byzantine islands: the Pisan crusaders were led by their archbishop Daibert, the future patriarch of Jerusalem. Pisa and the other Repubbliche Marinare took advantage of the crusade to establish trading posts and colonies in the Eastern coastal cities of the Levant. In particular the Pisans founded colonies in Antiochia, Acre, Jaffa, Tripoli, Tyre, Latakia and Accone. They also had other possessions in Jerusalem and Caesarea, plus smaller colonies (with lesser autonomy) in Cairo, Alexandria and of course Constantinople, where the Byzantine Emperor Alexius I Comnenus granted them special mooring and trading rights. In all these cities the Pisans were granted privileges and immunity from taxation, but had to contribute to the defence in case of attack. In the 12th century the Pisan quarter in the Eastern part of Constantinople had grown to 1,000 people. For some years of that century Pisa was the most prominent merchant and military ally of the Byzantine Empire, overcoming Venice itself.

12th century

In 1113 Pisa and the Pope Paschal II set up, together with the count of Barcelona and other contingents from Provence and Italy (Genoese excluded), a war to free the Balearic Islands from the Moors: the queen and the king of Majorca were brought in chains to Tuscany. Even though the Almoravides soon reconquered the island, the booty taken helped the Pisans in their magnificent programme of buildings, especially the cathedral and Pisa gained a role of pre-eminence in the Western Mediterranean.

In the following years the mighty Pisan fleet, led by archbishop Pietro Moriconi, drove away the Saracens after ferocious combats. Though short-lived, this success of Pisa in Spain increased the rivalry with Genoa. Pisa's trade with the Languedoc and Provence (Noli, Savona, Fréjus and Montpellier) were an obstacle to the Genoese interests in cities like Hyères, Fos, Antibes and Marseille.

The war began in 1119 when the Genoese attacked several galleys on their way to the motherland, and lasted until 1133. The two cities fought each other on land and at sea, but hostilities were limited to raids and pirate-like assaults.

In June 1135, Bernard of Clairvaux took a leading part in the Council of Pisa, asserting the claims of pope Innocent II against those of pope Anacletus II, who had been elected pope in 1130 with Norman support but was not recognised outside Rome. Innocent II resolved the conflict with Genoa, establishing the sphere of influence of Pisa and Genoa. Pisa could then, unhindered by Genoa, participate in the conflict of Innocent II against king Roger II of Sicily. Amalfi, one of the Maritime Republics (though already declining under Norman rule), was conquered on 6 August 1136: the Pisans destroyed the ships in the port, assaulted the castles in the surrounding areas and drove back an army sent by Roger from Aversa. This victory brought Pisa to the peak of its power and to a standing equal to Venice. Two years later its soldiers sacked Salerno.

In the following years Pisa was one of the staunchest supporters of the Ghibelline party. This was much appreciated by Frederick I. He issued in 1162 and 1165 two important documents, with the following grants: apart from the jurisdiction over the Pisan countryside, the Pisans were granted freedom of trade in the whole Empire, the coast from Civitavecchia to Portovenere, a half of Palermo, Messina, Salerno and Naples, the whole of Gaeta, Mazara and Trapani, and a street with houses for its merchants in every city of the Kingdom of Sicily. Some of these grants were later confirmed by Henry VI, Otto IV and Frederick II. They marked the apex of Pisa's power, but also spurred the resentment of cities like Lucca, Massa, Volterra and Florence, who saw their aim to expand towards the sea thwarted. The clash with Lucca also concerned the possession of the castle of Montignoso and mainly the control of the Via Francigena, the main trade route between Rome and France. Last but not least, such a sudden and large increase of power by Pisa could only lead to another war with Genoa.

Genoa had acquired a largely dominant position in the markets of Southern France. The war began presumably in 1165 on the Rhône, when an attack on a convoy, directed to some Pisan trade centres on the river, by the Genoese and their ally, the count of Toulouse failed. Pisa on the other hand was allied to Provence. The war continued until 1175 without significant victories. Another point of attrition was Sicily, where both the cities had privileges granted by Henry VI. In 1192, Pisa managed to conquer Messina. This episode was followed by a series of battles culminating in the Genoese conquest of Syracuse in 1204. Later, the trading posts in Sicily were lost when the new Pope Innocent III, though removing the excommunication cast over Pisa by his predecessor Celestine III, allied himself with the Guelph League of Tuscany, led by Florence. Soon he stipulated a pact with Genoa too, further weakening the Pisan presence in Southern Italy.

To counter the Genoese predominance in the southern Tyrrhenian Sea, Pisa strengthened its relationship with their Spanish and French traditional bases (Marseille, Narbonne, Barcelona, etc.) and tried to defy the Venetian rule of the Adriatic Sea. In 1180 the two cities agreed to a non-aggression treaty in the Tyrrhenian and the Adriatic, but the death of Emperor Manuel Comnenus in Constantinople changed the situation. Soon there were attacks on Venetian convoys. Pisa signed trade and political pacts with Ancona, Pula, Zara, Split and Brindisi: in 1195 a Pisan fleet reached Pola to defend its independence from Venice, but the Serenissima managed soon to reconquer the rebel sea town.

One year later the two cities signed a peace treaty which resulted in favourable conditions for Pisa. But in 1199 the Pisans violated it by blockading the port of Brindisi in Puglia. In the following naval battle they were defeated by the Venetians. The war that followed ended in 1206 with a treaty in which Pisa gave up all its hopes to expand in the Adriatic, though it maintained the trading posts it had established in the area. From that point on the two cities were united against the rising power of Genoa and sometimes collaborated to increase the trading benefits in Constantinople.

13th century

In 1209 there were in Lerici two councils for a final resolution of the rivalry with Genoa. A twenty-year peace treaty was signed. But when in 1220 the emperor Frederick II confirmed his supremacy over the Tyrrhenian coast from Civitavecchia to Portovenere, the Genoese and Tuscan resentment against Pisa grew again. In the following years Pisa clashed with Lucca in Garfagnana and was defeated by the Florentines at Castel del Bosco. The strong Ghibelline position of Pisa brought this town diametrically against the Pope, who was in a strong dispute with the Empire. And indeed the pope tried to deprive the town of its dominions in northern Sardinia.

In 1238 Pope Gregory IX formed an alliance between Genoa and Venice against the empire, and consequently against Pisa too. One year later he excommunicated Frederick II and called for an anti-Empire council to be held in Rome in 1241. On 3 May 1241, a combined fleet of Pisan and Sicilian ships, led by the Emperor's son Enzo, attacked a Genoese convoy carrying prelates from Northern Italy and France, next to the Isola del Giglio, in front of Tuscany: the Genoese lost 25 ships, while about thousand sailors, two cardinals and one bishop were taken prisoner. After this outstanding victory the council in Rome failed, but Pisa was excommunicated. This extreme measure was only removed in 1257. Anyway, the Tuscan city tried to take advantage of the favourable situation to conquer the Corsican city of Aleria and even lay siege to Genoa itself in 1243.

The Ligurian republic of Genoa, however, recovered fast from this blow and won back Lerici, conquered by the Pisans some years earlier, in 1256.

The great expansion in the Mediterranean and the prominence of the merchant class urged a modification in the city's institutes. The system with consuls was abandoned and in 1230 the new city rulers named a Capitano del Popolo ("People's Chieftain") as civil and military leader. In spite of these reforms, the conquered lands and the city itself were harassed by the rivalry between the two families of Della Gherardesca and Visconti. In 1237 the archbishop and the Emperor Frederick II intervened to reconcile the two rivals, but the strains did not cease. In 1254 the people rebelled and imposed twelve Anziani del Popolo ("People's Elders") as their political representatives in the Commune. They also supplemented the legislative councils, formed of noblemen, with new People's Councils, composed by the main guilds and by the chiefs of the People's Companies. These had the power to ratify the laws of the Major General Council and the Senate.

Decline

The decline began on 6 August 1284, when the numerically superior fleet of Pisa, under the command of Albertino Morosini, was defeated by the brilliant tactics of the Genoese fleet, under the command of Benedetto Zaccaria and Oberto Doria, in the dramatic naval Battle of Meloria. This defeat ended the maritime power of Pisa and the town never fully recovered: in 1290 the Genoese destroyed forever the Porto Pisano (Pisa's Port), and covered with salt. The region around Pisa did not permit the city to recover from the loss of thousands of sailors from the Meloria, while Liguria guaranteed enough sailors to Genoa. Goods continued to be traded, albeit in reduced quantity, but the end came when the River Arno started to change course, preventing the galleys from reaching the city's port up the river. It seems also that nearby area became infested with malaria. Within 1324 also Sardinia was entirely lost in favour of the Aragonese.

Always Ghibelline, Pisa tried to build up its power in the course of the 14th century and even managed to defeat Florence in the Battle of Montecatini (1315), under the command of Uguccione della Faggiuola. Eventually, however, divided by internal struggles and weakened by the loss of its mercantile strength, Pisa was conquered by Florence in 1406. In 1409 Pisa was the seat of a council trying to set the question of the Great Schism. Furthermore in the 15th century, access to the sea became more and more difficult, as the port was silting up and was cut off from the sea. When in 1494 Charles VIII of France invaded the Italian states to claim the Kingdom of Naples, Pisa grabbed the opportunity to reclaim its independence as the Second Pisan Republic.

But the new freedom did not last long. After fifteen years of battles and sieges, Pisa was reconquered in 1509 by the Florentine troops led by Antonio da Filicaja, Averardo Salviati and Niccolò Capponi. Its role of major port of Tuscany went to Livorno. Pisa acquired a mainly, though secondary, cultural role spurred by the presence of the University of Pisa, created in 1343. Its decline is clearly shown by its population, which has remained almost constant since the Middle Ages.



 

This page uses material from the Wikipedia articles Francesco Traini, Buonamico Buffalmacco, Santa Maria della Spina, Palazzo della Carovana and Pisa, published under the GNU Free Documentation License.
Wikimedia Commons has media related to Pisa.