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Originally
the building was a small oratory constituted by a loggia. In 1322, due to the
interest of the Commune of Pisa, the works to enlarge it began; they were
finished about fifty years later, under the supervision of the Pisan architect
and sculptor Lupo di Francesco. The vicinity to the river has always determined
a constant threat to the stability of the church. In fact, as attested by
numerous documents, from the 15th century the church underwent many restorations
aimed at repairing the damages from the subsiding of the ground and at
consolidating the architectural structures. However, the most radical
intervention was carried out in 1871, when the whole building was completely
dismantled and rebuilt on a level about one meter higher. On this occasion, many
statues were removed and replaced by copies, while the sacristy was lost. The
result was that the church was altered in its proportions and shape.
The
exterior
The
small church of Santa Maria della Spina is a remarkable example of Pisan Gothic.
It was built in 1230 on the banks of the river Arno next to an important bridge,
called Ponte Novo, which used to join the streets Santa Maria and
Sant’Antonio. The bridge was destroyed during the 15th century and was never
rebuilt. Being the church close to the bridge, it was given the name of Santa
Maria de Pontenovo, changed in 1333 to Santa Maria della Spina, when it
preserved the reliquary of a thorn of the Saviour’s crown (spina = thorn).
Today the reliquary is in the church of Santa Chiara.
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Originally the building
was a small oratory constituted by a loggia. In 1322, due to the interest of the
Commune of Pisa, the works to enlarge it began; they were finished about fifty
years later, under the supervision of the Pisan architect and sculptor Lupo di
Francesco. The vicinity to the river has always determined a constant threat to
the stability of the church. In fact, as attested by numerous documents, from
the 15th century the church underwent many restorations aimed at repairing the
damages from the subsiding of the ground and at consolidating the architectural
structures. However, the most radical intervention was carried out in 1871, when
the whole building was completely dismantled and rebuilt on a level about one
metre higher. On this occasion, many statues were removed and replaced by copies,
while the sacristy was lost. The result was that the church was altered in its
proportions and shape. The church is on a rectangular plan and the whole facing
is made of black and white bands. Elegant spires characterize it, tympanums and
tabernacles completed by refined sculptural decorations, such as tarsias, rose
windows and many statues (now replaced by copies; the originals are in the
National Museum of San Matteo) carried out by the major 14th-century sculptors
in Pisa. In fact, to the decoration of the church contributed Lupo di Francesco
(documented from 1299 to 1336), one of the most creative followers of Giovanni
Pisano and head of a busy workshop in which his three sons, Cecco, Asinello and
Ghiero, also worked. To Lupo probably succeeded Andrea Pisano (Pisa, end of the
13th century - after 1348), who trained in Florence and was particularly
influenced by Giotto’s models; he was helped by his sons Nino and Tommaso. On
the other hand, until today, there is no certain evidence of a direct
contribution to the works on the church by the great Giovanni Pisano (Pisa, abt.
1245 - Siena, after 1314), who revived Italian Gothic sculpture; neither is
certain the contribution of his follower Giovanni di Balduccio (documented from
1318 to 1349). However, among the decorations there are two important sculptures
by the two artists. On the façade there are two portals surmounted by arches
with double lintels and divided by a pilaster that supports a tabernacle with
the statue of the Madonna and Child attributed to Giovanni Pisano, between two
Angels. The upper part of the façade is crowned by three triangular pediments
decorated with rose windows and marble inlays and culminating in tabernacles
housing, at the centre, the statue of the Redeemer between those of the
Annunciation, attributed to the workshop of Andrea Pisano; in the tabernacles of
the corner pilaster there are two Angels, by Lupo di Francesco. Two portals open
on the right flank alternated by three elegant mullioned windows with four
lights surmounted by a gallery of small columns, tympanums and pinnacles. Inside
the gallery are the statues of Christ and the Apostles, by Lupo’s workshop.
The small sculptures at the top of the tympanums were carried out in Nino
Pisano’s workshop, while the tabernacle of the corner pilaster houses a tender
Madonna and Child by Giovanni di Balduccio. The back of the church, divided in
three parts by lancet arches, has simple mullioned windows crowned by tympanums
on which are the symbols of the Evangelists; these are alternated by niches with
Saints Peter, Paul and John the Baptist. The high pyramid-shaped spires end with
the statues of the Madonna and Child between two angels by Nino Pisano. On the
contrary, the side facing the river has no decorations.
The
interior
The
interior is the result of the many misfortunes that the church went through and
that caused the loss of most of the furnishings, including statues and paintings;
it contrasts with the rich decoration on the exterior. The church has a single
nave, with a trussed ceiling, painted during the 19th-century restoration; the
raised presbytery is separated by two pilasters with archivolt and houses at the
centre one of the greatest masterpieces of Gothic sculpture, the remarkable
Madonna and Child, known to the believers as Madonna of the rose. It was
sculptured by Andrea and Nino Pisano between 1345 and 1348, and still preserves
traces of the original colours and gilding. Until the 19th century, the statue
was situated inside a fine 16th-century marble altar between the statues of St.
Peter and St. John the Baptist, now placed on two side brackets. The marble
tabernacle (1534) on the left wall, created to preserve the reliquary of the
thorn, is by Stagio Stagi (Pietrasanta, Lucca, 1496-1563). Opposite the façade
is a marble altar, with a niche and small pilasters decorated by putti faces,
carried out by Girolamo da Carrara (active in the 16th century) in 1524. It once
held the Madonna of the milk, a very tender and compassionate Madonna feeding
Jesus, carried out by Andrea and Nino Pisano (1345-1348) and today exhibited in
the Museum of San Matteo, in the room dedicated to them. In the same room is a
Madonna and Child by Nino Pisano, known as the Madonna of the coachmen: a fine
wooden tabernacle sculptured in high relief and painted, originally made for
this church. The recent restorations, that have brought to new life this
internationally famous gem of Gothic art, were funded by the European Community,
by the Ministry of Culture, by the Commune of Pisa and co-financed with the
fundamental support of a pool of local sponsors coordinated by the Industrial
Association of Pisa.
Written by:
Lucia Casarosa
Translation by:
Sara Burchielli
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