In the year 1300, Niccola da Prato, Cardinal Legate of the Pope, being in Florence in order to accommodate the dissensions of the Florentines, caused him to make a convent for nuns in Prato, which is called S. Niccola from his name, and to restore in the same territory the Convent of S. Domenico, and so too that of Pistoia; in both the one and the other of which there are still seen the arms of the said Cardinal. And because the people of Pistoia held in veneration the name of Niccola, father of Giovanni, by reason of that which he had wrought in that city with his talent, they caused Giovanni himself to make a pulpit of marble for the Church of S. Andrea, like to the one which he had made in the Duomo of Siena; and this he did in order to compete with one which had been made a little before in the Church of S. Giovanni Evangelista by a German, who was therefore much praised. Giovanni, then, delivered his finished in four years, having divided this work into five scenes from the life of Jesus Christ, and having made therein, besides this, a Universal Judgment, with the greatest diligence that he knew, in order to equal or perchance to surpass the one of Orvieto, then so greatly renowned. And round the said pulpit, on the architrave, over some columns that support it, thinking (as was the truth, according to the knowledge of that age) that he had done a great and beautiful work, he carved these verses:
HOC OPUS SCULPSIT JOANNES, QUI RES NON EGIT INANES,
NICOLI NATUS ...... MELIORA BEATUS,
QUEM GENUIT PISA, DOCTUM SUPER OMNIA VISA.
At the same time Giovanni made the holy-water font, in marble, of the Church of S. Giovanni Evangelista in the same city, with three figures that support it—Temperance, Prudence, and Justice; which work, by reason of its having then been held very beautiful, was placed in the centre of that church as something remarkable. And before he departed from Pistoia, although the work had not up to then been begun, he made the model of the Campanile of S. Jacopo, the principal church of that city; on which campanile, which is on the square of the said S. Jacopo and beside the church, there is this date: A.D. 1301.
Alinari
Afterwards, Pope Benedict IX having died in Perugia, a summons was sent to Giovanni, who, having gone to Perugia, made a tomb of marble for that Pontiff in the old Church of S. Domenico, belonging to the Preaching Friars; the Pope, portrayed from nature and robed in his pontifical habits, is lying at full length on the bier, with two angels, one on either side, that are holding up a curtain, and above there is a Madonna with two saints in relief, one on either side of her; and many other ornaments are carved round that tomb. In like manner, in the new church of the said Preaching Friars he made the tomb of Messer Niccolò Guidalotti of Perugia, Bishop of Recanati, who was founder of the Sapienza Nuova of Perugia. In this new church, which had been founded before this by others, he executed the central nave, which was founded by him with much better method than the remainder of the church had been; for on one side it leans and threatens to fall down, by reason of having been badly founded. And in truth, he who puts his hand to building and to doing anything of importance should ever take counsel, not from him who knows little but from the best, in order not to have to repent after the act, with loss and shame, that where he most needed good counsel he took the bad.
Giovanni, having dispatched his business in Perugia, wished to go to Rome, in order to learn from those few ancient things that were to be seen there, even as his father had done; but being hindered by good reasons, this his desire did not take effect, and the rather as he heard that the Court had just gone to Avignon. Returning, then, to Pisa, Nello di Giovanni Falconi, Warden, caused him to make the great pulpit of the Duomo, which is on the right hand going towards the high-altar, attached to the choir; and having made a beginning with this and with many figures in the round, three braccia high, that were to serve for it, little by little he brought them to that form that is seen to-day, placing the pulpit partly on the said figures and partly on some columns sustained by lions; and on the sides he made some scenes from the life of Christ. It is a pity, truly, that so great cost, so great diligence, and so great labour should not have been accompanied by good design and should be wanting in perfection and in excellence of invention, grace, and manner, such as any work of our own times would show, even if made with much less cost and labour. None the less, it must have caused no small marvel to the men of those times, used to seeing only the rudest works. This work was finished in the year 1320, as appears in certain verses that are round the said pulpit, which run thus:
LAUDO DEUM VERUM, PER QUEM SUNT OPTIMA RERUM,
QUI DEDIT HAS PURAS HOMINEM FORMARE FIGURAS;
HOC OPUS HIS ANNIS DOMINI SCULPSERE JOHANNIS
ARTE MANUS SOLE QUONDAM, NATIQUE NICOLE,
CURSIS VENTENIS TERCENTUM MILLEQUE PLENIS;
with other thirteen verses, which are not written, in order not to weary the reader, and because these are enough not only to bear witness that the said pulpit is by the hand of Giovanni, but also that the men of these times were in all things made thus. A Madonna of marble, also, that is seen between S. John the Baptist and another Saint, over the principal door of the Duomo, is by the hand of Giovanni; and he who is at the feet of the Madonna, on his knees, is said to be Piero Gambacorti, Warden of Works. However this may be, on the base whereon stands the image of Our Lady there are carved these words: