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The Cathedral of St Andrew the Apostle in Carrara
Already in the period before the year one thousand, there was a church in the first settlement of Carrara: the Pieve di San Andrea. There is news of it in the Parish Archive: “In the year 998 Gottifredo I, Bishop of Luni, resided in Carrara and officiated at the Parish Church of Sant’Andrea in the manner of a Cathedral”.
The Cathedral of Carrara, named after Saint Andrew the Apostle in memory of the ancient Pieve, is the first medieval building constructed entirely in Apuan marble. Its constructive exceptionality is that not only the ornaments, but also all the structures, including the bell tower, are made of marble blocks.
The temple presents a composite architectural structure, indicative of the various phases of its construction and, moreover, typical of a borderland such as Lunigiana. The initial Romanesque layout was succeeded in the upper parts, especially the exterior, by Gothic elements. The initial Lombard-Parmine layout (11th century) can still be seen, especially in the main portal with its external capitals and, inside, in the figured capitals of the first bays. These sculptures are attributed to Niccolò, a master linked to the workshop of the great Wiligelmo.
In 1151, the cathedral was entrusted to the canons of San Frediano of Lucca. The second construction phase began, carried out by craftsmen from Lucca (similarities are recognised with the basilica of San Frediano in that city).
The third and final construction phase (14th century) is the work of Pisan craftsmen. It concerns the upper part of the façade, with the splendid rose window – similar to that of the church of Santa Caterina in Pisa – and the loggia 12, which features a series of busts inserted above the capitals, important examples of Tuscan sculpture. Note that the black and white bands on the outside of the temple are typical of Pisan and Ligurian architecture.
Towards the end of the 15th century, work began to paint the interior walls that had remained rough, without plaster. Later, various altars and ornaments of all kinds were added.
In 1947/48, it was decided to restore the Cathedral to its original style as far as possible. As many as six altars were removed and the truss vault was restored.
In 1992, after lengthy and delicate restoration work, the ‘cleaning’ of the façade was completed, which was followed by that of the side door known as San Giovanni, of Lombard design, which opens onto the south side of the church, highlighting the fine inlay of the lunette and the fretwork of the architrave.
On the outside, also on the south side beyond the gate of San Giovanni, one also notices a sundial and two single-lancet windows of very fine workmanship; high above the roof are small arches interspersed with finely pierced tiles, including the “Wheel”, symbol of the city of Carrara, and the “Cross” of Pisa. The apse, with its elegant loggia, and the massive 33-metre high bell tower are also interesting.
The interior has three naves divided by columns and pillars with round arches. The columns are almost all of different styles, with equally varied and valuable capitals.
At the end of the nave are two 16th-century wide cup-shaped stoups with basin decorated with festoons and cherubs, with a tripod-shaped foot and shaft richly decorated with foliage, heads of angels and other decorative elements sculpted in bas-relief.
The Facade and external
Of the entire cathedral building first mentioned in the late 10th century, the façade is the one in which it is easiest to chronologically find the interventions of the various centuries.
The Cassanelle
Masterpiece of Gothic sculpture, of the Pisan school with French influence, depicting the Annunciation: on the left, the Announcing Angel holding up a scroll with the words “Ave Gratia Plena”.
Virtual tour
An immersive experience, revealing works of art and sacred architecture in breathtaking detail, transforming intangible beauty into profound personal discovery.