{"id":42,"date":"2020-04-25T21:52:26","date_gmt":"2020-04-25T21:52:26","guid":{"rendered":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/?page_id=42"},"modified":"2021-02-16T21:33:35","modified_gmt":"2021-02-16T21:33:35","slug":"timeline","status":"publish","type":"page","link":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/timeline\/","title":{"rendered":"Timeline"},"content":{"rendered":"\t\t\t
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\n\t\t\t\tBeginning of construction of Pisa Cathedral (1064)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"Beginning\n\t\t\n\t\t
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\n\t\t\t\tBeginning of construction of Pisa Baptistery (1152)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"Beginning\n\t\t\n\t\t
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\n\t\t\t\tFirst mention of a building project for the cemetery (1260)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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First mention of the project to build a cemetery for the Cathedral in the oath of office of Guido Spadaio, the new head of the Opera del Duomo. The promise to build a new cemetery is repeated by Guido\u2019s successors Rinaldo Speziale (1260-70), Ranieri Vallecchia (1270-71) and Orlando Sardella (1271-82).<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tBreviarium Pisanae Historiae<\/em> (c. 1269)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Breviarium\n\t\t\n\t\t
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by anonymous chronicler<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tFoundation of the Camposanto (1277)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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On 18 June 1277, Archbishop Federico Visconti (1254-77) donates a piece of land between the city walls of Pisa and the street that runs from the Lion\u2019s Gate to the northern flank of the Cathedral. It is here that the Opera del Duomo will build the new cemetery of the Cathedral. The date of 1277 (written as 1278 following the Pisan calendar) is also recorded as the foundation of the new cemetery, in the inscription on the left of the main entrance: \u201cIn the year 1278, at the time of Federico Visconti, the archbishop of Pisa, and Tarlato, the podest\u00e0, under the operaio Orlando Sardella, and master Giovanni, who built this.\u201d<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tChurch of the Holy Trinity (1298\/1303)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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In the first years of Burgundio di Tado\u2019s tenure as head of the Opera del Duomo (ca. 1298-1319), the ecclesia campi sancti, dedicated to the Holy Trinity, is brought to completion; it is a one-nave hall, furnished with an altar, and decorated with statues and paintings. The new sanctuary, located at the southeast corner of the cemetery, is accessible from the piazza through a now-closed door in the fourth bay of the south wall. The cemetery itself consists of an open field surrounded by walls.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tRevised Camposanto project (c. 1320)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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Under the guidance of Giovanni Rossi, head of the Opera between 1319 and 1332, a revised project for the Camposanto is developed: four large galleries arranged in a cloister-like scheme. To make space for this building, the Church of the Trinity is largely dismantled. The eastern and the western gallery of the Camposanto are completed by 1340.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tStart of the fresco decoration: Buonamico Buffalmacco and Francesco Traini (c. 1336)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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In spring 1336, the Florentine painter Buonamico Buffalmacco resides at the Cappella of Santa Maria Maggiore, a place that the Opera uses as accommodation for the artists they have hired. By around 1342, Buffalmacco has painted the Triumph of Death, the Last Judgment and the Thebaid on the eastern part of the south gallery, and the Resurrection, Doubting Thomas and the Ascension of Christ in the eastern gallery. Shortly before Buffalmacco\u2019s arrival, the Pisan painter Francesco Traini completes the Crucifixion at the southeast corner of the Camposanto.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tChronaca di Pisa (c. 1340)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"Chronaca\n\t\t\n\t\t
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by anonymous chronicler\u00a0<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tTaddeo Gaddi\u2019s Job cycle (1341\/43)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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The Florentine artist Taddeo Gaddi paints the cycle of the Life of Job at the western end of the south gallery. As in subsequent fresco decoration, Gaddi\u2019s paintings are arranged in two horizontal registers separated by painted frames.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tChronicon Pisanum (c. 1342)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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by anonymous chronicler<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tChronaca Pisana (c. 1354)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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by anonymous chronicler<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tAndrea da Firenze\u2019s and Antonio Veneziano\u2019s Ranieri cycle (1376-1384)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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In 1376, Pietro Gambacorta, signore of Pisa (1370-92), commissions a cycle dedicated to the life of San Ranieri, Pisa\u2019s most important local saint. The paintings are located on the right of the main entrance. Left unfinished at the death of Andrea da Firenze, the painter chosen by Gambacorta in 1379, the second part of the cycle is executed by Antonio Veneziano in 1384-86.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tPiero di Puccio\u2019s Christian Macrocosm and Genesis cycle (1389)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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In 1389, Pietro di Puccio, an artist from Orvieto, receives the commission by Parasone Grasso, head of the Opera del Duomo (1384-90), to paint the first murals in the north gallery. Over the next two years Puccio works on a depiction of the Christian macrocosm and three pictures of a Genesis cycle. He leaves this project unfinished when he returns to Orvieto in 1391.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tSpinello Aretino\u2019s Ephesus and Potitus cycle (1390\/91)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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In 1390, Parasone Grasso, head of the Opera del Duomo (1384-90), engages the Florentine artist Spinello Aretino for six wall paintings dedicated to the Sardinian martyrs Ephesus and Potitus, whose relics were transferred to Pisa in the late eleventh century. Spinello\u2019s frescoes close the gap between the Ranieri and the Job cycles in the south gallery.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tCronica di Pisa (c. 1406)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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by anonymous chronicler<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tHistoria di Pisa di Ranieri Sardo Cittadino Pisano<\/em> (c. 1430)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Historia\n\t\t\n\t\t
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by anonymous chronicler\u00a0<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tStoria di Pisa d\u2019incerto, dal suo principio fino all\u2019anno 1422<\/em> (c. 1430)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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\n\t\t\t\tDimostrazione dell\u2019andata o viaggio al Santo Sepolcro<\/em> (1442-1455)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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by Marco di Bartolomeo Rustici (1392-1457)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tInsertion of filigree tracery into the arched openings of the galleries (1451-1463)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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Between 1451 and 1463, the wide openings of the Camposanto\u2019s galleries are transformed into quadrifora windows, by inserting filigree tracery in marble.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tCommentari<\/em> (1452-1455)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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by Lorenzo Ghiberti\u00a0<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tAndan\u00e7as \u00e9 viajes<\/em> (c. 1453\/54)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Andan\u00e7as\n\t\t\n\t\t
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by Pero Tafur<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tInsertion of eleven stained glass windows in the south and east galleries (1456-1489)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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Starting in 1456, the Pisan workshop of Leonardo and Bartolommeo della Scarperia executes a series of stained glass windows to be installed in the eastern part of the southern gallery (in front of Buffalmacco\u2019s frescoes) and in the subsequent opening of the eastern gallery. Most of these windows contain figural representations dedicated to the life of Christ. In 1490, they are removed and transferred to the Cathedral.    <\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tBenozzo Gozzoli\u2019s Old Testament cycle (1468-1485)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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In 1468, Antonio di Iacopo dalle Mura, head of the Opera (1460-88), commissions a large Old Testament cycle from the Florentine artist Benozzo Gozzoli. Beginning beneath the Genesis scenes painted by Piero di Puccio in 1489-91 and extending over the entire wall of the northern gallery, the cycle is by far the largest decoration project in the Camposanto. The subjects of the twenty-three pictures progress from the story of Noah to the meeting between Salomon and the Queen of Sheba.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tAnselmi Adournes Itinerarium Terrae Sanctae<\/em> (1471 und 1510)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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by Jan Adorno (1444-1510)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tChapel project for Filippo de\u2019 Medici (1475)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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Following the last will of Archbishop Filippo de\u2019 Medici (1461-74), the building of a chapel dedicated to the Holy Cross (Cappella della Croce) is started in 1475. The sanctuary is located in the center of the east gallery, on the site of the current Cappella del Pozzo. Due to the difficult political situation in the period following Filippo de\u2019 Medici\u2019s death, the chapel remains unfinished.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tSupplementum Chronicarum<\/em> (1483)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Supplementum\n\t\t\n\t\t
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by Giacomo Filippo Foresti (1434-1520)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tEvagatorium in Terrae Sanctae, Arabiae et Egypti Peregrinationem<\/em> (c. 1484-88)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Evagatorium\n\t\t\n\t\t
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by Felix Fabri (1438\/39-1502)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tLe mirabile et inaldite belleze e adornamenti del Campo Sancto di Pisa<\/em> (c. 1487-1499)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Le\n\t\t\n\t\t
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by Michelagnolo di Cristofano da Volterra<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tCommentariorum urbanorum (1506)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"Commentariorum\n\t\t\n\t\t
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by\u00a0Raffaele Maffei (1451-1522)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tEl Viaje a Jerusal\u00e9n<\/em> (c. 1518-1520)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>El\n\t\t\n\t\t
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by Fadrique Enr\u00edquez de Ribera (1476-1539)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tIl libro di Antonio Billi (c. 1520-1530)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"Il\n\t\t\n\t\t
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by anonymous writer<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tAnonimo Magliabechiano (c. 1540\/1550)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"Anonimo\n\t\t\n\t\t
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attributed to\u00a0Bernardo Veccietti (1514-1590)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tLe vite de\u2019 pi\u00f9 eccellenti architetti, pittori, et scultori italiani<\/em> (1550)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Le\n\t\t\n\t\t
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by Giorgio Vasari\u00a0(1511-1574)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tDescrittione di tutta Italia<\/em> (1550)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Descrittione\n\t\t\n\t\t
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by\u00a0Leandro Alberti (1479-1552)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tLe vite de\u2019 pi\u00f9 eccellenti pittori, scultori e architettori<\/em> (1568)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Le\n\t\t\n\t\t
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by Giorgio Vasari\u00a0(1511-1574)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tVoyage en Italie<\/em> (1580\/81)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Voyage\n\t\t\n\t\t
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by Michel de\u00a0Montaigne<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tIl Riposo<\/em> (1584)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Il\n\t\t\n\t\t
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by Raffaelo Borghini (1537-1588)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tDelle Istorie pisane<\/em> (1592-1606)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Delle\n\t\t\n\t\t
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by Raffaello Roncioni (1553-1618)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tDialogo sul Camposanto<\/em> (1593)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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by Giovan Battista Totti<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tBuilding of the Cappella dal Pozzo (1594)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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Left unfinished in the fifteenth century, the sanctuary assumed its final shape under Archbishop Carlo Antonio dal Pozzo (1582-1607). Projecting far beyond the roof of the galleries, the chapel with its high dome created a new focal point at the eastern end of the cemetery\u2019s longitudinal axis.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tA Survey of the Great Dukes State of Tuscany<\/em> (1605)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>A\n\t\t\n\t\t
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by Robert Dallington (1561-1637)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tAn Itinerary<\/em> (1617)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>An\n\t\t\n\t\t
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by Fynes Moryson (1566-1630)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tNewes Itinerarium Italiae<\/em> (1627)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Newes\n\t\t\n\t\t
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by\u00a0Joseph Furttenbach (1591-1667)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tDiary<\/em> (1644)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Diary<\/em>\n\t\t\n\t\t
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by John Evelyn (1620-1706)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tNotizie de\u2019 Professori del Disegno da Cimabue in qua<\/em> (1681-1686)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Notizie\n\t\t\n\t\t
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by Filippo Baldinucci<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tMemorie Istoriche della Citta di Pisa<\/em> (1682)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Memorie\n\t\t\n\t\t
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by Paolo Tronci (1585-1648)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tNouveau voyage d\u2019Italie<\/em> (1691)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Nouveau\n\t\t\n\t\t
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by Francois-Maximilien Misson (d. 1722)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tTheatrum Basilicae pisanae<\/em> (1705)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Theatrum\n\t\t\n\t\t
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by Giuseppe Martini<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tLes D\u00e9lices de l\u2019Italie<\/em> (1707)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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by Henry de Rogissart<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tVoyage en Italie de trois gentilshommes flamands<\/em> (1724)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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by Luc-Joseph van der Vynckt (1691-1779)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tSome Observations Made in Travelling through France, Italy & in the Years 1720, 1721, and 1722<\/em> (1730)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Some\n\t\t\n\t\t
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by Edward Wright<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tVoyage en Italie<\/em> (c. 1730)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Voyage\n\t\t\n\t\t
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by Charles-Louis de Montesquieu (1689-1755)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tVoyages du P\u00e8re Labat<\/em> (1730)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Voyages\n\t\t\n\t\t
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by Jean-Baptiste Labat (1663-1738)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tLettres historiques et critiques sur l\u2019Italie<\/em> (1739\/1740)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Lettres\n\t\t\n\t\t
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by Charles de Brosses (1709-1777)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tKeysslers Neueste Reisen<\/em> (1740)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Keysslers\n\t\t\n\t\t
\n\t\t\t

by Johann Georg Keyssler<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tThe Grand Tour<\/em> (1749)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>The\n\t\t\n\t\t
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by Thomas Nugent (1700?-1772)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tGuida per il passeggiere dilettante di pittura, scultura, architettura nella Citt\u00e0 di Pisa<\/em> (1751)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Guida\n\t\t\n\t\t
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by Pandolfo Titi (1696-1765)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tLetters from Italy<\/em> (1754\/1773)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Letters\n\t\t\n\t\t
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by John Boyle<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tVoyage d\u2019Italie<\/em> (1758)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Voyage\n\t\t\n\t\t
\n\t\t\t

by Charles-Nicolas Cochin (1715-1790)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tNouveaux m\u00e9moires ou observations sur l\u2019Italie et sur l\u2019Italiens<\/em> (1758\/1764)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Nouveaux\n\t\t\n\t\t
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by Pierre-Jean Grosley (1718-1783)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tDescription historique et critique de l\u2019Italie<\/em> (1761\/1766)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Description\n\t\t\n\t\t
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by\u00a0J\u00e9r\u00f4me Richard (d. ca. 1790)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tJourney from Geneva to Rome<\/em> (1764)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Journey\n\t\t\n\t\t
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by Edward Gibbon (1737-1794)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tTravels through France and Italy<\/em> (1765\/1766)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Travels\n\t\t\n\t\t
\n\t\t\t

by Tobias Smollett (1721-1771)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tVoyage d\u2019un Francais en Italie<\/em> (1765\/1769)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Voyage\n\t\t\n\t\t
\n\t\t\t

by Joseph-Jer\u00f4me de Lalande (1732-1807)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tEcclesiae pisanae historia<\/em> (1768)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Ecclesiae\n\t\t\n\t\t
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by Antonio Felice Mattei (1726-1794)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tIl forestiero erudito<\/em> (1773)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Il\n\t\t\n\t\t
\n\t\t\t

by Gioacchino Cambiagi (1747-1822)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tDreams, Waking Thoughts, and Incidents: In a Series of Letters, from Various Parts of Europe<\/em> (1783)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Dreams,\n\t\t\n\t\t
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by William Beckford\u00a0(1759-1844)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

\n\n\t\n\t\t\n\n\t\t\t\n\t\t
\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tPisa illustrata nelle arti del disegno<\/em> (1787)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Pisa\n\t\t\n\t\t
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by Alessandro da Morrona (1741-1821)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tLettres sur l\u2019Italie en 1785<\/em> (1788)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Lettres\n\t\t\n\t\t
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by Charles-Marguerite-Jean-Baptiste Mercier Dupaty (1746-1788)<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tDescrizione della citt\u00e0 di Pisa<\/em> (1792)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\"<em>Descrizione\n\t\t\n\t\t
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by Ranieri Prosperi\u00a0<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tBurning of the Camposanto roof (1944)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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On 27 July 1944, during intense combat between German troops and Allied forces, an artillery shell hits the roof of the cemetery and sets its wooden framework alight. The heat of the flames and the molten lead running down the walls destroy large sections of the wall paintings. A few weeks after the fire, the Monuments unit of the US Army (MFAA) constructs a provisional roof and gathers Italian specialists to collect hundreds of fresco fragments from the floor of the galleries.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\t\t\t\tStrappo and restoration of the Camposanto murals (1947-1955)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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After the end of the war, all of the murals in the cemetery are detached from the walls and transferred onto a new support made of a cement mixture called Eternit. The procedure is repeated for the preparatory drawings (sinopie). From 1960 onwards, the restored Buffalmacco paintings from the south gallery are exhibited in a separate hall attached to the Camposanto. Since 1979, some of the sinopie have been exhibited in the new Museo delle Sinopie.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n

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\n\n\t\t\t\n\t\t\t\n\t\t\t\t\n\t\t\t\t<\/span>\n\n\t\t\t\n\t\t<\/div> \n\n\t\n\t\t<\/a>\n\n\t\t\n\t\n\t
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\n\t\t\t\tSecond strappo and restoration of the Camposanto murals (1997-2018)\t\t\t<\/h2>\n\n\t\t\t\t\t<\/div>\n\t\t\n\n\t\t\n\t\t\n\t\t
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Due to damage caused by the Eternit panels, a second restoration campaign using the strappo method is undertaken. The murals are transferred to a new carrier and subsequently restored. In a final step, the panels with the frescoes are returned to the walls of the Camposanto.<\/p>\n Read more<\/a>\t\t<\/div>\n\t\t\n\n\t\t\n\t<\/div>\n\t\n\n<\/div>\n\n\n\t\t\t<\/section>\n\n\t\t\t\n","protected":false},"excerpt":{"rendered":"Due to damage caused by the Eternit panels, a second restoration campaign using the strappo method is undertaken. The murals are transferred to a new carrier and subsequently restored. In a final step, the panels with the frescoes are returned to the walls of the Camposanto.","protected":false},"author":541,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-42","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/pages\/42","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/users\/541"}],"replies":[{"embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/comments?post=42"}],"version-history":[{"count":10,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/pages\/42\/revisions"}],"predecessor-version":[{"id":533,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/pages\/42\/revisions\/533"}],"wp:attachment":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/media?parent=42"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}