{"id":1092,"date":"2021-05-22T19:41:05","date_gmt":"2021-05-22T19:41:05","guid":{"rendered":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/?p=1092"},"modified":"2021-06-10T19:59:44","modified_gmt":"2021-06-10T19:59:44","slug":"michelagnolo-di-cristofano-da-volterra-le-mirabile-et-inaldite-belleze-e-adornamenti-del-campo-sancto-di-pisa-c-1487-1499-2","status":"publish","type":"post","link":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/michelagnolo-di-cristofano-da-volterra-le-mirabile-et-inaldite-belleze-e-adornamenti-del-campo-sancto-di-pisa-c-1487-1499-2\/","title":{"rendered":"Michelagnolo di Cristofano da Volterra, Le mirabile et inaldite belleze e adornamenti del Campo Sancto di Pisa<\/em> (c. 1487-1499)"},"content":{"rendered":"
[vc_row][vc_column][vc_column_text]Little is known about the author of the poem “The Wondrous and Incredible Beauties and Adornments of the Camposanto in Pisa”. From a short text which he wrote about himself on the 6th<\/sup> of June 1488 we know that Cristofano di Giovanni da Volterra was born in the city of Volterra on the 29th of September 1464. The sources do not tell us anything about his family of origin, his upbringing or his education.<\/em>\u00a0Due to records, it is known that he was in Pisa in 1487. As a trombetto (official herald and messenger), he was at the service of the capitano della citt\u00e0 (city captain) Piero di Lorenzo de’ Lenzi (1487) and of the mercenary leader Virginio Orsini (1488). On the 8th<\/sup> of February 1488 he was married to Dorotea, the daughter of Nicol\u00f2 Filisbergo, a shoemaker from Pisa.<\/em>
\nBeside his profession as trombetto for the authorities of Pisa, Michelangelo da Volterra was also known as a canterino(ballad-singer). He left a few literary works which can be assigned to the genre of popular literature that was, due to the new possibilities of letterpress printing, widely received towards the end of the 15th<\/sup> century. We know that on the 10th<\/sup> of March 1487, he began to write an epic poem about Ugone d’Alvernia from the House of Chiaromonte, which he finished on the 15th<\/sup> of April 1488. After revising the piece \u2013 originally written in prose \u2013, he presented a cantare in ottava rima, a form of poetry consisting of stanzas of eight lines. The original manuscript is preserved in the Biblioteca Mediceo Laurenziana in Florence (Codice Mediceo Palatino 82). The author added a list of sixty-eight literary oeuvres to the aforementioned poetic composition, which he divided into three categories: “libri di battaglie” (books about battles), “libri di innamoramento” (romantic novels) and “libri per l’anima” (books for the soul), all of which he recommended to his readers as sources of joy and solace. Two more texts can be attributed to Michelangelo da Volterra with certainty. On the one hand we know about the epic poem “L’incoronazione del re Aloysi” which was inspired by the third book of the “Narbonese” by Andrea da Barberino. On the other hand, we can attribute the poem of praise of the monumental cemetery of Pisa “Le mirabili e inaldite bellezze e adornamenti del Camposanto di Pisa”, composed between 1487 and 1499, to him. The latter offers a remarkable description of the artistic features of the Camposanto whose decorations were finished only a few years before.\u00a0Even though the poet does not belong to the literary greats of the late 15th<\/sup> century, his work is discussed in research with great interest as it provides insightful information about popular literature and its dissemination.\u00a0The original print of the poem about the Camposanto is preserved in the Biblioth\u00e8que nationale de France and consists of four unnumbered octavo sheets. Each page features two columns of four stanzas.\u00a0In the second half of the 19th<\/sup> century, the French philologist Gaston Paris made a copy of the print and sent it to the literary historian Alessandro d’Ancona. Subsequently, the poem was published in 1896 within the monograph on the Camposanto by the Italian art historian and painter Igino Benvenuto Supino.<\/em>
\nWith regard to its formal composition, the poem features sixty-four stanzas of eight lines each. Every line consists of eleven syllables (endecasillabi), rhyming according to an abababcc-scheme.<\/em>
\nMichelangelo da Volterra starts his poem with an invocation of Our Lady for poetical assistance and inspiration, a classical topos since antiquity. The following two stanzas are dedicated to the description of the external appearance and the spatial dimensions of the Camposanto as well its location north of the cathedral and the baptistery. Afterwards, the southern outer fa\u00e7ade with its two entrance doors is presented, one of them closed and adorned with a crucifixion top, the other opened and decorated with a mosaic that shows the archangel Michael. Above this entrance there is a sculpted tabernacle in which the Virgin and Child, accompanied by several angels and saints, can be seen (4-6). The next two stanzas describe the lead roof of the monument, accompanying the reader into the south-gallery by describing the fresco of the Assumption of the Virgin above the inner side of the entrance door. The following stanzas depict the illustrations of the frescoes on the left side of the door with episodes concerning Saint Ranerius (9-15), Saint Ephesius (15-18) and the story of Job (19-20). It is noticeable that the author dedicates more stanzas to the description of the frescoes of the local Saints than to the ones about the biblical story of Job. Even if the exact reasons may remain unclear, one might assume that he probably wanted to emphasize the close bond between the Camposanto and the city of Pisa.<\/em>
\nAfterwards, the frescoes on the right side of the entrance door are presented to the reader: the Thebaid, Hell, the Last Judgement and the Triumph of Death (21-23). The fact that Michelangelo da Volterra dedicates only three stanzas to the depiction of these large-scale and impressive paintings is highly remarkable, the more so, as they show the fundamental topics related to the Camposanto: leading a pious life, the resurrection of the Christian soul and the passing of judgements based on one’s conduct.<\/em>
\nAfter that, the paintings of the east-corridor are mentioned, first the Crucifixion (24), followed by the Resurrection (25). In stanza 26, the above-mentioned frescoes are attributed to Stefano da Firenze, Taddeo Gaddi and Buonamico Buffalmacco. All three are described to have been pupils of Giotto, which was probably true in the case of Taddeo Gaddi and Stefano da Firenze. The attribution of the works to the aforementioned artists is almost correct except for the fact that the painter of the Crucifixion, the Pisan artist Francesco Traini, is not brought up.<\/em>
\nFrom stanza 27 onward the depiction of the north-gallery is explained. As an introduction the author reports extensively about the composition of the fresco of the Theological Cosmography, where Godfather appears as Creator of Heaven and Earth (27-28). Then follows the presentation of the continents, of the four elements, of the planets and of the sun (29-30). Thereafter we learn about the celestial circle where Jesus Christ sits enthroned in the presence of the Our Lady and all the Blessed and Saints (31). In the following two stanzas we read about all zodiac signs and the nine choirs of angels (32-33).<\/em>
\nIn only two stanzas Cristofano da Volterra tells the reader about the formation of the earth with all its plants and wildlife, the creation of Adam by Jesus Christ (sic!) (34) and the origination of Eve, the fall of Man, the expulsion from Paradise and the stories of Cain and Abel (35).<\/em>
\nThe next four stanzas are an introduction to the fresco cycle of Benozzo Gozzoli. The artist is highly praised for his ability to portray people, buildings as well as flora and fauna in a manner very true to their nature (36-39). The reader then learns about the stories of Noah and the construction.n of the Tower of Babel. In addition, he is told that the painter depicted the characters after contemporary models (40-41).<\/em>
\nThereafter the author presents us with a short description of the Ammannati chapel, the frescoes of the Annunciation and of the Adoration of the Magi (42). The description of the painted stories of Abraham and his descendants Isaac and Jacob and Esau is found in the stanzas 43 to 49. After some remarks on of the fresco of the Coronation of the Virgin, which today exists only as a sinopia above the cappella Aulla, we read about the artistic realization of the stories of Joseph (50) and Moses (51-55). The author finishes his report by mentioning the frescoes by Benozzo Gozzoli on King Saul, the story of David and Goliath and the Meeting of Solomon and Sheba (56-58).<\/em>
\nThe stanzas about the sculptural decoration and the tracery in the inner courtyard of the Camposanto as well as the Holy Earth and its effective power mark the end of the physical description of the monumental funerary complex. The author emphasizes that the holy earth had been transported to the sacred graveyard from Jerusalem and its surroundings at the height of Pisa’s power. As a local author, he also highlights for the first time the miraculous effect of this earth, as it is said to consume a dead body within three days by the will of Christ (59-62).<\/em>
\nMichelangelo da Volterra finishes his poem by emphasizing the uniqueness of the Camposanto of Pisa and points to the possibility of absolution after having visited this sacral place. He signs his oeuvre by mentioning his profession oftrombetto of Pisa and thereby bestowing it with an official character.<\/em>
\nBy paying attention to linguistic peculiarities, one notices the often descriptive and enumerative presentation which interlinks the individual scenes by using copulas. The reader is therefore taken by the hand and accompanied through the rich pictorial landscape. The deeds of some of the depicted figures are presented in a detailed manner and by means of figurative-allegorical-language which places the narrated events in close context to the architectural and artistic shaping of the Camposanto. It can be assumed that the author knew the monument well on the one hand and portrayed it according to his own experience. On the other hand, he might have drawn on documents that were still available from the cathedral works. It is also quite conceivable that he interacted with representatives of the church or had access to their records. Stanza 27, in which he begins with the description of the fresco of the Theological Cosmography following certain documents (me dicen le carte) might allude to this.<\/em>
\nThe aim of the text may have been to make this impressive work of art accessible to educated inhabitants of Pisa. One can imagine that the text could have been designed for a public lecture and was perhaps presented in front of an audience, even inside the Camposanto,\u00a0so that the pictures, the text and the poetic presentation together could have been brought to life before the reader\u2019s\/listener\u2019s inner eye. In addition, the text could have conveyed the impression of the splendour of the Camposanto to people who had not seen it before and inspired them to come and see the marvellous sight. In any case, the poem bears witness to the magnificence of Pisa and contributed to its prestige within the situation of urban rivalries in Italy. In this context, the text presents its readers with a political message which underlines the beauty of both the Camposanto and the city of Pisa. In theological terms the poem promises absolution of sins, since it presents a distinct connection between the city and the holy city of Jerusalem. Consequently, a visit to the Camposanto could be equated to a pilgrimage to the Holy Land.<\/em>
\nFinally, it should be noted that the work overcomes several barriers in its context of origin. At a narrative level, it deals with the question what will happen to the (Christian) soul after death by correlating scenes of the Old and the New Testament. In geographical terms, it corroborates the connection between Pisa and Jerusalem and by doing so, increases its potential target group.\u00a0We do not know anything about the immediate reception of the work. But it seems clear that when Giorgio Vasari wrote the Vite in the middle of the 16th<\/sup> century, it did not enter into his consideration about the description of the Camposanto. Igino Benvenuto Supino was the first art historian who really acknowledged the poem as a historical source on the monumental funerary complex.\u00a0\/ FH<\/em><\/p>\n

Michelangnolo di Cristofano, Le Mirabile et inaldite belleze, ca 1490<\/a><\/span><\/p>\n

Source:<\/strong> Michelangnolo di Cristofano da Volterra, Le mirabile et inaldite belleze e adornamenti del Campo Sancto di Pisa<\/em> (Pisa: Ugo Ruggeri, s.d. [1487-1499]), Paris, Biblioth\u00e8que nationale de France, d\u00e9partement R\u00e9serve des livres rares, RES-YD-619 (only known copy, digitized under http:\/\/gallica.bnf.fr\/ark:\/12148\/bpt6k1346331<\/a>).<\/span><\/p>\n

Edition:<\/strong> Iginio Benvenuto Supino, Il Camposanto di Pisa (Firenze: Alinari, 1896), pp. 300-317.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]\n

Le mirabile et inaldite belleze e adornamenti del Campo Sancto di Pisa<\/span><\/strong><\/em><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]The Wondrous and Incredible Beauties and Adornments of the Camposanto in Pisa<\/strong><\/em>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]1. General description, architecture, facade and doors<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]Io non invoco el Monte di Parnaso
\nio non invoco sue nove sorelle
\nma sol ricorro a quella fonte e vaso
\nquale ist\u00e0 in ciel di sopra al\u2019alte istelle
\nci\u00f2 la madre di Cristo in questo caso
\nprego m\u2019aiuti a far mie rime belle
\na ci\u00f2 mia operetta segua intanto
\ndel glorioso e degno Campo Sancto.<\/p>\n

 <\/p>\n

Quale \u00e8 ritracto in quadro per certeza
\ndi bianchi marmi \u00e8 tutto lavorato
\nsetanta quattro braccia \u00e8 sua larghezza
\ncomo per punto \u00e8 certo misurato
\nducento bracia \u00e8 poi la sua lunghezza
\ncon venticinque pi\u00f9 quello \u00f2 trovato
\ncon be\u2019 modi ordinato quello al tondo
\nquale pi\u00f9 bella cosa ch\u2019abbia el mondo.<\/p>\n

 <\/p>\n

Dalla sua faccia ch\u2019\u00e8 volta a ponente
\nv\u2019\u00e8 duo gran templi il Duomo e sa[n] Gio[v]anni
\nciascun di gran beltade risplendente
\npi\u00f9 c\u2019altri che mai fussen senza ingani
\nLa lor belleza magna alta excelente
\ndarebbe a farla in versi a l\u2019uomo affanni
\nper\u00f2 per ora la verr\u00f2 lassando
\ne solo al Campo Sancto ritrovando.<\/p>\n

 <\/p>\n

Duo porte son nella faccia preditta
\nle qual del Campo Sancto son intrata
\nl\u2019una ist\u00e0 chiusa me dice la scritta
\nqual \u00e8 di sopra a quella istoriata
\nun crocifisso in tal parte diritta
\nerto v\u2019\u00e8 sopra a tal parte adornata
\ne certe altre figure adorne e belle
\n[\u2026] io tal parte istoriate quelle.<\/p>\n

La porta po\u2019 della intra bellissima
\nqual \u00e8 adorna come io dico certo
\nin nel vederla par cosa degnissima
\ndi sopra una figura con gran merto
\nv\u2019\u00e8 molto bella e ben chiara e prontissima
\nsan Michel Angel ben si vede isperto
\ncome caccia il nimicho in quella parte
\ndi musaico facto con grande arte.<\/p>\n

E poi di sopra v\u2019\u00e8 un tabernacholo
\nci\u00f2 di rilievo lavorato quello
\nla Nostra Donna ist\u00e0 in tal oracolo
\ncon angeli da canto ciascun bello
\nsi pronti ch\u2019al vederli \u00e8 un miracolo
\ne altri sancti ancora io vi favello
\ncon gentil modo in tal luogo adornati
\npur di rillievo tutti lavorati.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]I do not invoke Mount Parnassus,
\nI do not invoke its nine sisters,
\nI only have recourse to the source and vessel
\nthat is in the sky above the high stars,
\nit is the mother of Christ whom I beseech for help in this case
\nto make my rhymes beautiful,
\nso that my humble work may thereby tell
\nof the glorious and worthy Camposanto.<\/p>\n

It was built in a square shape in truth,
\nand is decorated all over with white marbles,
\nseventy-four cubits is its width,
\nas it has been correctly measured;
\ntwo hundred cubits is then its length,
\nwith twenty-five more that I found,
\nmarvelously arranged in the round,
\nwhich is the most beautiful thing on earth.<\/p>\n

 <\/p>\n

In front of its west-facing fa\u00e7ade
\nthere are two mighty temples, the Cathedral and San Giovanni,
\nboth shining, more than any other before them,
\nin great beauty and sincerity.
\nTheir great, high and excellent beauty
\nwould cause many troubles to a man wanting to put it into rhymes,
\nso, for the time being, I will let it be,
\nand go back to the Camposanto.<\/p>\n

There are two gates in the mentioned fa\u00e7ade
\nwhich are the entrances to the Camposanto;
\none is closed, I am told by the inscription
\nthat is above the historiated one.
\nAbove that place adorned with figures,
\nthere is a towering crucifix
\nand more adorned and beautiful figures
\n\u2026\u2026.or in that place historiated ones.<\/p>\n

The gate of the very beautiful entrance,
\nthat is adorned, as I tell for sure,
\nseems to be a very worthy thing.
\nAbove it, there is a figure of great merit,
\nvery beautiful and bright and lively:
\none can see the skilled Archangel Michael
\nchasing the enemy on that part of the mosaic,
\nmade with great art.<\/p>\n

And then above there is a tabernacle,
\nworked in relief:
\nOur Lady stands within this oracle
\nwith angels by her side, each of them beautiful,
\nso lively that it is a miracle to see them,
\nand I tell you, there are even more saints
\nadorned in a gentle way,
\nalso worked in relief all over.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]2. The frescoes on the western part of the south wall: Saint Ranieri, Ephisius and Putitus, Job<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]La sua coperta o volian dir suo tetto
\ndi pombo \u00e8 tutta como chiar ragiono
\ne lavorato ancor con molto effecto
\nda un maestro anticho e molto buono
\nor racontando dentro con dilecto
\ndove di so\u2019 belleze e si gran suono
\nprima come entri sopra della porta
\nla Nostra Donna v\u2019\u00e8 con molta iscorta.<\/p>\n

 <\/p>\n

Cio\u00e8 molti angioletti in compagnia
\nqual\u2019\u00e8 molta divota tal figura
\nnel mezo ist\u00e0 la vergine Maria
\nche viva par di certo creatura
\ncotal mestro ebbe gran fantasia
\nqual la dipinse in le presente mura
\ne sopra a questo degno e bel lavoro
\nv\u2019\u00e8 un ciborio tutt\u2019 messo ad oro.<\/p>\n

 <\/p>\n

Da man sinistra la faccia seguendo
\ntutta l\u2019istoria v\u2019\u00e8 di san Raineri
\nquale fu pisano como certo intendo
\ne fu di Cristo quel bon cavalieri
\ncome fu amonito chiar comprendo
\nci\u00f2 dal beato Alberto volentieri
\nper certo suo stromento che sonava
\nvedessi poi come lo seguitava.<\/p>\n

 <\/p>\n

 <\/p>\n

E come poi gli aparve el bon Giesue
\ne perdon\u00f2li ciascun suo dilitto
\ne come prima merchatante fue
\ne navich\u00f2 come si trovava iscripto
\ne come poi Rinier pien di vertue
\nnon fecie gi\u00e0 de\u2019 poveri resquitto
\nma dette lor ci\u00f2 ch\u2019avia fatto aquisto
\nsol per amor del signor Giesucristo.<\/p>\n

 <\/p>\n

Come la Nostra Donna gli parloe
\ndicendo a quel: tu\u2019tti reposerai
\nnel Duomo im Pisa come chiar lo soe
\ne quivi molti ancor trarra\u2019 di guai
\ne come in Terra Sancta capitoe
\ne ste\u2019ttuti sette anni intenderai
\ne como li animali l\u2019onoravano
\nquando Rainer per le selve incontravano.<\/p>\n

 <\/p>\n

Come nel monte Tabor quel salliva
\ne Christo anchor gli aparve in cotal loco
\ne come po\u2019 d\u2019un pane in quella riva
\nsazi\u00f2 molti afamati con gran giuocho
\ne come po\u2019 di nuovo gli appariva
\nCristo con splenndor che par di foco
\ne comandolli che tornasse a Pisa
\nquel si part\u00ec per mare alla recisa.<\/p>\n

 <\/p>\n

E come essendo quel santo al timone
\nmiracolosamannte per il mare
\nda Caffa a Messina odi \u2018l sermone
\nin una notte venne a\u2019nnavicare
\nE \u2018l miracol del vin di quel barone
\ncio\u00e8 dell\u2019oste quel si vede fare
\ne come giunse a Pisa quel beato
\nvedesi ancor come fu onorato.<\/p>\n

 <\/p>\n

E come poi pass\u00f2 di questa vita
\ncio\u00e8 [a] San Iuto [Vito] e quello fu certezza
\ne come sua persona transferita
\nfu quella al Duomo p[er] buona chiareza
\nessendo sua persona sep[e]llita
\nfecie molti miracol con dolcezza
\ne come le canpan\u2019 da lor sonareno
\nquando el suo corpo a sepellir portareno.<\/p>\n

 <\/p>\n

E come suscit\u00f2 un fanciul morto
\ncon altri gran miraculi degnissimi
\nquael fe\u2019 quel santo in Domo in cotal porto
\ntutti scolpiti si vegon prontissimi
\npoi pi\u00f9 in su segue sancto Ebizi [Efisi] acorto
\ncome sua madre con atti umanissimi
\na Diocletiano imperadore
\nracomandava el figlio con amore.<\/p>\n

 <\/p>\n

E come el fe\u2019 capitano e poi mandollo
\nincontro a\u2019soi nimici a\u2019ffari la guera
\ne come Cristo quel sancto avisollo
\ne donolli una croce el dir non erra
\ne come di sua fede fu satollo
\ncome si convert\u00ec in cotal serra
\ne come essendo poi nelle battaglie
\nun gioveneto armato a piastre e ma[glie].<\/p>\n

 <\/p>\n

Venne in sao adiuto con una bandiera
\npoi ruppe e\u2019suo inimici con vettoria
\ncome l\u2019enperador con faccia fiera
\navendo avuto d\u2019Ebbizi memoria
\ngli fe\u2019 molti mart\u00edri in tal riviera
\nEbbizi non churava per sua gloria
\ne come poi irato con tenpesta
\nin nella fin gli fe\u2019 tagliar la testa.<\/p>\n

 <\/p>\n

Seguendo poi l\u2019inperio d\u2019Antonino
\nsichome fe\u2019 sa\u2019Putio pigliare
\nper miracol che fecie nel confino
\nfecielo con tormenti assai istraziare
\npoi lo dicapit\u00f2 dicie el latino
\nda poi si vegan li Pisani andare
\nin Sardigna pe\u2019 corpi che portorno
\ndi questi santi qual molto onororno.<\/p>\n

 <\/p>\n

Di Iobbe segue poi suo storia santa
\nqual tante pene nel monde sestenne
\ncome la Chiesa aperta de lui canta
\ntutta l\u2019aversit\u00e0 ch\u2019a quello avenne
\ndel bestiame e de\u2019 figli e d\u2019ogni pianta
\nvedesi l\u00ec come provar convenne
\ne della lebra e d\u2019ongni suo faticha
\ne tentazion dalla parte nimicha.<\/p>\n

 <\/p>\n

E come poi patito ogni tormento
\nel sopra ditto Jobbe e tanti afanni
\nvedesi come Dio lo fe\u2019 contento
\nper ristorarlo de\u2019 tanti suoi danni
\nsua robba li rendeva e ogni armento
\ne liberollo dal dimonio e \u2018nganni
\ne ritorn\u00f2 nel mondo in gran richezza
\ne doppo a quello la superna altezza.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]Its curtain, or as we want to say its roof,
\nis all made of lead, as I clearly reason,
\nand moreover, decorated with great effect
\nby an ancient and excellent master.
\nNow, I tell about the inner side with pleasure,
\nwhere you can hear so much about mere beauty,
\nas you enter, above the door,
\nthere is our Lady with a big escort.<\/p>\n

That means a large party of little angels,
\nsince this figure is very pious:
\nin the midst there is the Virgin Mary,
\nwho really seems to be a living creature.
\nThat master had great imagination
\nwho painted her on these walls;
\nand above this worthy and beautiful work of art,
\nthere is a gilded ciborium.<\/p>\n

Following the fa\u00e7ade on the left,
\nthere is the entire story of Saint Ranerius,
\nwho was a Pisan as I surely understand
\nand a good knight of Christ.
\nHow he was admonished willingly I clearly see
\nby the blessed Albert
\nbecause of an instrument that he was playing;
\nyou then can see how he still went on doing so.<\/p>\n

And how thereafter the good Christ appeared to him
\nand pardoned all of his misdemeanors,
\nand how he first a merchant was,
\nand sailed, the way it is inscribed,
\nand how then Ranerius full of virtue
\nwas not tired of the poor,
\nbut gave them what he had purchased,
\njust for the love of Jesus Christ.<\/p>\n

 <\/p>\n

How Our Lady spoke to him,
\ntelling him: you shall rest
\nin the cathedral of Pisa, as I clearly know,
\nand there you shall save many from troubles;
\nand how he made it to the Holy Land,
\nand you shall see how he stayed there seven years,
\nand how the animals honored Ranerius,
\nwhen they met him in the woods.<\/p>\n

How he climbed Mount Tabor
\nand Christ appeared to him in that place,
\nand how upon that mountain with a loaf of bread
\nhe sated many hungry people with great enjoyment;
\nand how then Christ appeared to him anew
\nwith splendour that seemed fire,
\nand commanded him to go back to Pisa:
\nso, he resolutely went back by sea.<\/p>\n

And as that saint was at the helm
\nmiraculously across the sea
\nfrom Caffa to Messina, listen to the tale,
\none night he came to navigate.
\nAnd the baron, that is to say the host,
\nsaw how he performed the miracle of the wine;
\nand one can see how honoured the blessed man was
\nwhen he came back to Pisa.<\/p>\n

And how thereafter he departed from this life,
\nthat is to say in the church of San Vito, and this was a certain thing,
\nand how his body was transferred
\nto the cathedral for good visibility;
\nas his body was buried,
\nhe performed many miracles with sweetness
\nand the bells tolled by themselves
\nas they brought his body for burial.<\/p>\n

And how the saint resuscitated a dead child
\namong other prodigious and worthy miracles
\nhe accomplished in the cathedral of that site,
\nall of them you can see portrayed in a very lively manner.
\nAbove you see the tale of Saint Ephesius,
\nwise like his mother in accomplishing charitable deeds,
\nrecommended with love by her
\nto the emperor Diocletian.<\/p>\n

And how the emperor made him a captain, and sent him afterwards
\nto wage war against his enemies,
\nand how Christ saw him
\nand gave him a cross, this is truly spoken;
\nand how he was satiated by his faith,
\nhow he was converted in that crush;
\nand as he was fighting in battles,
\na youth in a suit of armour<\/p>\n

 <\/p>\n

Came to his aid with a banner;
\nthen achieved a victory over his enemies;
\nhow then the emperor with a proud face
\nremembering Ephesius
\nhad him suffer martyrdom on those shores,
\nEphesius was not concerned about his glory;
\nand how the emperor flew into a rage,
\nand in the end had his head cut off.<\/p>\n

 <\/p>\n

Then followed the reign of Antoninus
\nso, he had the Holy Potitus arrested,
\nbecause of a miracle he accomplished on the border,
\nhe had him very much tormented
\nthen he had him decapitated, it is told in Latin.
\nThereafter you can see the Pisans sailing
\nto Sardinia to fetch the bodies
\nof those saints, whom they honoured greatly.<\/p>\n

What follows is the holy tale of Job,
\nwho suffered many pains on earth,
\nas the open church sings about him:
\nall adversities that happened to him
\nconcerning his animals and his children and every crop
\none can see how he had to endure leprosy and every kind of toil
\nand temptation coming from his enemy.<\/p>\n

 <\/p>\n

And one can further see how thereafter,
\nafter having endured every torment and toil,
\nthe aforesaid Job was rewarded by God:
\nin order to restore him from all his harm
\nhe was given back his belongings and herd,
\nand was liberated from the devil and deceit,
\nand he came back to the world in wealth
\nand after that to an illustrious position.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]3. The frescoes of the eastern part of the south wall: Thebais, Last Judgment, Triumph of Death, Crucifixion and Ascension<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]Poi dalla porta in gi\u00f9 v\u2019\u00e8 storiato.
\nvita di santi padri in ditta faccia
\nvedesi molti stare in cotal lato
\nseguendo po\u2019 di Cristo la suo traccia
\ne doppo questo \u00e8 l\u2019inferno ordinato
\nche l\u2019anime meschine quello allaccia
\nquivi \u00e8 ritratto ben cotal inferno
\ncon tutto l\u2019ordin suo come discerno.<\/p>\n

 <\/p>\n

 <\/p>\n

Da poi pi\u00f9 basso si vede el iuditio
\ns\u00ec come Cristo verr\u00e0 a giudicare
\nquivi si vede adorno in tale ospitio
\nla gran sentenzia la qual usa a dare
\nvedesi molti pel passato vizio
\ndalli demoni a l\u2019inferno portare
\ne come buoni se ne vanno via
\ndalli angeli portati in conpagnia.<\/p>\n

 <\/p>\n

Oltre passando si vede la Morte
\nchom\u2019ella segue e gioveni volentieri
\ne\u2019 vechi fuge che la chiaman forte
\nabandonando quelli pel sentieri
\ne molti infermi che vorian tal sorte
\ne lei dimostra allor suo atti fieri
\nli papi [e] imperadori in cotal sito
\nvedonsi dalla Morte ongnun finito.<\/p>\n

 <\/p>\n

Da poi, voltando alla facetta prima
\nse ben rimiri col tuo occhio fisso
\nmonte Calvario vedi e la sua cima
\ne come Cristo vi fu crocifisso
\nin mezzo del\u2019ladron dice la rima
\ne come poi nel sipolcro fu misso
\nella sua madre e l\u2019altre dolorose
\nvegonsi tutte insieme lacrimose.<\/p>\n

 <\/p>\n

Apresso a questo la resuretione
\nsi vede in questa parte ben dipinta
\nse ben procuri apunto per ragione
\nvedi la grolia suo di gaudio cinta
\ne storiata ben v\u2019\u00e8 l\u2019ascensione
\ncome sali nel cielo avendo vinta
\nla forza del domonio e\u2019l pecchatore
\ninsciolto e liberato dal dolore.<\/p>\n

 <\/p>\n

E queste istorie tutte racontate
\nIstefano e Tadeo Gaddi e Buonamico
\nper questi tre fun tutte lavorate
\nci\u00f2 pel passato tempo e molto antico
\ndiscipuli di Giotto or be\u2019 notate
\nquesti tre furno come chiar ve dico
\nciaschun maestro e pictor d\u2019excellenzia
\ncome si vede l\u00ec la sperientia.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]Then from the door onwards you shall find depicted
\nthe life of the Holy Hermits on the mentioned wall;
\none can see many of them on that side
\nfollowing Christ\u2019s path.
\nAnd after that there is Hell and its order
\nthat laces up all miserable souls;
\nhere Hell is well portrayed
\nwith all its order, as I discern.<\/p>\n

Then down along the wall you see the Last Judgement,
\nthe way Christ will come and judge;
\nhere you can see him adorned in that home
\nwhere he usually pronounces his great sentence;
\none sees many, because of their former vices
\nbeing carried to Hell,
\nand how the good ones go away
\nin the company of angels.<\/p>\n

Stepping further you see Death
\nthat follows gladly the young people
\nand flees the old ones who call for it loudly
\nand abandons them on their paths;
\nand to many an infirm who wished for that sort
\nit shows its fierce deeds;
\nPopes and emperors on that site
\nthey all see their lives ended by Death.<\/p>\n

 <\/p>\n

Turning towards the eastern wall
\nif you eye it steadily
\nyou shall see Mount Calvary and its peak
\nand how Christ was crucified there
\nbetween the two thieves, as goes the tale,
\nand how he then was buried in the sepulchre;
\nand his mother and the other mourning women
\nwere all weeping with sorrow.<\/p>\n

Next to this you see the Resurrection
\nwhich is well painted on this site;
\nand if you reason thoroughly
\nyou see His glory surrounded by joy,
\nand well painted there is the Ascension,
\nhow he rises into Heaven, having overcome
\nthe power of the devil and liberated
\nand saved the sinner from pain.<\/p>\n

 <\/p>\n

And all these tales are told
\nby Stefano and Taddeo Gaddi and Buonamico,
\nby those three they were all painted,
\nthis happened a long time ago;
\npupils of Giotto, behold now,
\nthese three were, as I clearly state to you,
\neach one a master and outstanding painter
\nas one sees there the expertise.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]\n

4. Piero di Puccio<\/span><\/b><\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]Ora tornando alla seconda parte
\nvolendo racontar a punto quella
\ncome ell\u2019\u00e8 fatta adorna con grande arte
\npi\u00f9 c\u2019altra cosa gloriosa e bella
\nnel suo principio mi dicen le carte
\nel mondo v\u2019\u00e8 come chiar si favella
\nritratto in tondo con modo gentile
\nn\u00e8 mai si vidde una cosa simile.<\/p>\n

 <\/p>\n

Con tutte le sue belle alte fazzioni
\nquale a vederle \u00e8 gran magnificenzia
\ne veramente fu pittor de\u2019 buoni
\nquel che \u2018l dipinse con tanta prudentia
\nperch\u00e8 l\u2019\u00e0 tutte quante sue ragioni
\niddio si vede con sua gran potentia
\nd\u2019una figura grande in cotal faccia
\nchome tien questo mondo nelle braccia.<\/p>\n

 <\/p>\n

E poi dappi\u00e8 son duo santi bellissimi
\nistoriati quelli con ingegno
\ne nel guardarli ben paion prontissimi
\nanticamente ritratto [\u00e8] lor segno
\ndi questo mondo suo modi ornatissimi
\ntutti si vedon con uno acto degno
\nAsia si vede la parte pi\u00f9 grande
\npoi Africa e \u2018Uropia in cotal bande.<\/p>\n

 <\/p>\n

Da poi si vedon li quatro elementi
\nla terra e \u2018l fuoco e l\u2019aqua e \u2018l quarto l\u2019aria
\npoi sopra all\u2019aria e cieli son presenti
\nquel della luna e niente transvaria
\ne quel di Marte puon veder le genti
\nquel di Mercurio alla parte contraria
\nquel di Venere poi e di Saturno
\ne quel del Sol ancore si vede adorno.<\/p>\n

L\u2019ultimo \u00e8 el ciel de gloriosi sancti
\nqual \u00e8 chiamato il ciel imperiale
\ndove stanno i beati tutti quanti
\ne Giesu Cristo re celestiale
\ne la sua madre con dolci senbianti
\ne ciascun santo e santa naturale
\ntutti scolpiti son con adorneza
\nn\u00e8 mai si vidde simile bellezza.<\/p>\n

 <\/p>\n

Poi si vedon dipinti per ragione
\ndodici segni e son cosa invisibile
\nel primo e Sagiptario e po\u2019 Scorpione
\ne Capricorno che pare incredibile
\nAquario Pesce Ariete a tal sermone
\nTauro Cancer d\u2019ornamento orribile
\nGemini Virgo Libra e Leo poi
\nciascun cho\u2019 segni verisimili suoi.<\/p>\n

Delli angeli poi sigue e nove chori
\ntutti dipincti a ordine asettati
\nAngeli Archangeli vedi a tal lavori
\nTroni Dominationi e Podestati
\nseguendo poi Virtute con onori
\nappresso questi segue e Principati
\ndapoi si vede el cor de\u2019 Cherubini
\na canto allui seguendo e Serafini.<\/p>\n

Con ordin grande son le dette cose
\nnel mur gi\u00e0 molte antiche conpilate
\ne certamente son maravigliose
\ntanto son bene aconcie e ordinate
\nvedosi Cristo poi che \u2018l mondo puose
\navendo tutte le piante fermate
\ne come Adam cre\u00f2 in similitudine
\ndi sua persona con gran dolcitudine.<\/p>\n

Questa faccia \u00e8 del Vechio Testamento
\nsegue come Eva ancor creava Iddio
\nanccor si vede el lor comandamento
\ncome tentati dal dimonio rio
\npechorno tutti dua in un momento
\npoi como fun cacciati vi trovo io
\nel omicidio fatto per Cayno
\npoi per Lamec suo morte in tal confino.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]Now turning to the second part
\nand wanting to tell exactly about
\nthe way it is adorned with great art
\nmore than everything else glorious and beautiful,
\nthe world is there, as one clearly states
\nin its beginning, so I am told by the scripture,
\ndepicted as a circle in a gentle manner,
\nnever before has one seen anything similar.<\/p>\n

With all its beautiful and spacious sections
\nwhich are magnificent to look at,
\nand it was indeed a very good painter
\nwho painted it with so much prudence,
\nbecause everything is there with good reason.
\nYou see God with His great power
\nas a big figure on that wall
\nholding this world in his arms.<\/p>\n

On the lower part there are two very beautiful saints,
\ndepicted with talent,
\nand while you look at them, they seem quite lively;
\ntheir look is painted in an antique way.
\nThe richly adorned parts of this world
\nare shown in a worthy picture:
\nAsia is the largest part,
\nthen Africa and Europe below.<\/p>\n

Thereafter we see the four elements,
\nearth, and fire, and water and the fourth, the air;
\nabove the air, there are the various skies,
\nthe one of the Moon, and nothing is changed,
\nand the people can see the one of Mars,
\nthe one of Mercury on the opposite site,
\nand then the one of Venus and then of Saturn,
\nand also, the one of the Sun you see adorned.<\/p>\n

The last one is the sky of the glorious saints,
\nwhich is called the imperial sky,
\nwhere all the Blessed dwell
\nand Jesus Christ the celestial king,
\nand his mother with sweet countenance
\nand each male and female saint is depicted close to nature:
\nall of them are formed with skill,
\nnever has such beauty been seen before.<\/p>\n

Then you see depicted to their full right
\ntwelve signs, and they are well discernible;
\nthe first one is Sagittarius and then Scorpio
\nand Capricorn which seems incredible,
\nAquarius, Pisces, Aries, in this report
\nTaurus, Cancer with horrible ornament,
\nGemini, Virgo, and followed by Leo,
\neach one with their likely features.<\/p>\n

After that nine choirs of angels
\nall depicted in a seated order:
\nyou see Angels and Archangels in this work,
\nThrones, Dominations and Powers;
\nfollowed by Virtues with honours,
\nclose by there are Principalities,
\nthereafter you see the choir of Cherubim,
\nnext to them the Seraphim.<\/p>\n

The mentioned things appear in great order
\ndrawn on the wall a long time ago,
\nand certainly, they are marvelous
\nfor they are well and orderly arranged.
\nThen you see Christ who created the earth
\nand all the plants and trees,
\nand how he created Adam
\nin his image with great delight.<\/p>\n

This wall is dedicated to the Old Testament:
\nit follows how God created Eve,
\nand furthermore, you see their commandment,
\nhow they were tempted by the Evil One
\nand both sinned for a short while
\nand were then banned, as I can find,
\nand the homicide perpetrated by Cain,
\nthen his death by the hand of Lamech in his banishment.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]5. Benozzo Gozzoli<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]Poi comincia a seguir la storia nuova
\nla qual Benozzo fiorentin dipinse
\ndel Testamento Vechio chiar si trova
\ntutte tal istorie e gi\u00e0mai non se finse
\ndi farla sufficiente a tanta pruova
\ne tutti colpi e modi costui vinse
\nci\u00f2 della pictura si pu\u00f2 fare
\nprima d\u2019inponimento singulare.<\/p>\n

Quivi si pu\u00f2 le figure vedere
\nper ongni modo e per ongni attitudine
\nda dare all\u2019occhio certo gran piacere
\ntanto son belle di similitudine
\nson vi ritratti molti, puoi sapere
\nche paion vivi con gran dolcitudine
\nma in fra altri belli adornamenti
\nquivi vi son mirabil casamenti.<\/p>\n

Moderni antichi e d\u2019ogni altri ragone
\nqua fan maravigliar certo la gente
\nancor v\u2019\u00e8 animal d\u2019ogni ragione
\nsimili ucelli anchora il dir non mente
\ncon ciaschun atto, parla el mio sermone
\nson copiosi alla faccia presente
\npoi mirabil paesi e gran verzure
\nne mai si vidde simil dipinture.<\/p>\n

Gi\u00e0 sono ucelli vivi l\u00ec veduti
\nsulli arbori volar, credendo sieno
\ne molti son ch\u2019a questo vi son suti
\ncome chiar dice il mie parlar appiene
\nNo\u00e8 si vede quel con suo aiuti
\nquando fe l\u2019arca e li animal che gieno
\ntutti in tal loco e po si vede il fine
\ne de diluvio le sue gran ruine.<\/p>\n

 <\/p>\n

E la sua vita d\u2019anni novecento
\ncinquanta ancor, la qual s\u00ec lunga fue
\ne come vidde chiaro io oldo e sento
\nventi quatro migliara, intendi sue
\ndi lui discese uomin di valimento
\ndetto No\u00e8 ripien d\u2019ogni virtue
\nper la sua vita lunga vidde quelli
\nsenza que\u2019 che morirno tenerelli.<\/p>\n

Poi di Nembrot si vede la gran storia
\ncome fe\u2019 far la torre di Babello
\ncome e\u2019 mestri perd\u00e8n la memoria
\nper\u00f2 non la forn\u00ec la torre quello.
\nMeser Gioan Francesco [= Gianfrancesco Sanseverino, ca. 1450-1501, famous condottiere in the service of Milan and Venice, between 1478 and 1482 he was under contract with Florence] con gran gloria
\nquivi \u00e8 ritratto e ciascun suo fratello
\nche paion vivi, come io dico certo
\nqua\u2019 furon figli al gran signor Ruberto [= Roberto Sanseverino d\u2019Aragona, 1418-1487, powerful condottiere in the service of Milan and Venice].[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]Here then is the beginning of a new story,
\nwhich was painted by the Florentine Benozzo:
\none can clearly find all of these tales
\nin the Old Testament, and he never pretended
\nthat his work would bear all examination
\nand nevertheless, he overcame all setbacks:
\nthat is what one can make out of painting
\nwhen you can express yourself freely.<\/p>\n

Here one can see the figures
\nin every mode and attitude
\nso that they greatly please the eye,
\nthey are so beautiful in their likenesses,
\nthere are many portraits, you can learn,
\nwhich seem alive with great delight;
\nbut between other beautiful adornments,
\nthere are wonderful buildings.<\/p>\n

Modern, old ones and of every other type,
\nthey really amaze the people;
\nmoreover, there are animals of every kind,
\nand birds that look alive, I truly speak,
\nin every picture, so tells my account,
\nthere are many of them on this wall;
\nthen wondrous lands and greenery;
\nnever before did you see such paintings.<\/p>\n

Many people who have been there
\nbelieve that the birds they have seen
\nflying in the trees are alive,
\nas my narration makes clear.
\nThey see Noah with his helpers
\nas he built the Ark, and all the animals,
\nthat where in that place, then one sees the End,
\nand all the destruction of the Flood.<\/p>\n

And his life lasting nine hundred and fifty
\nyears, which was so long,
\nand how he saw clearly, I hear and learn,
\ntwenty- four miles from his look-out,
\nfrom him descended men of great value;
\nthe above-mentioned Noah full of every virtue,
\nsaw, because of his long life, many men die
\nat a young age.<\/p>\n

 <\/p>\n

Then you see the great tale of Nimrod,
\nas he had the Tower of Babel built,
\nhow the masters lost their memory,
\nbut he was not able to accomplish that tower.
\nMaster Giovanni Francesco with great glory
\nis here portrayed together with all of his brothers,
\nand they seem alive, as I state for certain,
\nthey were all sons of the great master Robert.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]6. The Ammanati Chapel<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]Da poi tal storia \u00e8 una capelletta
\ndentrovi molto adorno un certo altare
\ncon un a sepoltura bianca e netta
\ndi marmo tutta, e mirabil mi pare.
\nSopra detta capella, in versi dettta
\nla Nunziata se vede in tale affare
\ne poi di sopra, vi reco a memoria
\nvedesi poi de\u2019 Magi lor istoria[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]After this story there is a little chapel,
\ninside you find an adorned altar,
\nwith a white and neat sepulchre
\nall made of marble, and it seems wonderful to me;
\nabove this chapel, described in verses,
\nyou see the Virgin and the Nativity,
\nabove this, I remind you,
\none sees the Adoration of the Magi.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]7. Continuation of the Gozzoli Cycle<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]Seguendo poi la faccia, del re Nino
\ns\u00ec come fecie adorare il suo padre,
\nin Babillonia fu in tal confino,
\nquesto fe\u2019 fare a tutte le suo esquadre;
\ncome e Caldei con falso destino
\nadoravano il fuoco in tal contrade,
\ne come Abram e \u2019l fratello in tal loco
\ninsieme funno missi nel gran fuoco.<\/p>\n

 <\/p>\n

Abram camp\u00f2, e \u2019l fratel vi moriva;
\ntutto la vita sua v\u2019 \u00e8 storiata,
\ndel dipartirsi quello in cotal riva
\ntutta simile istoria v\u2019 \u00e8 segnata,
\ncome e re Cananei ciascun giva,
\nSoddoma avendo quelli sachegiata,
\ne come Abram dipoi con molta fretta
\nfecie contra que\u2019 re cruda vendetta.<\/p>\n

Tutta v\u2019 \u00e8 storiata tal battaglia,
\ne la sconfitta che dette a coloro,
\ncome libera Lotto da travaglia,
\nche quelli re gl\u2019 avien dato martoro;
\ne della ancilla e le cose di vaglia,
\nogni cosa si vede in cotal coro,
\ndel sacrificio il miracol s\u00ec forte,
\ne di tutti e so\u2019 fatti in fine a morte.<\/p>\n

Poi di Sodoma v\u2019 \u00e8 la distrutione,
\ncome pel gran peccato disonesto
\nper fuoco fu disfatta tal magione
\ncon altre quattro terre, dice el testo;
\nguardisi Italia, e noti el mio sermone,
\ndi tal iuditio che venir pu\u00f2 presto,
\nperch\u00e8 nel cielo e\u2019 mi par gi\u00e0 sentire
\nche Cristo non pu\u00f2 pi\u00f9 questo patire.<\/p>\n

 <\/p>\n

\u00c9vvi d\u2019Isache el suo gran parentado,
\ns\u00ec come tolse il giovenetto moglie,
\nquale ad Abram fu quello molto a grado;
\nistoriato v\u2019 \u00e8 come la toglie.
\nAncor la storia v\u2019 \u00e8, il dir vi squadro,
\ncome Rebecca senza affanno e doglie
\npartor\u00ec duo figliuol d\u2019ogni virtue,
\nprimo Jacobe e \u2019l segondo Esaue.<\/p>\n

 <\/p>\n

Come la madre a Jacob giovinetto
\nfecie Esa\u00f9 el fratel ingannare,
\ncon una pelle per cotale effetto,
\nda poi li fa la benedition dare;
\ncome serv\u00ec Jacob con diletto
\nmolti anni per Rachel, dice el cantare;
\nvedesi poi Esa\u00f9 quello aldace
\nseguir Jacobbe e dapoi far la pacie.<\/p>\n

 <\/p>\n

Vedesi d\u2019 Emor re, qual volse cedere
\nper donna certo a Jacob la suo figlia,
\ne come poi Jacob volendo riedere
\nquel re Emor storcieva le ciglia,
\ne perch\u00e8 al buon consiglio non vuol credere
\nvedesi morto con la sua famiglia.
\nUn\u2019 altra capelletta adorna e bella
\nappresso a questa istoria vedi quella.<\/p>\n

 <\/p>\n

 <\/p>\n

Sopra la capelletta ch\u2019 io vi dissi
\nv\u2019 \u00e8 come Cristo incorona Maria,
\na Angeli che stan con li ochi fissi
\na contemplar la dolce melodia.
\nPoi di Josep segue tal prolissi,
\nd\u2019ongni sua istoria si vede in tal via,
\nvedesi Mois\u00e8, mio dir rinsuona,
\ncome gitt\u00f2 per terra la corona.<\/p>\n

Ci\u00f2 di Faron, quella chiaro trovo,
\nessendo picolino in tal magioni;
\nongni sua storia v\u2019\u00e8, como io aprovo,
\nci\u00f2 della maza, dragho e de\u2019 carboni.
\nVedesi Faraone al caso nuovo
\nquando segu\u00ec Moys\u00e8 co\u2019 baroni
\ncome somerse con tutta sua gregge,
\ne come Moys\u00e8 va per le legge.<\/p>\n

Come termini misse quello imprima
\nancor tutta sua vita abreviando;
\nde l\u2019idolatria ancor dice la rima
\nquando li suo peccorno, il ver contando;
\ne come Moys\u00e8 ne fecie stima
\ndel ber del fiume ogni cosa ordinando
\ne come po\u2019 li fe\u2019 morir con guai:
\n[che] ancor si dice: alla barba l\u2019arai.<\/p>\n

 <\/p>\n

Vedesi ancor di que\u2019 che mormoravano
\ncome la terra vivi gl\u2019inghiottiscie,
\nancor de\u2019 tribi che maze portavano
\ne come quella d\u2019Aron sol fioriscie;
\ne de\u2019 serpenti che color mangiavano
\ne come Moys\u00e8 quelli guariscie;
\nvedesi la battaglia in cotal siti
\nche Mois\u00e8 isconfisse a Medianiti.<\/p>\n

La qual \u00e8 cosa istupenda a vedere,
\ntanto par pronta, cruda e mortalissima,
\nrompere e frascasar di molte ischiere
\nvegonsi alla battaglia profondissima;
\npoi come Iosu\u00e8 con gran piacere,
\nperch\u00e8 la sua persona era franchissima,
\nMois\u00e8 lo fe\u2019 duca in tal confino
\ndandoli la bacchetta del domino.<\/p>\n

Vedesi poi di Moys\u00e8 la morte
\ne poi il suo corpo da Dio nascoso;
\ndapoi si vede Gesu\u00e8, quel forte,
\nGerico quel pigliar volenteroso,
\ne sachegiollo con tutte sua scorte,
\nfacendo ciascun tristo e doloroso;
\nma \u2019nprimamente per divina cura
\nper terra rovinaron le suo mura.<\/p>\n

E di Saul ancor suo istoria magna
\nin questa faccia \u00e8 dipinta e destesa;
\nvedesi poi Davit senza magagna
\navendo in man la sua frombola presa
\ntrar a Golia, e gi\u00e0 non si sparagna,
\ncon una pietra la qual molto pesa,
\ne nella testa darli: in uno stante
\nvedesi cader morto el gran gigante.<\/p>\n

Da poi si vede tagliarli la testa
\ndal buon Davit al gigante ferocie,
\ne la sua storia ben lo manifesta
\nqual si vede dipinta in cotal focie;
\npoi la regina Saba, dopo a questa
\nquella ne viene e \u2019l venir non le nuoce,
\npartita quella da sue regione
\nper visitare el gran re Salamone,<\/p>\n

con gente variate e animali,
\ne veramente adorna \u00e8 la suo istoria,
\ncon multi giovenitti naturali
\nquali a vederli d\u00e0nno all\u2019 uomo gloria;
\nvedonsi guinti insieme quelli equali
\ne visitarsi l\u00ec con molta boria,
\ncarchi di gioie pretiose ed oro,
\nn\u00e8 mai si vidde il piu ricco lavoro.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]As you follow the corridor, there comes the story of king Ninos,
\nhow he made his father worship him,
\nthis happened in the land of Babylon,
\nand he obliged all of his squads to do so;
\nand the Chaldeans with false destiny
\nused to worship the fire in that land,
\nand how Abraham and his brother
\nwere put into the big fire together.<\/p>\n

Abraham survived, his brother died there;
\nhis entire life is depicted there,
\nhow he departed from that site,
\nall such story is recorded there,
\nhow the kings of the Canaanites rejoiced,
\nas they had plundered Sodom,
\nand how Abraham went in a great hurry
\nto take harsh vengeance against those kings.<\/p>\n

The entire battle is narrated there,
\nand the defeat he inflicted on them,
\nhow he liberated Lot from every toil,
\nimposed on him like martyrdom,
\nand of the servant and all the things of value
\neverything you can see on that choir,
\nabout the huge miracle of the sacrifice,
\nand about all his deeds until his death.<\/p>\n

Then there is the destruction of Sodom,
\nbecause of its great and dishonest sin,
\nthrough fire this site was torn down
\nwith the other four lands, as says the scripture;
\nItaly beware and consider my sermon
\nabout such a sentence which may swiftly come,
\nbecause in Heaven, it seems to me
\nthat Christ cannot bear all this any longer.<\/p>\n

There also appear Isaac\u2019s numerous kin,
\nand also how the young man chose a wife,
\nwhich pleased Abraham very much,
\nit is depicted how he wed her.
\nFurthermore, there is the story, I observe attentively,
\nof Rebecca who, without labour and pain
\ngave birth to two exceedingly virtuous boys,
\nfirst Jacob and the second, Esau.<\/p>\n

How the mother induced young Jacob
\nto deceive his brother Esau,
\nwith a fur for that purpose,
\nshe makes him receive the benediction;
\nso, Jacob with great pleasure
\nserved Rachel for many years, explains the tale;
\none then sees bold Esau
\nfollowing Jacob and then making peace with him.<\/p>\n

One sees the king of Emor who certainly wanted
\nJacob to marry his daughter,
\nand as Jacob then wanted to go back home,
\nthis king Emor strongly disapproved,
\nand because he does not want to believe in the good advice,
\nhe finds himself dead with his family.
\nBeside this tale you see
\nanother beautiful and little chapel.<\/p>\n

Above the little chapel I mentioned before,
\nthere is the picture of Christ crowning Mary
\nand angels who look attentively
\ncontemplating the sweet melody.
\nThen follows the long tale of Joseph,
\nyou see every single episode on this wall,
\nyou see Moses, my words resound hereby,
\nas he threw the crown on the floor.<\/p>\n

The story of Pharaoh I easily find,
\nfor he is small in those mansions,
\nthere are all of his tales as I approve,
\nthe one about the rod, the snake and the coal.
\nYou see Pharaoh anew
\nas he pursued Moses with his soldiers
\nhow he was drowned with all of his flock
\nand how Moses gets the Tablets of the Law.<\/p>\n

And how his life ended is
\nhere shortly told;
\nthe rhyme also tells about idolatry,
\nwhen his people sinned, to tell the truth;
\nand how Moses decided to drink
\nout of the river and settled everything
\nand how he then had to die in trouble:
\nso that one still says: he got harmed out of mere spite.<\/p>\n

Further you see those who whispered
\nand how the earth swallowed them alive,
\nand tribes carrying rods,
\nand only the one belonging to Aaron comes into blossom;
\nand look at the men bitten by the snakes
\nand healed by Moses;
\nyou see the battle in those lands,
\nwhere Moses defeats the Medianites.<\/p>\n

Which is a stupendous thing to see,
\nbecause it seems so real, harsh and deadly,
\nmany lines of troops clash and smash with each other
\nand meet in a merciless battle;
\nthen how Joshua, because he was sincere,
\nwas created a duke by Moses in that land
\nby giving him the baton of a ruler.<\/p>\n

You then see the death of Moses
\nand then his body hidden by God;
\nnext you see Joshua the strong one
\nand how he willingly conquers Jericho
\nand how he sacks it with his entire escort,
\nmaking everybody sad and sorrowful;
\nbut above all through divine care
\nthey tore down its walls to the ground.<\/p>\n

And the grand story of Saul is depicted
\nin full length on this wall;
\nyou then see David without flaw
\nafter having grasped his slingshot
\naiming at Goliath and, not sparing himself,
\nthrows a heavy rock at his head: at once
\nyou see the mighty giant falling dead.<\/p>\n

After that you see good David cutting off
\nthe ferocious giant’s head,
\nand his story depicted on wall
\nshows it all so clear;
\nafter this tale you see the arrival
\nof the Queen of Sheba which is not to her disadvantage,
\nshe came here from her country
\nto visit the great King Solomon,<\/p>\n

Her story is illustrated with
\ndifferent kinds of peoples and animals,
\nwith many boys in their natural appearance
\nwhich gives joy to those who see them;
\nyou see how they join their equals
\nand meet with great haughtiness,
\nloaded with precious gems and gold,
\nyou never saw a more richly decorated work.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]8. The windows, the holy earth and the indulgence of the Camposanto<\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]E dentro al chiostro del bel Campo Sancto
\ncinquanta sei finestre v\u2019\u00e8 certano
\ndi marmo ben tagliato tucto quanto
\ncon cinque colonelli ognun soprano
\nv\u2019\u00e8 per ongni finestra como io canto
\nodi belleza ch\u2019\u00e8 questa in tal piano
\ne son d\u2019intorno intorno conpilate
\nn\u00e8 mai finestre fur me\u2019 lavorate.<\/p>\n

Cento quarantaze\u2019 teste pronte e belle
\nson di rilievo al Campo Sancto intorno
\nd\u2019uomin famosi e par non \u00e0nno quelle
\ne fanno queste el tempio molto adorno.
\nle lor fatteze non vi paren felle
\ncomo il ver dico senza altro sogiorno
\nsei porte seguen po\u2019 il el tronbeta canta
\nquale entran quelle in su la terra santa.<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

Partendosi de\u2019 chiostri l\u2019adorneza.
\nconme io vi dico in su la santa terra
\nentran tal porte di gran gentileza
\ncome io v\u2019\u00f2 ditto il mio parlar non erra
\nal tempo di Pisani e lor grandeza
\ngi\u00e0 fu portata quella in cotal serra
\nci\u00f2 di Gierusalem e sue contrade
\nin cotal loco con gran degnitade.<\/p>\n

Trovasi un corpo in tre d\u00ec consumato
\nquando si mette in tal terra presente
\ncomo di certo e chiaro io \u00f2 trovato
\nper volunt\u00e0 di Cristo omnipotente
\nquaranta quatro teste ancho entalato
\ncio\u00e8 di fora e ognun excelente
\ncon altre cose adorne e suntuose
\nche nel vederle son maravigliose.<\/p>\n

 <\/p>\n

Questo tal tempio \u00e8 si degno e galante
\nch\u2019al mondo el pari non credo che sia
\ncercando tutto el ponente e levante
\npi\u00f9 bella cosa non si troveria
\nsenza le sepulture che son tante
\nche\u2019n molte istanze non se conteria
\nmaximo cinquazette sepulture
\nle qual vi son retratte di scolture.<\/p>\n

 <\/p>\n

E oltre a questo gran perdono ongn\u2019anno
\ns\u00ec v\u2019\u00e8 concesso da somni pontifici.
\nqua\u2019 cavan l\u2019uomo di pene e d\u2019affanno
\nfacendoli del cielo assai partifici
\nque\u2019 che divoti a visitare lo vanno
\ncio\u00e8 cho l\u2019almo e con lor cuore bonifici
\ne quilli son ch\u2019 aquistan poi la gloria
\ndel Campo Sancto \u00e8 finita suo storia.<\/p>\n

Composta per Michelagnolo di Cristofano da Volterra trombetto in Pisa.\u201d[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]And inside the beautiful Camposanto
\nthere are assuredly fifty-six windows
\nmade of sculpted of marble, with five small columns
\nevery one of great value, as I sing.
\nListen about what beauty is to be found here,
\nthey are sculpted all over
\nnever before were windows better elaborated.<\/p>\n

One hundred and forty-six lively and beautiful
\nheads of famous men
\nare worked in relief around the Camposanto,
\nand they contribute a lot to the decoration of the temple;
\nmay their features not seem melancholic to you,
\nas I truly say without staying here any longer.
\nThen you see six entrances, and the ballad-singer chants,
\nwhich open on the Holy Earth from the Holy Land.<\/p>\n

Stepping forward in the adorned cloister,
\nthese fine doors lead you on
\nto the holy earth
\nas I have told you, and my word does not err;
\nat the time of the Pisans and their greatness
\nthe holy earth was brought to this site
\nfrom Jerusalem and its surroundings,
\nto this place with great dignity.<\/p>\n

A body will be consumed within three days
\nwhen buried in this present earth,
\nas I have learned for certain,
\nby the will of Christ Almighty.
\nForty-four heads also on that side,
\nthat means on the outer side, and each excellent,
\nwith other things sumptuously adorned,
\nthey are marvelous to look at.<\/p>\n

This temple is so worthy and beautiful,
\nthat I think nothing compares to it on earth;
\nsearching all over from west to east
\nyou would not find a more beautiful thing,
\nwithout the numerous sepulchres,
\nwhich in the end I would not take into consideration,
\nat the maximum fifty-seven sepulchres
\nwhich are sculpturally decorated.<\/p>\n

And besides this a plenary indulgence is granted
\nthere every year by the Sovereign Pontiffs,
\nto save men from sorrow and toil
\nand make them be part of Heaven;
\nthose who visit it piously,
\nthat means with a pure soul and heart,
\nthey will gain glory in the end.
\nthis is the end of the story of the Camposanto.<\/p>\n

Composed by Michelangelo di Cristofano da Volterra, trombetto in Pisa[\/vc_column_text][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text]Little is known about the author of the poem “The Wondrous and Incredible Beauties and Adornments of the Camposanto in Pisa”. From a short text which he wrote about himself on the 6th of June 1488 we know that Cristofano di Giovanni da Volterra was born in the city of Volterra on the 29th of […]<\/p>\n","protected":false},"author":541,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21,27,1],"tags":[],"class_list":["post-1092","post","type-post","status-publish","format-standard","hentry","category-15th-century","category-guidebook","category-italian"],"_links":{"self":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/1092","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/types\/post"}],"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=1092"}],"version-history":[{"count":22,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/1092\/revisions"}],"predecessor-version":[{"id":1497,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/1092\/revisions\/1497"}],"wp:attachment":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/media?parent=1092"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/categories?post=1092"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/tags?post=1092"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}