{"id":1289,"date":"2021-05-28T21:42:39","date_gmt":"2021-05-28T21:42:39","guid":{"rendered":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/?p=1289"},"modified":"2021-05-31T05:58:02","modified_gmt":"2021-05-31T05:58:02","slug":"jerome-richard-d-ca-1790-description-historique-et-critique-de-litalie-1761-1766","status":"publish","type":"post","link":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/jerome-richard-d-ca-1790-description-historique-et-critique-de-litalie-1761-1766\/","title":{"rendered":"J\u00e9r\u00f4me Richard (d. ca. 1790), Description historique et critique de l\u2019Italie<\/em> (1761\/1766)"},"content":{"rendered":"
[vc_row][vc_column][vc_column_text]\"\"<\/p>\n

J\u00e9r\u00f4me Richard is not a well-known figure today, but his book (<\/em>Description historique et critique de l\u2019Italie) allows us to glean that he was a learned man, greatly interested in providing in-depth knowledge about Italy. Almost like a handbook on Italy, the book discusses both ancient and modern Italy while giving practical information such as the route from France. Richard even includes the chronology of the Roman emperors to provide exact historical information in volume 1, and volume 3 begins with a chronology of the different painting schools of Italy. At the Camposanto, it seems that Buffalmacco\u2019s \u201cTriumph of Death\u201d impressed him most. He describes in detail the three coffins and the three noblemen looking at the coffins. The effect of the holy earth on corpses is not stated, as is the case with many other travel accounts from the early and mid-eighteenth century. \/ DJ<\/em><\/p>\n

Description_historique_et_critique_de_l (excerpt)<\/a><\/strong><\/span><\/p>\n

Source:<\/strong> J\u00e9r\u00f4me Richard, Description Historique Et Critique De L’italie, Ou Nouveaux M\u00e9moires Sur L”Etat Actuel De Son Gouvernement, Des Sciences, Des Arts, Du Commerce, De La Population Et De L’histoire Naturelle<\/em>, 5 vols. (Dijon\/Paris: Desventes-Lambert, 1766), 3:261-262.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]\n

Transcription<\/strong><\/p>\n

Le campo santo<\/i>, ou cimetiere g\u00e9n\u00e9ral, est un tr\u00e8s-grand \u00e9difice public ou clo\u00eetre b\u00e2ti en quarr\u00e9 long & environn\u00e9 de portiques: il est entierement de marbre \u00e0 l\u2019int\u00e9rieur & e \u00e0 l\u2019ext\u00e9rieur: on y voit quelques tombeaux antiques, d\u2019autres que l\u2019on peut appeller modernes, quoiqu\u2019ils soient d\u00e9j\u00e0 tr\u00e8s-anciens et trait\u00e9s de bon go\u00fbt. Le clo\u00eetre \u00e0 l\u2019int\u00e9rieur est tout couvert de peintures fort anciennes, qui ont \u00e9t\u00e9 faites peu de temps apr\u00e8s la construction, qui est de la m\u00eame date que l\u2019\u00e9glise, la tour & e le baptistere. On y voit l\u2019histoire de Job en six tableaux, par le Giotto. Le jugement dernier, par Orcagna. L\u2019histoire de saint Rainier, par Simon Memmi. A c\u00f4t\u00e9 du tableau du jugement universel, est repr\u00e9sent\u00e9 la mort de l\u2019homme et l\u2019\u00e9tat o\u00f9 tombent les cadavres: on voit trois tombeaux ouverts; dans l\u2019un est un corps qui commence \u00e0 se corrompre; dans l\u2019autre il est presque entierement corrompu et il commence \u00e0 se d\u00e9pouiller de ses chairs; dans le troisi\u00e9me il n\u2019y a plus que des os secs. Plusieurs cavaliers qui paroissent d\u2019un rang distingu\u00e9, examinent ces cadavres; l\u2019un d\u2019eux se bouche le nez; on voit qu\u2019ils raisonnent sur l\u2019effet de la terre de ce cimetiere, que l\u2019on dit avoir \u00e9t\u00e9 apport\u00e9e de J\u00e9rusalem et avoir servi \u00e0 lester quarante ou cinquante galeres des Pisans: d\u00e9votion singuliere, mais bien dans le go\u00fbt du douzi\u00e9me si\u00e9cle. De toutes les puissances maritimes de ce temps-l\u00e0, les Pisans sont les seuls qui ayent imagin\u00e9 de transporter chez eux une partie du sol des lieux saints.<\/span><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]\n

Translation<\/strong><\/p>\n

The Campo Santo, or general cemetery, is a very large public building, or cloister, built in a long quadrangle and surrounded by porticoes: it is made entirely of marble inside and outside. We see some ancient tombs along with others which may be called modern, although they are already very old and made in good taste. The cloister inside is entirely covered with very old paintings, which were done shortly after the construction, which is of the same date as the church, tower and baptistery. We see six paintings of the story of Job by Giotto, the Last Judgment by Orcagna, the Story of Saint Rainier by Simon Memmi. Next to the painting of universal judgment, the death of man and the state of their corpses is represented: we see three open graves; in one is a body that is beginning to corrupt; in the other the body is almost completely corrupted and begins to shed its flesh; in the third there are only dry bones. Several horsemen, who appear to be of distinguished rank, examine these corpses; one of them is covering his nose. We see that the scene is based on the effect of this cemetary\u2019s earth, which is said to have been brought from Jerusalem and to have been used to ballast forty or fifty galleys of the Pisans; a singular devotion, but very much in the taste of the twelfth century. Of all the maritime powers of that time, the Pisans are the only ones who imagined transporting soil from holy places to their own country.<\/span><\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text] J\u00e9r\u00f4me Richard is not a well-known figure today, but his book (Description historique et critique de l\u2019Italie) allows us to glean that he was a learned man, greatly interested in providing in-depth knowledge about Italy. Almost like a handbook on Italy, the book discusses both ancient and modern Italy while giving practical information such […]<\/p>\n","protected":false},"author":541,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,8,29],"tags":[],"class_list":["post-1289","post","type-post","status-publish","format-standard","hentry","category-18th-century","category-french","category-geography"],"_links":{"self":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/1289","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=1289"}],"version-history":[{"count":7,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/1289\/revisions"}],"predecessor-version":[{"id":1390,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/1289\/revisions\/1390"}],"wp:attachment":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/media?parent=1289"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/categories?post=1289"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/tags?post=1289"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}