{"id":894,"date":"2021-05-14T21:23:56","date_gmt":"2021-05-14T21:23:56","guid":{"rendered":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/?p=894"},"modified":"2021-05-23T13:03:14","modified_gmt":"2021-05-23T13:03:14","slug":"paolo-tronci-1585-1648-memorie-istoriche-della-citta-di-pisa-1682","status":"publish","type":"post","link":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/paolo-tronci-1585-1648-memorie-istoriche-della-citta-di-pisa-1682\/","title":{"rendered":"Paolo Tronci (1585-1648), Memorie Istoriche della Citta di Pisa<\/em> (1682)"},"content":{"rendered":"
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Paolo Tronci writes about the power of the earth in the Camposanto and how the earth got to Pisa. He also says that the holy earth was spread out next to the church of S. Giovanni al Gaetano and that it has the same ability to decompose bodies in a very short amount of time. Then he goes on to describe in quite a bit of detail how the Camposanto was built, mentioning the materials that were used. He describes the building accurately and also mentions the paintings and the sculptures one can find inside the cemetery. His description of the paintings is quite extensive although very selective. But he does write about the painting of Hell and the Triumph of Death, for example. He mentions several painters and gives some information about their lives and the works they painted.<\/em><\/p>\nPart1-3_Tronci, Memorie Istoriche<\/a>Edition:<\/strong> Paolo Tronci, Memorie Istoriche della Citta di Pisa<\/em>, ed. Giovanni Vincenzo Bonfigli and Vittorio Mancini
\nUberti (Livorno: Bonfigli, 1682), 159-160.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]\n

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

\u201cNon devo lasciar di dire, che i Pisani al loro ritorno di Soria, messero nei loro navigli gran quantit\u00e0 di Terra Santa, per la quale h\u00e0 poi preso il nome di Campo santo il Cimiterio fabbricato vicino al Duomo con tanta spesa, e magnificenza, come si dir\u00e0, che per sepellire i morti, non credo sia cos\u00ec sontuosa fabrica in tutto il Mondo, con ragione ammirata da chiunque la vede e h\u00e0 una propriet\u00e0 la detta Terra santa, che in brevissimo tempo consuma ancor gli ossi de\u2019 cadaveri. Della trasportazione di essa ne dice il Volterrano, F. Leandro Alberti et altri Scrittori<\/i>. H\u00f2 sentito io dire da\u2019Vecchi della Citt\u00e0, che avanti, che le navi cariche di detta Terra, entrassero in Pisa, si fermorno alla riva d\u2019Arno a canto la Chiesa di S. Giovanni al Gaetano, e che, \u00f2 pregati da\u2019Gaetani padroni di essa, \u00f2 per volont\u00e0 de\u2019Capitani, molte corbe di detta terra furno portate avanti la porta della detta chiesa, e che quel luogo, sebene angusto, che serve per Cimiterio, partecipi delle medesimi qualit\u00e0 di quella del Campo santo.\u201d\u00a0<\/span><\/span>(159-160)<\/div>\n

 <\/p>\n

\u201c[1200] Mentre che i Secolari attendevano alle fabriche da guerra, gli Ecclesiastici ancora diedero principio ad un edifizio di bellezza singolare, poich\u00e9 l\u2019Arcivescovo Ubaldo Lanfranchi diede mano alla fabrica del Campo Santo per la sepoltura de\u2019 morti, la quale f\u00f9 poi ridutta a perfezione con quella magnificenza, che f\u00e0 stupire chi la vede, e considera, l\u2019anno 1277 per la parte per\u00f2 che risponde verso il Duomo, come in detto anno si vedr\u00e0. Dicesi, che la sua lunghezza, larghezza et altezza corrisponda all\u2019Arca di No\u00e8, nel che io mi rimetto alla verit\u00e0. Il suo pavimento \u00e8 tutto di marmo fino bianco, con numero grande di sepolture in modo, che sotto ogni quadro vi \u00e8 la sua; sebene non v\u2019\u00e8 fatto il chiusino di sopra. Sonovi di pi\u00f9 molte tombe, \u00f2 pile, come vogliamo dire, pure di marmo bianco lavorate con intagli, e figure accomodate \u00e0 torno \u00e0torno nello scoperto. Le facciate de\u2019 muri di dentro tutte sono dipinte di mano di valentissimi Pittori di que\u2019 tempi, con molte historie del Testamento vecchio, e vite di Santi, e processioni con Reliquie trasportate a Pisa. Nelle parti, che guardano al Campo santo sono sessanta finestre di marmo con sottili colonne, dove furono gi\u00e0 invetriate colorite con bellissime figure. La facciata per di fuori \u00e8 tutta di marmo bianco con due belle porte et \u00e8 coperto il detto edificio tutto di lastre di piombo. Si disse alcuni anni indietro, che la Terra Santa, della quale \u00e8 ripieno il detto Cimiterio fosse stata portata dai Pisani, quando tornorno di Palestina. Altri vogliono, chehavendo inteso il sopradetto Arcivescovo Ubaldo, che di Gerusalemme era stata portata \u00e0 Roma della terra dell\u2019Orto, nel quale f\u00f9 sepolto Nostro Signore, che in spazio di tre giorni consumava i cadaveri, risolvesse anch\u2019egli di farne venire tanta, che riempisse lo spazio dello scoperto, e che mandasse navigli in Oriente con grandissima spesa, quali tornati con la terra medesima, la facesse spargere nel Cimiterio, e l\u2019effetto, che ne segue, manifesta la verit\u00e0.\u201d (168-169)<\/p>\n<\/div>\n

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\u201c[1277] La sontuosa fabrica del Campo Santo in Pisa nel presente anno si tir\u00f2 molto avanti come apparisce in un marmo murato nella facciata verso il S. Giovanni \u00e0 mano manca nell\u2019entrare per la porta principale, e sebene dice 78 s\u2019intende al Pisano, e noi per concordare generalmente con i Scrittori, scriviamo al Romano. Dice l\u2019iscrizione<\/p>\n

Anno MCCLXXIIX, Tempore Domini Friderici \/ Archiepiscopi Pisani, Domini Tarlatti Potestatis, Operario Orlando Sardella, Ioanne Magistro aedificante.<\/em><\/p>\n

Non rest\u00f2 per questo finito, e perfezionato in tutto il magnifico Edifizio sino all\u2019anno 1464 in tempo dell\u2019Arcivescovo Filippo de\u2019Medici, come si legge in un\u2019altra inscrizione pure in marmo nello stipite del portone incontro la Cappella della Barbaresca, hoggi de\u2019 Battaglini, nella faccia, che mira verso il campo. Scrissi, mi raccordo, sopra nell\u2019anno 1200 di questo medesimo Campo Santo in tempo dell\u2019Arcivescovo Ubaldo, per confermarm con il Volterrano, hora mi dichiaro, che ammetto, che la fabrica si cominciasse, e che si mettesse in uso di servirsene per cemeterio, m\u00e0 non gi\u00e0 che allora di finisse, perch\u00e9 con pace dell\u2019antico Scrittore, le inscrizioni convincono senz\u2019ombra di falsit\u00e0. L\u2019edifizio in questo genere \u00e8 cos\u00ec singolare, che non h\u00e0 simile in tutta Europa. \u00c8 fabricato tutto di marmi candidissimi, di lunghezza di braccia dugento tredici, di larghezza sessant\u2019uno. Nel pavimento vi sono sepolture numero seicento trenta di marmi bianchi et accanto alla faccia del campo, vi sono circa sessanta cassoni pure di marmo historiati, parte de\u2019 quali sono stati ivi trasportati da diverse parti del mondo. Vi sono altri sepolcri di famosi Dottori; Sonovi circa sessanta finestre pure di marmi con le colonnette simili con loro architravi intagliati. I tetti sono coperti di piombo, e le facciate de\u2019 muri di dentro dipinte da squisitissimi Pittori, de\u2019 quali m\u2019 \u00e8 parso bene additar l\u2019opere, acci\u00f2 siano note \u00e0 chi hon ne avesse cognizione. Entrando per\u00f2 per la porta reale, e volgendo a man dritta, vi sono dipinte l\u2019historie de\u2019 Santi Padri heremiti da Pietro Laureati Senese, che fior\u00ec circa gl\u2019anni 1336. L\u2019Inferno lo dipinse Bernardo di Cione Orcagna Fiorentino, che fior\u00ec circa l\u2019anno 1400. Segue poi il Giudizio universale, diptinto da Andrea Orcagna fratel maggiore del sopradetto Bernardo, e fiorirno le sue pitture l\u2019anno 1389. Nella compsizione del detto Giudizio adatt\u00f2 molte bizzarie a suo capriccio, pose in una parte una rappresentazione de\u2019 Campi Elisi, dipingendovi molti Signori involti in piaceri mondani, assisi sopra un prato fiorito sotto l\u2019ombra de\u2019 aranci, che facendo amenissimi bosco, hanno sopra i rami alcuni Amoretti, che volando attorno a molte dame dipinte al naturale, hanno sembianza di saettare i loro cuori et appresso d\u2019esse son figurati huomini, che stanno attenti a suoni, e canti, e balli, fra essi vi \u00e8 il ritratto di Castruccio Signore di Lucca giovane di bellissimo aspetto, con la veste, e capuccio azzurro, con uno sparviero in pugno, e tutti quei, che gli sono a acanto rappresentano altri Signori, che vivevano in quell\u2019et\u00e0. Nella medesima historia, figura sopra un\u2019alto monte la vita di coloro che pnetiti de\u2019 lor peccati, desiderosi di salvare le\u2019anime loro, hanno lasciato il mondo, e ritiratisi ivi, dove sono molti santi Romiti, che servono \u00e0 Dio, altri intenti alla contemplazione et altri alla vita attiva, e da basso v\u2019\u00e8 dipinto un S. Macario, che addita \u00e0 tre Re, che \u00e0 cavallo sono, e vanno a caccia, per accertargli delle miserie humane, tre altri Re morti, che giacciono in sepultura non ancora del tutto consumati, in uno de\u2019 vivi \u00e0 cavallo \u00e8 ritratto Uguccione della Fagiuola, che si tura il naso per non sentire il puzzore de\u2019 morti. Nel mezzo di questa historia vi \u00e8 il trionfo della Morte. Vola ella per aria vestita di nero con la falce in mano, dimostrando, che con essa h\u00e0 levato la vita a molti, che giacciono per terra estinti d\u2019ogni stato, e condizione, giovani, vecchi, maschi, e femine d\u2019ogni et\u00e0, intorno a i corpi de\u2019 quali sono alcuni diavoli, che cavano loro di bocca l\u2019anime, e le portano a certe bocche che vomitano foco sopra la sommit\u00e0 d\u2019un altissimo monte, dall\u2019altra parte sono Angioli, che tengono una cartella grande, dove sono scritte queste parole: Scherno di sapere, e di richezze, e di nobiltade ancora, e di prodezze, val niente al colpo di costei; il resto non s\u2019intende. Nella storia del Giudizio si vede Gies\u00f9 Christo sopra le nuvole in mezzo \u00e0 dodici Apostoli, e disotto da una parte i doloris effetti de\u2019 dannati, strascinati da\u2019 Demonj furiosamente all\u2019Inferno, e dall\u2019altra il giubilo de\u2019 buoni, che da una squadra di Spiriti beati guidati da S. Michele Arcangelo sono condotti alla destra per anda a goder la gloria Celeste.<\/p>\n

Buonamico Buffalmacco dipinse ancor lui in Campo santo un due luoghi, e per caminare con l\u2019ordine, che habbiamo preseo, v\u2019\u00e8 di suo la Passione di Christo con numero grande di figure a piedi et a cavallo, tutte in varie, e belle attitudini, la storia della Resurrezione, e l\u2019apparizione a gl\u2019 Apostoli. Fu quest\u2019huomo non solo valente nella pittura, ma graziosissimo nel parlare, e faceto. Mor\u00ec l\u2019anno 1340 in Fiorenza nell\u2019Ospedale di S. Maria nuova, e doppo la sua morte f\u00f9 chi scrisse di lui questi due versi.<\/p>\n

Ut MANIMVS nemo melius formasse figuras, \/ Sic poterat nemo vel meliora loqui.<\/em><\/p>\n[\u2026]\n

 <\/p>\n

Seguono dopoi altre opere del sopradetto Buonamico Bufffalmacco, che sono alcune storie dal principi del Mondo fino alla fabbrica dell\u2019Arca di No\u00e8 et in capo alla parete dipinse un Dio Padre, che regge con le braccia i Cieli, e tutta la machina dell\u2019Universo, ivi sono distinte le Gerarchie, i Cieli, gl\u2019Angioli, il Zodiaco, e tutte le cose superiori, gl\u2019Elementi, e finalmente il centro, e per empir i due angoli da basso, dipinse in uno S. Agostino, e nell\u2019altro S. Tommaso d\u2019Aquino. [\u2026]\n

Si trovano poi l\u2019historie del pazientissimo Giob tenute da molti di Giotto Fiorentino, m\u00e0 secondo il parere del Vasari, sono di Taddeo Gaddi suo discepolo, che fior\u00ec nel 1350. E perch\u00e9 in due quadri non si conoscevano pi\u00f9 le pitture, furno di nuovo dipinte da Giovanni Stefano Maruscelli.<\/p>\n

Le historie de\u2019 Santi Martiri Efeso, e Potito, con additare la traslazione de\u2019 loro corpi di Sardegna \u00e0 Pisa, sono di mano di Luca Spinelli Aretino, che fior\u00ec dal 1380 al 1400.<\/p>\n

Seguono poi quelle della vita, e miracoli di San Raniero Confessore Pisano, le disopra sono di mano di Simone Memmi Senese, che fior\u00ec nel 1345 e quelle di sotto d\u2019Antonio Veneziano nel 1380. Del sopradetto Memmi \u00e8 ancora la Madonna Santissima Assunta, sopra la Porta reale.<\/p>\n

Il Vasari vuole, che ancora Vittore Pisano, detto il Pisanello, dipingesse il Campo santo. Io che poco m\u2019intendo di pitture, non saprei dire quale fosse opera sua, se per\u00f2 non havesse fatto qualche cosa nell historie di S. Raniero, e de\u2019 Santi Efeso, e Potito. Mi rimetto a chi s\u2019intende dell\u2019arte.<\/p>\n

Fra tutti sopradetti Pittori per il comun giudizio \u00e8 data la palma a Benozzo [\u2026]” (234-237).<\/p>\n<\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]\n

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

I must not forget to say that the Pisans, on their return from Soria, loaded large quantities of holy earth into their ships. Hence the name of the cemetery, which was built near the Cathedral with great expense and splendor. As will be said, there is, I believe, no such magnificent building for the burial of the dead in the whole world, which is rightly admired by everyone who sees it. And it is characteristic of this sacred earth that it decomposes the bones of the cadavers within a short time. Its transport [to Pisa] has been mentioned by Volterra, F. Leandro Alberti, and other writers. I have heard from the elders of the city that the ships loaded with the aforementioned land stopped on the banks of the Arno next to the church of S. Giovanni al Gaetano before entering Pisa, and that, either at the request of the Gaetani, lords of the church, or by the will of the captains, many baskets of this earth were brought to the door of the aforementioned church, and that this place, although narrow, serves as a cemetery, and has the same characteristics as the Camposanto.<\/p>\n[1200] While the seculars were busy constructing war buildings, the clergy began a building of unique beauty, since the Archbishop Ubaldo Lanfranchi put his hand on the construction of the Camposanto for the burial of the dead, which was then completed in 1277 for the part that responds to the Cathedral, and has a magnificence that astonishes those who see and contemplate it, as can be seen as of that year. It is said that its length, its width and its height are equal to Noah’s Ark, by which I speak the truth. Its floor is made entirely of fine white marble, with a great number of tombs, so that under each square there is one of its own, although the shaft cover is not present at the top. There are also many tombs, or tubs as we will say, also of white marble, worked with carvings and arranged with figures around the edges in the open air. The facades of the interior walls are all painted by the hands of very skilled painters of the time, with many stories of the Old Testament and with lives of saints and processions with relics transported to Pisa. In the parts facing the Camposanto, there are sixty marble windows with slim columns, colorfully glazed with beautiful figures. The external facade is entirely in white marble with two beautiful doors and the whole building is covered with lead panels. Some years ago, it was said that the holy land with which the cemetery is filled was brought by the Pisans when they returned from Palestine. Others, having heard from the aforementioned Archbishop Ubaldo, wanted earth to be brought to Rome from Jerusalem, from the garden where our Lord was buried, so that the bodies would decompose in the period of three days. He had decided to bring so much of it that it filled the entire open space and with great effort he sent ships to the East, which, having returned from the same land, spread it in the cemetery and the effect that follows reveals the truth.<\/p>\n[1277] The magnificent building of the Camposanto was already well advanced in that year, as it says on a marble plaque inscribed in the masonry on the opposite side of St. John on the left in the main entrance, although it says 78 according to the Pisans, but we agree with the writers and write it according to the Romans. The inscription reads:<\/p>\n

In the year 1278, in the time of Lord Frederico \/ Archbishop of Pisa, of Lord Tarlatti, of Operario Orlando Sardella, of John the Master builder.<\/em><\/p>\n

But it did not stop there, and the magnificent building was completed only by 1464 in the time of Archbishop Filipp de’ Medici, as can be read in another inscription in marble in the doorjamb of the main gate on the side facing the field of the Barbaresca Chapel, which today belongs to Battaglini. As I wrote according to how I remember, following the year 1200 the same Camposanto was begun in the time of Archbishop Ubaldo, confirming Volterra. Then the construction was started and it was used as a cemetery, however it was not finished, as I say now. Because, to agree with the ancient writers, the inscriptions are convincing beyond a shadow of doubt.
\nThe building is so unique that there is nothing like it in all of Europe. It is built entirely of the finest marble and has a length of 213 fathoms and a width of 61. In the floor there are 630 tombs of white marble and next to the field there are sixty historic chests of pure marble, some of which were brought from all over the world. There are other tombs of famous doctors; there are about sixty windows, also of marble, with similar small columns whose architraves are carved. The roofs are made of lead, and the walls inside have been painted by the most excellent painters, and it seemed to me proper to discuss the works, so that they might be mentioned and made known to those who do not yet know them. Entering through the royal gate and turning to the right, one sees the Lives of the Holy Fathers painted by Pietro Laureati of Siena, whose heyday was around 1336. The Hell was painted by Bernardo da Cione Orcagna of Florence, who flourished around 1400. This is followed by the Last Judgment, painted by Andrea Orcagna, Bernardo’s older brother, whose painting was completed in 1389.
\nIn the composition of the Last Judgment there is much bizarreness corresponding to his whims. In one part he represented the Elysian Fields. He painted many gentlemen engrossed in worldly pleasures sitting on a flowery meadow under the shade of orange trees that form a pleasant forest. On the branches there are many cupids flying around ladies painted according to nature who seem to have arrows in their hearts and near them are painted the men who turn their attention to the sounds, songs and dances. Among them is Castruccio, Lord of Lucca, portrayed as a youth with handsome looks and robe and blue hood and with a sparrowhawk in his fist. And all those depicted at his side are other lords who lived in that period. In the same story, on a mountain, he depicts the lives of those who have repented for their sins. Wishing to redeem their souls, they left the world behind and retreated to where there are many holy hermits who served God, and others who devoted themselves to contemplation and others to the active life.
\nBelow is St. Macarius pointing to three kings on horseback and \u00a0hunting; to ascertain the miseries of humans, three other kings are depicted in fact, dead and lying in the tomb and not yet completely decomposed. One of the men on horseback is Uguccione della Faggiola, who holds his nose to avoid smelling the stench of the dead. In the middle of this story is the Triumph of Death. She [Death] flies through the air, dressed in black and holding a scythe, showing that with it she has taken the lives of many who lie dead on the ground. The dead come from every state and condition: young, old, men and women of every age, around whose bodies are some devils who pull the souls out of their mouths and take them to the openings that spew fire over the top of a very high mountain. On the other side are angels holding a large sheet on which is written: a mockery of knowledge, wealth, nobility, and valor, are worth nothing in the face of her [Death\u2019s] blow; the rest is nothing anyway. In the story of the Last Judgment, we see Jesus Christ on a cloud in the middle of twelve apostles. Below, on one side, there are the sad goings-on of the damned, dragged furiously by devils into Hell, and on the other, the good, rejoicing and led to the right by a team of blessed spirits led by the Archangel Michael, to rejoice in the glory of Heaven.
\nBuonamico Buffalmacco painted in the Camposanto in two places and to continue the sequence we have started, there is his Passion of Christ, with a large number of figures on foot and on horseback, all with different and beautiful attitudes, the scene of the Resurrection, and Christ Appearing to the Apostles. This man was not only gifted in painting, but also most splendid in speech and appearance. He died in Florence in 1340 in the hospital of S. Maria Nuova, and after his death these two verses were written about him:
\nAs no one created better pictures \/ No one was able to speak better.<\/em><\/p>\n[…]\n

Then follow other works by the aforementioned Buonamico Buffalmacco, which are stories from the beginning of the world to the building of Noah’s Ark. At the top of the wall, he painted a God the Father holding the sky and all the machinery of the universe within his arms. There are the hierarchies, the heavens, the angels, the signs of the zodiac and all superior things, as well as the elements, and finally the center, and to fill the two lower corners he painted two angels as well as St. Augustine and St. Thomas Aquinas. […]\nThere is also the story of the patient Job, attributed by many to Giotto of Florence, but according to Vasari, it is by Taddeo Gaddi, his disciple, whose heyday was around 1350. And because the painters of two paintings were no longer known, they were repainted by Giovanni Stefano Maruscelli.
\nThe stories of the Holy Martyrs Ephesus and Potitus with the transfer of their bodies from Sardinia to Pisa are by Luca Spinelli Aretino, who flourished between 1380 and 1400.
\nThese are then followed by the life and miracles of St. Ranieri, the Pisan confessor. The upper ones are by Simone Memmi Senese, who flourished in 1345. The lower ones are by Antonio Veneziano from 1380. The Madonna Santissima Assunta above the royal entrance is also by the aforementioned Memmi.
\nVasari says that Vittore Pisano, called Pisanello, painted the Campo Santo. I, who do not know much about painting, would not be able to characterize his work if he had not done something of the story of St. Ranieri and the saints Ephesus and Potitus. I defer to those who know about art.
\nAmong all the painters mentioned above, according to the general judgment, the prize must\u00a0 go to Benozzo […].[\/vc_column_text][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text] Paolo Tronci writes about the power of the earth in the Camposanto and how the earth got to Pisa. He also says that the holy earth was spread out next to the church of S. Giovanni al Gaetano and that it has the same ability to decompose bodies in a very short amount of […]<\/p>\n","protected":false},"author":541,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11,25,1],"tags":[],"class_list":["post-894","post","type-post","status-publish","format-standard","hentry","category-17th-century","category-chronicle","category-italian"],"_links":{"self":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/894","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=894"}],"version-history":[{"count":21,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/894\/revisions"}],"predecessor-version":[{"id":1154,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/894\/revisions\/1154"}],"wp:attachment":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/media?parent=894"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/categories?post=894"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/tags?post=894"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}