{"id":966,"date":"2021-05-14T22:48:24","date_gmt":"2021-05-14T22:48:24","guid":{"rendered":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/?p=966"},"modified":"2021-05-31T07:26:22","modified_gmt":"2021-05-31T07:26:22","slug":"filippo-baldinucci-notizie-de-professori-del-disegno-da-cimabue-in-qua-1681-1686","status":"publish","type":"post","link":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/filippo-baldinucci-notizie-de-professori-del-disegno-da-cimabue-in-qua-1681-1686\/","title":{"rendered":"Filippo Baldinucci, Notizie de\u2019 Professori del Disegno da Cimabue in qua<\/em> (1681-1686)"},"content":{"rendered":"
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\"\"<\/em><\/p>\n

Filippo Baldinucci came from a prominent and wealthy family of Florentine merchants. A painter, theoretician, and biographer of mostly Italian artists, he worked for both the Grand Duke of Tuscany, Ferdinando II de\u2019 Medici, and for his brother Cardinal Leopoldo de\u2019 Medici. As a curator of the Grand Ducal collection, he was one of Italy\u2019s leading connoisseurs. With his work cataloguing and expanding the Medici collection, he laid the foundation for the Uffizi\u2019s art holdings. The <\/em>Notizie de\u2019 Professori del Disegno da Cimabue in qua(1681-1721), in six volumes, builds on his work as a curator and is, after Vasaris Vite, the first lengthier biography of artists in Florence. Baldinucci also wrote the Vocabolario Toscana dell\u2019arte del disegno, which gives an overview of artistic vocabulary, and was commissiond by the Accademia della Crusca. In the <\/em>Notizie, he writes the biographies of several artists who worked in the Camposanto and describes their paintings, sometimes in detail. \/ SB<\/em><\/p>\n

Baldinucci, Notizie (excerpt)<\/a><\/span><\/p>\n

Source:<\/strong> Filippo Baldinucci, Notizie de\u2019 Professori del Disegno da Cimabue in qua. Per le quali si dimostra, come, e per chi le bell\u2019Arti di Pittura, Scultura, e Architettura lasciata la rozzezza delle maniere Greca, e Gottica, si siano in questi secoli ridotte all\u2019antica loro perfezione <\/em>(vol. 1: Florence: Branchi, 1681, vol. 2: Florence: Piero Matini, 1686, vol. 3: )<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]1. Giovanni Pisano Scultore, e Architetto<\/strong><\/p>\n

\u201cVenendo ora a Giovanni, questi avendo avuti i principj da Niccola suo Padre, doppo aver fatte molte opere di quella maniera Gottica, e ordinate pi\u00f9 fabbriche, e fra queste il grand\u2019edifizio del Campo Santo di Pisa cominciato l\u2019anno 1278 che rest\u00f2 finito nel 1283 diede \u2018l disegno del Castel Nuovo di Napoli, della facciata del Duomo di Siena, e di molte altre fabbriche per l\u2019Italia.\u201d (1:42)<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]Giovanni Pisano, Sculptor and Architect\u00a0<\/strong><\/p>\n

I now come to Giovanni, who had received the principles from his father Niccola. Later he made many works in this Gothic style and more commissions were given to him. Among these was the great work of the Camposanto in Pisa, which he began in 1278 and completed in 1283, the painting of Castel Nuovo in Naples, the facade of the Cathedral of Siena and many other works throughout Italy.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]2. Giotto di Bondone, Pittore, Scultore e Architetto Fiorentino<\/strong><\/p>\n

\u201cPartitosi d\u2019Ascesi, fece ritorno a Firenze, dove per la Citt\u00e0 di Pisa dipinse la figura dello stesso Santo [sc. Francesco] stimatizzato, che riusc\u00ec maravigliosa in ogni sua parte, ma singolarmente per averlo figurato nel Monte della Vernia in un paese pieno d\u2019alberi, e massi simigliantissimi al vero, cose tutte che giunsero in quell\u2019et\u00e0 interamente nuove in Pittura. Erasi appunto in quella Citt\u00e0 finita di alzare la bella fabbrica del Campo Santo, onde a Giotto, come a sovranissimo Maestro furono allogate per dipignerle alcune delle gran facciate di dentro, ed egli vi dipinse a fresco sei storie di Giob. Quest\u2019opere che riuscrirono maravigliose gli procacciarono tanta fama, che Papa Bonifazio VIII, e non Papa Benedetto IX da Treviso (come erroneamente afferma il Vasari, seguitato dal Malvasia, e da altri) volendo far dipingere alcune cose in S. Pietro, mond\u00f2 a posta un suo Gentiluomo per riconoscer Giotto, e l\u2019opere sue, ed allora mostr\u00f2 egli con quel circolo tirato perfettamente con mano quella spiritosa avvedutezza, onde nacque poi il tanto usato proverbio: Tu sei pi\u00f9 tondo che l\u2019O di Giotto.\u201d (1:47)<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]\n

Giotto di Bondone, Florentine Painter, Sculptor and Architect<\/strong><\/div>\n
<\/div>\n
He left the ascetic life and returned from Pisa to Florence, where he painted the figure of the stigmatization of this saint [namely Francis], which was wonderfully successful in every respect, especially because he is depicted on Mount Alvernia in a landscape lined with trees and he painted rocks close to the truth. These things were completely new in painting. He was called to the aforementioned city to complete a beautiful work for an altar in the Camposanto, so he was commissioned like an accomplished master to paint some works inside and he painted six stories of Job in it. This work was so wonderfully successful that it brought him much fame and Pope Boniface VIII, and not Pope Benedict IX of Treviso (as it is wrongly represented by Vasari who follows Malvasia and others in this), wanted some works to be painted in St. Peter’s, so he sent his masters to find Giotto and his work and then he showed with the perfectly drawn circle of his witty and prudent hand where the saying comes from: You are rounder than the O of Giotto.<\/span><\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]3. Simon Memmi, Pittor Senese<\/strong><\/p>\n

\u201cNella terza facciata [sc. della Cappella degli Spagnuoli in S. Maria Novella] figur\u00f2 la passione di Cristo Signor Nostro. Oper\u00f2 nel Campo Santo di Pisa, e particolarmente fece di sua mano sopra la parte principale di dentro la Vergine in atto d\u2019esser portata dagli Angioli con suoni, e canti al possesso del Celeste Regno, ed in tre grandi spazi storie di S. Ranier Pisano. Oltre all\u2019essere stato costui nel suo tempo un valoroso Pittore, fu anche molto fortunato, perch\u00e9 l\u2019opere sue per lo gran pregio in che furon tenute da Francesco Petrarca, al quale egli aveva fatto il ritratto della sua Madonna Laura furon da lui celeberate [\u2026]. (2:4).<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]Simon Memmi, Sienese Painter\u00a0<\/strong><\/p>\n

On the third facade [namely Spagnoli Chapel in S. Maria Novella] was depicted the Passion of our Lord Christ. He worked in the Campo Santo in Pisa and from his hand comes especially the main part of the Virgin in the center, about to be carried by the angels with sounds and songs to become the possession of the Kingdom of Heaven, and in three large areas the stories of St. Ranieri of Pisa. Besides being a brave painter in his time, he was also very lucky because his works were in the possession of Francesco Petrarch, for whom he had painted the portrait of his wife Laura, and were celebrated by him [Petrarch] [\u2026]\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]4. Buonamico di Cristofano detto Buffalmacco Pittore Fiorentino<\/strong><\/p>\n

\u201cFu chiamato a Pisa, dove fece molt\u2019opere in S. Maria a Ripa d\u2019Arno, e vi ebbe in aiuto il nominato Bruno. Gli furon poi date a dipingere pi\u00f9 facciate del Campo Santo, nelle quali fece Storie a fresco dal principio del mondo fino alla fabbrica dell\u2019Arca di No\u00e8, e attorno a esse effigi\u00f2 il proprio Ritratto al naturale in una quadratura d\u2019un fregio, figurando se stesso in persona d\u2019un Vecchio raso, con un Capauccio accercinato, dal quale pende un panno, che gli copre il Collo. Ebbe costui, some scrisse Messer Giovanni Boccaccio, sua abitazione in Firenze nella via del Cocomero [\u2026].\u201d (2:12)<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]\n

Buonamico di Cristofano or Buffalmacco, Florentine Painter<\/strong><\/div>\n
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He was called to Pisa where he painted many works in S. Maria a Ripa on the Arno and there he was called Bruno. He was then commissioned to paint several pictures in the Camposanto that tell the story of the beginning of the world to the construction of Noah’s Ark, and around it he painted his own natural portrait in a square frieze in which he painted himself as an old man in satin with a padded hat from which hangs a cloth that covers his neck. He had built his home, as the master Giovanni Boccaccio wrote, in Florence in the Via del Cocomero […].<\/span><\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]5. Pietro Laurati, Pittore Sanese<\/strong><\/p>\n

“In Firenze dipinse molte cose, ch\u00e8 il tempo ha distrutte. Nel Campo Santo di Pisa nella faccaiata accanto alla porta principale dipinse d\u2019assai buona maniera molte Storie delle vite de\u2019Santi Padri; e nella Pieve d\u2019Arezzo nella maggior Cappella color\u00ec dodici Storie della vita di Maria vergine.\u201d (2:31).<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]Pietro Laurati, Sienese Painter<\/strong><\/p>\n

He painted many things in Florence that time has destroyed. In the Camposanto in Pisa, on the facade next to the main portal, he painted with an extremely good hand many stories from the lives of the Holy Fathers; and in the main chapel of [Santa Maria della] Pieve in Arezzo, he painted twelve stories from the life of the Virgin Mary.\u201d <\/span><\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]6. Stefano, Pittore Fiorentino<\/strong><\/p>\n

\u201cDipinse Stefano a fresco la Madonna del Campo santo di Pisa, nella qual\u2019opera si port\u00f2 meglio del Maestro [sc. Giotto]. Fece nel Chiostro di Santo Spirito di Firenze tre storie, che oggi pi\u00f9 non si vedono [\u2026].” (2:34)<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]\n

<\/div>\n
Stefano, Florentine Painter\u00a0<\/strong><\/div>\n
Stefano painted the fresco of the Madonna in the Camposanto in Pisa. In this work, he surpassed the master [namely Giotto]. In the cloister of Santo Spirito in Florence, he painted three stories that cannot be seen today […].<\/span><\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]7. Antonio Dal Vasari detto Veneziano Pittore<\/strong><\/p>\n

\u201cOper\u00f2 nel Campo santo di Pisa dipignendo storie del Beato Ranieri, incominciate gi\u00e0 da Simone Sanese; e fra [qu]este quella della morte, e sepoltura di quel Beato, nelle quali rappresent\u00f2 alcuni ciechi, e indemoniati con altri infermi, e fra questi un idropico, tutti in atto d\u2019essere miracolosamente sanati per li meriti di quel santo; le quali figure espresse cos\u00ec al vivo, e con tanta invenzione, che furono in quel secolo avute in istima non ordinaria; ne fu meno lodata una nave fluttuante tra le tempeste del mare, nella quale con pensieri appropriati al vero figur\u00f2 lo sbigottimento de\u2019naviganti, e le molte, varie azioni fatte da marinari per sottrarsi dall\u2019imminente pericolo del naufragio. Fra le lodi, che dagli intendenti si danno a quest\u2019artefice una fu, che lavor\u00f2 con tranta diligenza l\u2019opere sue a fresco, che non punto ebbe bisogno di ritoccarle a secco; onde ha mostrato il corso di tre secoli essersi quelle per cagione di tal sua accuratezza cos\u00ec ben conservate, che fino a\u2019 tempi nostri si sono vedute molto fresche, la dove quelle degli altri anno in gran parte ceduto al tempo.\u201d (2:55-56)<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]\n

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Antonio Dal Vasari, Venetian Painter<\/strong><\/p>\n

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He worked in the Camposanto in Pisa and painted stories of the Blessed Ranieri, which was already started by Simone Sanese; and within the death and burial of that Blessed [Ranieri], he painted some blind, possessed and other sick people, among them a person with dropsy, all of whom were miraculously healed by the merits of this saint; these figures look as if they were alive and are painted with such inventiveness, for which they were held in esteem in that century; nor was there less praise for the ship drifting in the storms of the sea, in which were shown, with thoughts corresponding to the true figure, the consternation of the sailors and the actions that the sailors undertook to avert the imminent danger of shipwreck. Among the praises given by the directors to this artist was that he took such great care on his works in fresco that no retouching when it was dry was at all necessary; it has been shown that over the course of three centuries the frescoes have been so well preserved that they still looked fresh in our time, while other works of those years have fallen victim to time.<\/span><\/div>\n<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]8. Andrea di Iacopo altrimenti di Cione Orcagna, detto dal Vasari Orgagna, Scultore, e Architetto Fiorentino<\/strong><\/p>\n

\u201cChiamato a Pisa, dipinse nel Campo santo una grande storia del Giudizio universale; ed in un\u2019altra figur\u00f2 tutti i gradi de\u2019 signori del mondo immersi fra diletti di quello; e in altra parte fece vedere i pentiti del peccato in atto di rifuggirsi alle montagne fra gli Anacoreti; da basso espresse la figura di san Maccario, che a tre Coronati fa vedere tre cadaveri, di Re defunti non del tutto consummati. Nella stessa Citt\u00e0 nella Chiesa dalla coscia del Ponte vecchio fece alcune opere di scultura. Tornato a Firenze, gli fu data a dipignere la facciata destra della Chiesa di santa Croce, dove toltane quella di san Maccario, rappresent\u00f2 le medesime storie, che nel Campo santo di Pisa fatte avea, le quali poi nel passato secolo per occasione della fabbrica delle nuove Cappelle furon gettate a terra.\u201d\u00a0(2:65)<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]\n

<\/div>\n
Andrea di Iacopo altrimenti di Cione Orcagna, Vasari Orgagna, Florentine Sculptor and\u00a0<\/strong>Architect<\/b><\/div>\n
Called to Pisa, he painted in the Camposanto a great story of the Last Judgment; and in another picture he painted all kinds of worldly lords engaged in pleasures; and in another part he showed the atoning sinners in the act of retreating \u00a0to be in the mountains among the anchorites; in the lower part he showed St. Macarius letting three crowned ones see three cadavers of deceased kings, not yet fully decomposed. In the same city and in the same church at the foot of the old bridge, he made another sculptural work. Returning to Florence, he was commissioned to paint the right facade of the church of Santa Croce, where he removed the figure of St. Macarius, and represented the same stories as in the Camposanto in Pisa, which were then thrown to the ground in the last century when they built the new chapel.<\/span><\/div>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]9. Benozzo Gozzoli, Pittore Fiorentino<\/strong><\/p>\n

Maravigliosa poi e per la sua grandezza e per la sua bont\u00e0, fu l\u2019opera che egli fece in Pisa, cio\u00e8 a dire la pittura di una facciata di muro del Campo Santo, dico quanto si estende la fabbrica, la quale abbeli con tutte le storie della Creazione del Mondo giorno per giorno, poi l\u2019Arca, il Diluvio, la Torre di Nembrot, l\u2019Incendio di Sodoma, la Nascta di Mos\u00e8, fino all\u2019uscita del Popolo dall\u2019Egitto nel Deserto: e tutte le storie Ebree sino a David e Salomone: ma questa fu poco, rispetto a quanto si vede fatto da esso per tutte le citt\u00e0 della Toscana. (3:89)<\/p>\n

Io pertanto desideroso di far nota la verit\u00e0 di questo fatto, ho volute riconoscerla dall\u2019antiche memorie, che nella citt\u00e0 di Pisa si veggiono di esso Benozzo Fiorentino, ad esclusione di quanto si son dati a credere coloro, che in ci\u00f2 hanno ripreso il Vasari: e quello, che impedito da alter applicazioni, non potei io medesimo fare; si compiacque far per me la pia e sempre gloriosa memoria del dottissimo Niccol\u00f2 Stenone, ii quale stato Erectico Luternao, poi in Firenze fattosi Cattolico, e divenuto esemplarissimo Sacerdote, finalmente fu fatto vescovo di Hannovera nella Germania, vicino a Brunswick; il cui nome \u00e8 notissim o al mondo. Questi dunque, dopo aver veduto il sepolcro di esso Benozzo nel Campo Santo di Pisa, me ne diede di propria mano la seguente relazione:<\/p>\n

Fui jeri a vedere l\u2019 inscrizione, della quale ella desidera sapere certe circostanze: e la trovai sopra la pietra, che cuopre il di lui sepolcro, il quale e nella parte Orientale dell\u2019 andito Settentrionale tra sei sepolcri o pietre sepolcrali, che poste l\u2019una accanto all\u2019altra, occupano il traverso dell\u2019andito, il pi\u00f9 vicino a quell muro, la di cui parte inferiore da esso \u00e8 stata con pitture del Vecchio Testamento ornate sopra il piano dipinta da Jotto, se ben mi vicordo di quell che mi disse chi mi vi condusse: e per pi\u00f9 prontamente trovare esso sepolcro, o per specificare maggiormente il di lui luogo, avendo risguardo alle di lui pitture, \u00e8 appunto sotto quella parte dell\u2019istoria di Joseppe, dove egli ba tutti i suoi Fratelli intorno di se, e sia per scoprirsi ad essi, sia per riprendergli. Ancora sotto l\u2019inscrizione stanno le armi, che sono &c. <\/em><\/p>\n

L\u2019inscrizione mandatami dal medesimo \u00e8 quella, che segue<\/p>\n

HICTVMVLVS EST BENOTII
\nFLORENTINI QVI PROXIMEHASPI
\nXITHYSTORIA HVCSIBIPISA
\nNORVMDONAVIT HVMANIT
\nM. CCCC. LXXVIII.<\/p>\n

Tengo anche appresso di me (mandatomi dallo stesso Stenone) il disegno dell\u2019arme di Benozzo, che sotto l\u2019inscrizione si vede, in cui vengono rappresentate due maze incrocicchiare, e nella sommit\u00e0 di ciaseuna \u00e8una palla assai grande, e sopra essa una piccolo pallina, ed assomigliansi a due maze ferrate o siano due scettri: dall\u2019estremit\u00e0 loro pendono due filetti legati, che insieme verso la punta dello scudo si uniscono in forma di una legatura, e al capo di esso si vede come un rastrello di due denti, fotto de\u2019 quali so no tre gigli. (3:90-91)<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]Benozzo Gozzoli, Florentine Painter<\/strong><\/p>\n

Marvelous then both for its greatness and for its goodness was the work that he did in Pisa, that is to say the painting on a wall facade of the Campo Santo, as far as the building extends, which is adorned with all the stories of the Creation of the World, day by day, then the Ark, the Flood, the Tower of Nimrod, the Burning of Sodom, the Birth of Moses, up to the Exodus of the people of Egypt into the desert: and all the Jewish stories up to David and Solomon. But this was little, compared to what we see done by it for all the cities of Tuscany.<\/p>\n

I would therefore like to point out the truth of this fact, which I want to recognize in old memories, what in the city of Pisa itself is seen of Benozzo Gozzoli, apart from what is believed by those who have followed Vasari. But since I couldn’t manage to do it myself, the most pious and eternally glorious memory of the most learned Niccol\u00f2 Stenone will do it for me. Stenone was first a heretical Lutheran, then in Florence he became a Catholic and an exemplary priest, and finally he was made bishop in Hanover, Germany, near Brunswick. His name is known in the world. He saw the grave of Benozzo in the Camposanto in Pisa and gave me the following report in his own hand:<\/p>\n

 <\/p>\n

 <\/p>\n

Yesterday I went to see the inscription, of which I wanted to know certain circumstances. I found it above the stone that covers his tomb, which is located in the eastern part from the northern door, between six tombs of stone lined up one after another. They occupy the intersection closest to this wall, where the lower part is decorated with images of the Old Testament and painted above the paintings of Giotto, if I remember correctly what the person who led me said to me. And immediately, you find the tomb or, to be even more precise about the exact location in terms of its images, just below this part of the story of Joseph, where all his brothers are standing around him, either to be discovered by them or to bring him back.\u00a0Under the inscription are the weapons that are….<\/em><\/p>\n

The inscription sent to me by him reads:<\/p>\n

 <\/p>\n

 <\/p>\n

This is the tomb of Benozzo of Florence
\nwho painted the histories nearby
\nthe Pisans gave it to him in gratitude in 1478.<\/p>\n

 <\/p>\n

I also keep with me the drawing of the coat of arms by Benozzo (sent to me by Stenone himself), which can be seen under the inscription; two crossed clubs are represented and at the top of each is a very large ball, and above this is a small ball, and they resemble two iron clubs or two scepters; from their ends hang two knotted threads that are joined together towards the top of the shield in the form of a ligature, and at the top there is a rake with two teeth, under which are three lilies.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text] Filippo Baldinucci came from a prominent and wealthy family of Florentine merchants. A painter, theoretician, and biographer of mostly Italian artists, he worked for both the Grand Duke of Tuscany, Ferdinando II de\u2019 Medici, and for his brother Cardinal Leopoldo de\u2019 Medici. As a curator of the Grand Ducal collection, he was one of […]<\/p>\n","protected":false},"author":541,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11,24,1],"tags":[],"class_list":["post-966","post","type-post","status-publish","format-standard","hentry","category-17th-century","category-art-and-artists","category-italian"],"_links":{"self":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/966","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=966"}],"version-history":[{"count":13,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/966\/revisions"}],"predecessor-version":[{"id":1429,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/966\/revisions\/1429"}],"wp:attachment":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/media?parent=966"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/categories?post=966"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/tags?post=966"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}