{"id":993,"date":"2021-05-17T14:03:06","date_gmt":"2021-05-17T14:03:06","guid":{"rendered":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/?p=993"},"modified":"2021-05-31T06:40:17","modified_gmt":"2021-05-31T06:40:17","slug":"gioacchino-cambiagi-1747-1822-il-forestiero-erudito-1773","status":"publish","type":"post","link":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/gioacchino-cambiagi-1747-1822-il-forestiero-erudito-1773\/","title":{"rendered":"Gioacchino Cambiagi (1747-1822), Il forestiero erudito<\/em> (1773)"},"content":{"rendered":"
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Gioacchino Cambiagi writes about the Camposanto in his<\/em> Il forestiero erudito from 1773. He discusses the architecture and the history of the building as well as the paintings, although not in much detail. He does mention important dates and names that were part of the early stages of construction, and he also relates how it was finished under the archbishop Filipo de\u2019Medici in 1464. Several artists are named, such as Spinello Aretino, Giotto and Buonamico Buffalmacco, and Gioacchino also describes the various figures painted in the Triumph of Death. He writes that the earth had had the power to corrode the bodies in twenty-four hours, but also that it had lost some of its potency, now taking fifty hours. \/ SB<\/em><\/p>\n

Cambiagi (excerpt)<\/a><\/span><\/p>\n

Source:<\/strong> Gioacchino Cambiagi, Il Forestiero Erudito O Sieno Compendiose Notizie Spettanti Alla Citt\u00e0 Di Pisa<\/em> (Pisa: Pompeo Polloni e Figli, 1773)<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]\n

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

\u201cQuesto superbo Edifizio riconobbe il suo principio nel 1200. reggendo la Chiesa Pisana Ubaldo Lanfranchi. Nel 1277. essendo stata affidata tal Fabbrica all\u2019Architetto, e Scultore Giovanni Pisano fu proseguita con celerit\u00e0; ma non fu ridotta al termine che si vede fino al 1464 sotto l\u2019Arcivescovo Filippo dei Medici.
\nEntrando nella Porta, e voltando a mano sinistra trovasi nella parte dipinta a fresco in pi\u00f9 Quadri la vita di San Ranieri di mano di Simone Memmi Senese, e di Antonio Veneziano. Spinello Aretino fu quei che dipinse quelle Istorie dei Martiri, e Confessori, che dal tempo sono state offese. E Giotto primo Scolare di Cimabue fu quei che dipinse il lebbroso Giob lasciato in abbandono da tutti.\u201d (75-76)<\/p>\n

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Quindi dirigendosi per l\u2019altra Navata vedesi dipinto il Sistema del Mondo con tutti i segni Celesti; e dipoi la distinzione degli Animali, e Adamo; e la formazione di Eva, ec. tutto prodotto dai pennelli di Buonamico Buffallmacco. Tutte le altre Storie cominciando dalla Fabbrica dell\u2019Arca di No\u00e8 fino alla Regina Saba sono di Benozzo Gozzoli, che le termon\u00f2 nel 1486.\u201d (78-79).<\/p>\n

Del Buffalmacco, e di Antonio Vita Pistojese sono le antiche Pitture della Crocifissione, Resurrezione e Ascensione del Signore. [\u2026]\n

Rientrando nella Navata che ci riconduce alla Porta viene espressa la corruzione del Corpo Umano in tre Cadaveri, uno cominciato a consumarsi, l\u2019altro quasi spolpato, e l\u2019altro ridotto in aride ossa (nota: \u00c8 qui da notarsi come l\u2019Arcivescovo Lanfranchi fece qui da Gerusalemme nel 1200 trasportare certa prodigiosa terra, che per molto tempo ha avuta l\u2019attivit\u00e0 di ridurre i Cadaveri in ossa nel corso di sole ore ventiquattro, ma adesso ci vogliono circa a cinquanta. Alcuni per\u00f2 sono d\u2019opinione che possa derivare dalla calcina messavi in gran copia.) In quelli che si vedono a Cavallo, il Pittore Andrea Orcagna Fiorentino volle rappresentare varj Signori che hanno visitato questo Campo Santo, cio\u00e8 l\u2019Imperador Federigo I detto Barbarossa, l\u2019Imperador Lodovico di Baviera, che per non sentire il fetore si chiude il naso, Castruccio Interminelli (nota: Detto per sopranome Castracani) Lucchese coll\u2019Astore in mano, e Ugoccione Tarlati della Faggiola nel Casentino. [\u2026] Parimente \u00e8 del medesimo Orcagna il Giudizio universale, ove si vedono li Angeli dividere li eletti dai reprobi; ove mirasi tra i primi un Pontefice in cui volle il Pittore esprimere Innovenzio IV. L\u2019Inferno rappresentato giusta la descrizione di Dante \u00e8 di Benedetto Orcagna Fratello del sopradetto Andrea. Quindi si vede il Deposito del Beato Giovanni della Pace Pisano. Finalmente si vedono li Anacoreti dipinti da Pietro Laurenti Senese. Sopra la Porta dipinse quella Assunzione die Maria Simone Memmi.
\nSon stituati all\u2019intorno di questa Fabbrica, che \u00e8 lunga 210 braccia, e larga 72 molti antichissimi Depositi ornati di bassi rilievi che per la loro antichit\u00e0 sono assai commendabili.\u201d (81-85)<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]\n

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

This magnificent building has its origins in 1200, when the Pisan church was under Ubaldo Lanfranchi. After this work was entrusted to the sculptor and architect Giovanni Pisano in 1277, it was carried out with great speed; however, it was completed only under Archbishop Filipo de\u2019Medici in 1464.
\nWhen you enter through the door, on the left, painted in fresco, are many scenes of the life of St. Ranieri by the hand of Simone Memmi Senese and Antonio Veneziano. Spinello Aretino was the one who painted the stories of the martyrs and the confessors, which have been damaged by time. And Giotto, the first disciple of Cimabue, was the one who painted the leprous Job who was abandoned by all. (75-76)<\/p>\n

Going down the other aisle, one sees the Cosmos painted with all the celestial signs; and after that the Naming of the Animals, Adam and the Creation of Eve, all painted by the brush of Buonamico Buffalmacco. All the other stories, starting with the building of Noah’s Ark and ending with the Queen of Sheba, are by Benozzo Gozzoli who finished them in 1486. (78-79)<\/p>\n

The ancient paintings of the Crucifixion, the Resurrection and the Ascension of the Lord are by Buffalmacco and by Antonio Vita from Pistoia [\u2026]\nReturning to the corridor that leads us back to the entrance, we see the decay of the human body as expressed in the three cadavers, one has begun to decompose, another has been almost stripped [of its flesh], and a third has been reduced to bone (Note: At this point, it should be noted that Archbishop Lanfranchi brought miraculous earth from Jerusalem in 1200, and this for a long time had the ability to decompose cadavers in only twenty-four hours, but now it takes about fifty hours. However, some believe that this comes from the high lime content of the earth).
\nWith those you can see on horseback, the Florentine painter Andrea Orcagna wanted to depict different rulers who visited the Camposanto. These are the ruler Frederick I, called Barbarossa, the ruler Louis of Bavaria, who, in order not to smell the stench, covers his nose, Castruccio Interminelli from Lucca (note: who goes by the nickname Castracani) with a hawk in his hand, and Ugoccione Tarlati from Faggiola in Casentino. […] Likewise, the Last Judgment was painted by Orcagna himself, where it can be seen how the angels separate \u00a0the chosen from the damned; among them is a Pope, whom the painter showed as Innocent IV. Hell, represented according to the description of Dante, is by Benedetto Orcagna, the brother of Andrea who was described above. Then one sees the tomb of Blessed John of Peace from Pisa. Finally, one sees the Anchorites, painted by Pietro Laurenti from Siena. Above the door, Simone Martini painted the Assumption of Mary.\u00a0All around this building, which is 210 armlengths long and 72 wide, there are many ancient tombs decorated with bas-reliefs that are admirable for their antiquity. (81-85)<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text] Gioacchino Cambiagi writes about the Camposanto in his Il forestiero erudito from 1773. He discusses the architecture and the history of the building as well as the paintings, although not in much detail. He does mention important dates and names that were part of the early stages of construction, and he also relates how […]<\/p>\n","protected":false},"author":541,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,27,1],"tags":[],"class_list":["post-993","post","type-post","status-publish","format-standard","hentry","category-18th-century","category-guidebook","category-italian"],"_links":{"self":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/993","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=993"}],"version-history":[{"count":6,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/993\/revisions"}],"predecessor-version":[{"id":1413,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/posts\/993\/revisions\/1413"}],"wp:attachment":[{"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/media?parent=993"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/categories?post=993"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/camposanto\/wp-json\/wp\/v2\/tags?post=993"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}