Earth from Jerusalem in the Pisan Camposanto

Research output: Chapter in Book/Report/Conference proceedingChapterpeer-review

Original languageEnglish
Title of host publicationVisualising the Middle Ages
EditorsRenana Bartal, Hanna Vorholt
PublisherBrill Academic Publishers
StatePublished - 2015

Publication series

NameVisualising the Middle Ages
ISSN (Print)1874-0448

Bibliographical note

Funding Information:
I would like to thank Lola Kantor-Kazovsky, Linda Safran, and Renana Bartal for their comments on earlier versions of the text, and Lucy Donkin and Michelle Bacci for sharing preprint drafts of their work on the Camposanto Teutonico in Rome and on the materiality of Jerusalem evocations, respectively. The research leading to these results has received funding from the European Research Council under the European Union’s Seventh Framework Programme (FP/2007–2013) / ERC Grant Agreement no. 249466. For the documents regarding the decision in 1270 to build the Camposanto and the first stages of the project under Federigo Visconti, see Clemente Lupi, ‘Sulle origini del Camposanto di Pisa’, Notizie d’Arte, 2 (1910), pp. 10–20. Dimensions of the Camposanto: length 129.565 m exterior, 126.646 interior; width 44.356 m exterior, 42.021 m interior; height 14.007 m. Kathryn Barbara Dodge, Tradition, Innovation, and Technique in Trecento Mural Painting: The Frescoes and Sinopie Attributed to Francesco Traini in the Camposanto in Pisa (Ann Arbor, MI: University Microfilms International, 1978), p. 55; and Janet Ross and Nelly Erichsen, The Story of Pisa (London: Dent, 1909), p. 202. For example, Emilio Tolaini, ‘Camposanto di Pisa: Progetto e cantiere’, in Storia ed arte nella Piazza del Duomo: Conferenze 1992–1993, ed. by Emilio Tolaini (Pisa: Vigo Cursi, 1995), pp. 309–25. Long chapters are dedicated to the Camposanto in such works as Paul Schubring, Pisa (Leipzig: Seemann, 1902), pp. 68–123, and Ross and Erichsen, Story of Pisa, pp. 197–240. In both of these studies the majority of the chapter is dedicated to the fresco cycles. An extensive edited volume dedicated entirely to the Camposanto was published in 1996: Il Camposanto di Pisa, ed. by Clara Baracchini and Enrico Castelnuovo (Turin: Einaudi, 1996). There are numerous discussions of the Camposanto’s frescoes. For the iconography of the Traini fresco cycles and questions of attribution of the earliest frescoes, see Dodge, Tradi-

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