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Description

This is the courtyard of the monumental, medieval Camposanto monastery in Pisa. Decorated with gothic tracery and lavish, late medieval murals, it is one of the largest and most elaborate medieval cemeteries preserved in Europe. It is also located right next to the cathedral of Pisa with its baptistry and the famous, leaning tower. Together, these four elements form one of the most precious assemblages of medieval architecture in Europe. Although it is, arguably, the least known in the group, the Camposanto cemetery can be considered unique because its symmetrical design provides visitors with a perfect, linear perspective of its walls and decoration. This type of perspective, culminating in the center of the image, is considered the hallmark of Renaissance art, particularly Renaissance paintings. It is widely argued that regular planning required to achieve such an effect shows how Renaissance masters revived the traditions of ancient, particularly Roman, art, which favoured regular plans and right angles in architecture (Roman cites were planned regularly). In this, they supposedly rejected medieval traditions which produced more irregular urban layouts with many narrow, winding streets. The example of Camposanto shows that such distinctions are simplistic and that medieval artists were well aware of the principles of Roman planning (after all, there were plenty of roman art and architectural monuments still standing in Italy in the medieval period). Few places demonstrate the medieval affinity with Antique art better than Pisa, even sculpture produced here in the medieval period is more naturalistic and recalls Greek and Roman statues more than contemporary figures from northern Europe (if you are interested in this sort of things check medieval statues of naked women by artist Nicola Pisano). In terms of art, therefore, if not in terms of military achievements, medieval Pisa was truly one of the greatest heirs of Rome in Europe.

Description

This is the courtyard of the monumental, medieval Camposanto monastery in Pisa. Decorated with gothic tracery and lavish, late medieval murals, it is one of the largest and most elaborate medieval cemeteries preserved in Europe. It is also located right next to the cathedral of Pisa with its baptistry and the famous, leaning tower. Together, these four elements form one of the most precious assemblages of medieval architecture in Europe. Although it is, arguably, the least known in the group, the Camposanto cemetery can be considered unique because its symmetrical design provides visitors with a perfect, linear perspective of its walls and decoration. This type of perspective, culminating in the center of the image, is considered the hallmark of Renaissance art, particularly Renaissance paintings. It is widely argued that regular planning required to achieve such an effect shows how Renaissance masters revived the traditions of ancient, particularly Roman, art, which favoured regular plans and right angles in architecture (Roman cites were planned regularly). In this, they supposedly rejected medieval traditions which produced more irregular urban layouts with many narrow, winding streets. The example of Camposanto shows that such distinctions are simplistic and that medieval artists were well aware of the principles of Roman planning (after all, there were plenty of roman art and architectural monuments still standing in Italy in the medieval period). Few places demonstrate the medieval affinity with Antique art better than Pisa, even sculpture produced here in the medieval period is more naturalistic and recalls Greek and Roman statues more than contemporary figures from northern Europe (if you are interested in this sort of things check medieval statues of naked women by artist Nicola Pisano). In terms of art, therefore, if not in terms of military achievements, medieval Pisa was truly one of the greatest heirs of Rome in Europe.