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dc.contributorQueen's University (Kingston, Ont.). Theses (Queen's University (Kingston, Ont.))
dc.contributor.authorPetersen, NORAH
dc.date.accessioned2019-10-24T19:19:59Z
dc.date.available2019-10-24T19:19:59Z
dc.date.created2017-02-28 01:23
dc.date.issued2016-05-03
dc.identifieroai:qspace.library.queensu.ca:1974/14381
dc.identifierhttp://hdl.handle.net/1974/14381
dc.identifier.urihttp://hdl.handle.net/20.500.12424/1031682
dc.description.abstractThe Camposanto of Pisa is an extraordinarily complex and evocative monument, which has captured the imagination of pilgrims, both religious and secular, for centuries. The late Medieval and early Renaissance wall paintings that line the perimeter of the portico surrounding a vast inner courtyard, are unparalleled in early Italian art, not only for their striking variety of composition and narrative complexity, but also for the sheer grandeur of their proportion. However, the passage of time has scarred the structure of the Camposanto and inflicted terrible damage on its wall paintings. This thesis explores the material reality of the Camposanto as experienced over three centuries through the eyes of British travelers. In order to situate the Camposanto mural cycle within an historical and cultural context, the first chapter provides an overview of the construction and decoration of the monument. Notably, Giorgio Vasari (1511-1574), the Italian Humanist often recognized as the father of art history, included numerous descriptions of the Camposanto murals in his highly influential text Vite de' più eccellenti pittori, scultori, ed architettori. Accordingly, the second chapter provides an analysis of Vasari’s descriptions and reflects upon the influence that the Renaissance author may have had upon the subsequent British reception of the Camposanto murals. The third chapter utilizes three centuries of travel writing in order to investigate the aesthetic impact of the Camposanto mural cycle upon British tourists from the seventeenth through to the nineteenth century.
dc.description.abstractThesis (Master, Art History) -- Queen's University, 2016-05-03 10:04:22.648
dc.languageen
dc.languageen
dc.language.isoeng
dc.relation.ispartofCanadian theses
dc.rightsQueen's University's Thesis/Dissertation Non-Exclusive License for Deposit to QSpace and Library and Archives Canada
dc.subjectPisa
dc.subjectCamposanto
dc.subjectArt History
dc.subjectWall Paintings
dc.subjectMurals
dc.subjectBritish Reception
dc.subjectRenaissance
dc.subjectMedieval
dc.subjectGiorgio Vasari
dc.subjectItalian Art
dc.title"Fit Cradle of the Reviving Art": An inquiry into the the Evolving Material Reality of the Murals in the Camposanto of Pisa from the Perspective of their British Reception from the 17th to the 19th century
dc.typeThesis
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ge.dataimportlabelOAI metadata object
ge.identifier.legacyglobethics:10670673
ge.identifier.permalinkhttps://www.globethics.net/gtl/10670673
ge.lastmodificationdate2017-02-28 01:23
ge.lastmodificationuseradmin@pointsoftware.ch (import)
ge.submissions0
ge.oai.exportid149001
ge.oai.repositoryid6708
ge.oai.setnameDissertations
ge.oai.setnameArt History Graduate Theses
ge.oai.setspechdl_1974_290
ge.oai.setspechdl_1974_753
ge.oai.streamid5
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ge.linkhttp://hdl.handle.net/1974/14381


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