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dc.contributor.authorPetersen, Norah
dc.contributor.otherQueen's University (Kingston, Ont.). Theses (Queen's University (Kingston, Ont.))en
dc.date2016-05-03 10:04:22.648en
dc.date.accessioned2016-05-06T18:46:55Z
dc.date.issued2016-05-06
dc.identifier.urihttp://hdl.handle.net/1974/14381
dc.descriptionThesis (Master, Art History) -- Queen's University, 2016-05-03 10:04:22.648en
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.en_US
dc.languageenen
dc.language.isoenen_US
dc.relation.ispartofseriesCanadian thesesen
dc.rightsQueen's University's Thesis/Dissertation Non-Exclusive License for Deposit to QSpace and Library and Archives Canadaen
dc.rightsProQuest PhD and Master's Theses International Dissemination Agreementen
dc.rightsIntellectual Property Guidelines at Queen's Universityen
dc.rightsCopying and Preserving Your Thesisen
dc.rightsThis publication is made available by the authority of the copyright owner solely for the purpose of private study and research and may not be copied or reproduced except as permitted by the copyright laws without written authority from the copyright owner.en
dc.subjectPisaen_US
dc.subjectCamposantoen_US
dc.subjectArt Historyen_US
dc.subjectWall Paintingsen_US
dc.subjectMuralsen_US
dc.subjectBritish Receptionen_US
dc.subjectRenaissanceen_US
dc.subjectMedievalen_US
dc.subjectGiorgio Vasarien_US
dc.subjectItalian Arten_US
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 centuryen_US
dc.typeThesisen_US
dc.description.restricted-thesisI would like to protect rights for immediate commercial publication for a period of five years.en
dc.description.degreeMasteren
dc.contributor.supervisorHoeniger, Cathleenen
dc.contributor.departmentArt Historyen
dc.embargo.terms1825en
dc.embargo.liftdate2021-05-05


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