Between the cathedral and this building, about one hundred paces on one side, is the famous burying-ground, called Campo Santo, from its being covered with earth brought from Jerusalem. It is an oblong square, surrounded by a very high wall, and always kept shut. Within-side there is a spacious corridore round the whole space, which is a noble walk for a contemplative philosopher. It is paved chiefly with flat grave-stones: the walls are painted in fresco by Ghiotto, Giottino, Stefano, Bennoti, Bufalmaco, and some others of his cotemporaries and disciples, who flourished immediately after the restoration of painting. The subjects are taken from the Bible. Though the manner is dry, the drawing incorrect, the design generally lame, and the colouring unnatural; yet there is merit in the expression: and the whole remains as a curious monument of the efforts made by this noble art immediately after her revival. [The History of Job by Giotto is much admired.] Here are some deceptions in perspective equally ingenious and pleasing; particularly the figures of certain animals, which exhibit exactly the same appearance, from whatever different points of view they are seen. One division of the burying-ground consists of a particular compost, which in nine days consumes the dead bodies to the bones: in all probability, it is no other than common earth mixed with quick-lime. At one corner of the corridore, there are the pictures of three bodies represented in the three different stages of putrefaction which they undergo when laid in this composition. At the end of the three first days, the body is bloated and swelled, and the features are enlarged and distorted to such a degree, as fills the spectator with horror. At the sixth day, the swelling is subsided, and all the muscular flesh hangs loosened from the bones: at the ninth, nothing but the skeleton remains. There is a small neat chapel at one end of the Campo Santo, with some tombs, on one of which is a beautiful bust by Buona Roti. [Here is a sumptuous cenotaph erected by Pope Gregory XIII. to the memory of his brother Giovanni Buoncampagni. It is called the Monumentum Gregorianum, of a violet-coloured marble from Scravezza in this neighbourhood, adorned with a couple of columns of Touchstone, and two beautiful spherical plates of Alabaster.] At the other end of the corridore, there is a range of antient sepulchral stones ornamented with basso-relievo brought hither from different parts by the Pisan Fleets in the course of their expeditions. I was struck with the figure of a woman lying dead on a tomb-stone, covered with a piece of thin drapery, so delicately cut as to shew all the flexures of the attitude, and even all the swellings and sinuosities of the muscles. Instead of stone, it looks like a sheet of wet linen. [One of these antiquities representing the Hunting of Meleager was converted into a coffin for the Countess Beatrice, mother of the famous Countess Mathilda; it is now fixed to the outside of the church wall just by one of the doors, and is a very elegant piece of sculpture. Near the same place is a fine pillar of Porphyry supporting the figure of a Lion, and a kind of urn which seems to be a Sarcophagus, though an inscription round the Base declares it is a Talentum in which the antient Pisans measured the Census or Tax which they payed to Augustus: but in what metal or specie this Census was payed we are left to divine. There are likewise in the Campo Santo two antique Latin edicts of the Pisan Senate injoining the citizens to go into mourning for the Death of Caius and Lucius Caesar the Sons of Agrippa, and heirs declared of the Emperor. Fronting this Cemetery, on the other side of the Piazza of the Dome, is a large, elegant Hospital in which the sick are conveniently and comfortably lodged, entertained, and attended.]