The Camposanto, or cemetery, was begun in 1278 by Giovanni di Simone, and completed in the 15C. The interior is in the form of an oblong cloister, lit by graceful traceried windows (never filled with glass). Tradition has it that this is the site of an earlier burial ground for which Archbishop Ubaldo Lanfranchi (1108-78) brought five shiploads of earth from the Holy Land. It was used as a cemetery for illustrious Pisan citizens up to 1779. It was decorated with frescoes in the 14C and 15C.
From the 14C onwards Roman sculptures were brought here, including a huge collection of sarcophagi. All these works were severely damaged in the Second World War, when the roof fell in during an Allied bombardment. The frescoes (also ruined by exposure to the elements) have now all been detached for reasons of conservation and are displayed in a gallery, as are the sinopie.
The Roman sculpture and sarcophagi in the Camposanto made up one of the most important classical collections in Europe in the early Renaissance. Many of these have been destroyed or removed, but 84 sarcophagi, most of them dating from the 3C AD, remain (although many of them are very damaged). Some of them were re-used by Pisan citizens in the Middle Ages.
A sinopia is the name given to the sketch for a fresco made on the rough wall (prepared with arriccio) in a red earth pigment (called sinopia because it originally came from Sinope on the Black Sea). The sinopia was then gradually covered with grassello, another type of wet plaster, as work proceeded day by day on the fresco itself. By detaching a fresco from the wall it has been possible in many instances to recover the sinopia from the inner surface.
The Stories of the Anchorites, the Last Judgement and Hell, and the Triumph of Death, are all generally attributed to the Master of the Triumph of Death (but thought by some scholars to be by Buffalmacco). The Crucifixion is by Francesco Traini and the Ascension, Incredulity of St Thomas and Resurrection are attributed to Buffalmacco.

See also The Decoration of the Camposanto in Pisa by John White: Art and Architecture in Italy 1250-1400 Pelican History of Art 1993

The Engravings
The engravings are photographs of Carlo Lasinio's Pitture a fresco del Campo Santo di Pisa, published in 1828. The book is enormous, so for technical reasons each photgraph is a rather inexpert join of 2 halves photographed separately.
A copy of Lasinio's book was owned by John Everett Millais; the spare style and linear simplicity appealed to the nascent Pre-Raphaelite Brotherhood as marks of a pictorial attitude wholly unlike the reigning academic canons, in particular what they called the 'slosh' promoted by Sir Joshua Reynolds.