This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1904 Excerpt: ...and graceful figures. MONUMENTS OF VENETIAN FAME A FTER the Ducal Palace, those who desire to / % make of their progress through the City of / % Lagoons one continuous crescendo of enjoyment, will visit the two Pantheons of Venice--the Churches of S. Maria dei Frari and S. Giovanni e Paolo--in order to widen their ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1904 Excerpt: ...and graceful figures. MONUMENTS OF VENETIAN FAME A FTER the Ducal Palace, those who desire to / % make of their progress through the City of / % Lagoons one continuous crescendo of enjoyment, will visit the two Pantheons of Venice--the Churches of S. Maria dei Frari and S. Giovanni e Paolo--in order to widen their comprehension of the history of Venice, and at the same time to make a closer study of the development of her sculpture. This accomplished, they may turn their attention to the art of the other churches; and, finally, thus equipped, enjoy the buildings of the Piazza San Marco, and the Palaces of the Grand Canal. Before visiting the Frari one must return in spirit out of the Renaissance into the earlier Gothic period, and at the same time recall to mind the few landmarks in the history of Venetian sculpture given above (p. 27). At the very outset, the exterior of the church, and the facade with its fine portal, make a striking impression, but far more so the general view of the interior, since it is seldom that such pure Italian Gothic is found in other churches. But our attention is speedily diverted from the architectural features of the walls to the museum of sculpture which they contain. 44 At the entrance we are captivated by the holy water basin with its beautiful statuette of "Chastity," by Girolamo Campagna; and next, on the right, by the modern tomb of Titian, erected after the style of the Lombardo family. It forms a triple triumphal arch. In the middle sits the Prince of Painters, unveiling the statue of the Goddess of Sais (known to us perhaps through Schiller's poem), while the symbolical figure of Genius bends over him. To the right and left, statues of the four Creative Arts form a guard of honour. The background, and also ...
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