File:A history of architecture in Italy from the time of Constantine to the dawn of the renaissance (1901) (14761523426).jpg

Identifier: historyofarchit02cumm (find matches)
Title: A history of architecture in Italy from the time of Constantine to the dawn of the renaissance
Year: 1901 (1900s)
Authors: Cummings, Charles Amos, 1833-1905
Subjects: Architecture
Publisher: Boston, New York, Houghton Mifflin and company
Contributing Library: PIMS - University of Toronto
Digitizing Sponsor: University of Toronto

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two great churches whichhave been described above. In the Frari,on the wall of thesouth transept, is themonument of FraPacifico Buon, whodied about 1437, abrother of the Fran-ciscan order, andbelieved by someauthorities to havebeen the architectof the church ; in SS.Giovanni e Paolo,that of the DogeMorosini. In theformer of these mon-uments, the sarco-phagus—of which theface has two squarepanels filled withdelicate reliefs, andseparated by a nicheenclosing a standingfigure of the Ma-donna, while similarniches at the angles enclose figures of Mercy and Faith — is coveredby a noble pointed arch filled with a group of sculpture in relief repre-senting the baptism of Christ. The moulded and decorated archivoltis enclosed within a broad band of sculpture consisting of a series ofbeautiful half-length figures, each within a sort of niche formed byintertwining foliage. Outside this, again, is a range of most luxuriantleafage, treated much like the crockets of S. Stefano, but continuous,
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Fig. 365. Venice. Head of Doorway, S. feteiauo. 196 ARCHITECTURE IN ITALY in the midst of which were lovely half-length figures, most of whichare destroyed. The finial which crowns the whole is a statue of the Madonna. The deco-ration of this tomb isall in terra-cotta, andwhile a cool criticismwould doubtless con-demn it as excessiveand as unsuited to thecharacter of a sepul-chral monument, yetthe grace and deli-cacy of the designare so captivatingthat the critical atti-tude is difficult tomaintain. (Fig.366.) TheMorosini tomb,of somewhat earlierdate, is of a severercharacter, yet it isnot without conces-sions to the luxuryof ornament whichcharacterized the Ve-netian artists of thetime. (Fig. 367.)Here the figure of the Doge, full of pathetic dignity and repose,lies upon a simple draped couch, upon the face of which a seriesof seven foliated brackets perhaps supported originally a line ofstatues,^ with emblematic figures at the head and feet. The pointedarch above encloses no sculptur

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