File:Plain-towns of Italy - the cities of old Venetia (1911) (14788517623).jpg

Identifier: plaintownsofital01will (find matches)
Title: Plain-towns of Italy : the cities of old Venetia
Year: 1911 (1910s)
Authors: Williams, Egerton R. (Egerton Ryerson), b. 1873 Shapiro Bruce Rogers Collection (Library of Congress) DLC
Subjects: Cities and towns
Publisher: Boston : Houghton Mifflin Co. Cambridge (Mass.) : Riverside Press
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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ruck mewith a keen delight, — so free and majestic are thelines. Lofty, striped, pointed arches leap from onemighty column to another, and rise triumphally beforeand behind the choir, whose apse is luminous withseven taU lancet windows; the arched roof is of thewooden construction of the Eremetani of Padua, soar-ing buoyantly far above the gleaming marble floor.No chapel recesses break the sweeping lines of the con-fining walls; but little altars stand against them, onein each bay, under its two lofty windows.. Over the main doorway I saw another quaint earlyfresco, of the Annunciation; the great church is a gen-uine gallery of primitive artists, a class all by itself.But I went on to the later paintings around the apse.In the chapel to the right of the choir, over the altar,is the famous large canvas of Sebastiano del Piombo,representing the risen Christ surrounded by the twelveapostles, all standing, and St. Thomas putting hisfingers to the wound in the Saviours side; while under-
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TREVISO. A>>UIsCIATION. (TIZIAXO.) TREVISO 209 neatli appear the half-figures of six proud Trevisans,priests and women. It is a splendid work, of nobledignity and earnestness, exceedingly rich in tone andcoloring, — so grand, indeed, that many insist it tobe a production of Giovanni Bellini. Upon the wallsof this chapel are other frescoes by Tommaso daModena, similar in style and merit to those upon thecolumns. On entering the choir my heart was lifted in delightby two superb products of the Renaissance. On itsleft wall before the altar stands the celebrated tombof Count Agostino Onigo, — one of the finest accom-plishments, if not the masterpiece, of Pietro andTullio Lombardi: two beautiful marble sarcophagi,one above the other, both exquisitely enriched bydelicate reliefs, project from the wall within a largemarble oval, — the lower supported by two heavycorbels, the upper by fanciful lions claws resting onthe former; the lower adorned at its centre and angleswith three l

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