The stones of Venice . III. GROTESQUE RENAISSANCE. 125 symbols with which it is invested being statues of angelsblowing brazen trumpets, intended to express the spreading ofthe fame of the Barbaro family in heaven. At the top of thechurch is Venice crowned, between Justice and Temperance,Justice holding a pair of grocers scales, of iron, swingingin the wind. There is a two-necked stone eagle (the Barbarocrest), with a copper crown, in the centre of the huge statue of a Barbaro in armour, with a fantastic head-dress, over the central door; and four Barbaros in niches, twoon each side
The stones of Venice . III. GROTESQUE RENAISSANCE. 125 symbols with which it is invested being statues of angelsblowing brazen trumpets, intended to express the spreading ofthe fame of the Barbaro family in heaven. At the top of thechurch is Venice crowned, between Justice and Temperance,Justice holding a pair of grocers scales, of iron, swingingin the wind. There is a two-necked stone eagle (the Barbarocrest), with a copper crown, in the centre of the huge statue of a Barbaro in armour, with a fantastic head-dress, over the central door; and four Barbaros in niches, twoon each side of it, strutting statues, in the common stage pos-tures of the period, — Jo. Maria Barbaro, sapiens ordinum;Marinus Barbaro, Senator (leading a speech in a Ciceronianattitude); Franc. Barbaro, legatus in classe (in armour, withhigh-heeled boots, and looking resolutely fierce); and CarolusBarbaro, sapiens ordinum: the decorations of the facade beingcompleted by two trophies, consisting of drums, trumpets, flagsand ca
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Keywords: ., bookcentury1800, bookdecade1850, booksubjectarchitecture, bookyea
