. The stones of Venice; introductory chapters and local indices (printed separately) for the use of travellers while staying in Venice and Verona . etto) ; noticing, on hisway, the heads on the foundations of the Palazzo Corner dellaEegina, and the Palazzo Pesaro, and any other heads carvedon the modern bridges, closing with those on the Bridge ofSighs. He will then have obtained a perfect idea of the style andfeeling of the Grotesque Renaissance. I cannot pollute thisvolume by any illustration of its worst forms, but the headturned to the front, on the right-hand in the opposite Plate,will gi
. The stones of Venice; introductory chapters and local indices (printed separately) for the use of travellers while staying in Venice and Verona . etto) ; noticing, on hisway, the heads on the foundations of the Palazzo Corner dellaEegina, and the Palazzo Pesaro, and any other heads carvedon the modern bridges, closing with those on the Bridge ofSighs. He will then have obtained a perfect idea of the style andfeeling of the Grotesque Renaissance. I cannot pollute thisvolume by any illustration of its worst forms, but the headturned to the front, on the right-hand in the opposite Plate,will give the general reader an idea of its most graceful andrefined developments. The figure set beside it, on the left, isa piece of noble grotesque, from fourteenth century Gothic ;and it must be our present task to ascertain the nature of thedifference which exists between the two, by an accurate in-quiry into the true essence of the grotesque spirit itself. § xxiii. First, then, it seems to me that the grotesque is, inalmost all cases, composed of two elements, one ludicrous, theother fearful; that, as one or other of these elements prevails,. ^ OP wo o ?<<? ^i-
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Keywords: ., bookauthorruskinjo, bookcentury1800, bookdecade1890, bookyear1890
