. The grammar of ornament . Arabesques designed by Baccio Pintelli, for the Church of Sant Agostino, Rome. 112 RENAISSANCE ORNAMENT. for carvers, of the purest taste and most exquisitefancy. Of the perfection attained in this depart-ment of art by the last-named artist, the celebratedwooden stalls of the choir of San Pietro dei Casinensi,at Perugia, will long remain unquestionable carrying out of these carvings by Stefano daBergamo does full justice to the admirable composi-tions of Raffaelle. At Milan, the important works of the Duomo,and the Certosa at Pavia, created a truly rem
. The grammar of ornament . Arabesques designed by Baccio Pintelli, for the Church of Sant Agostino, Rome. 112 RENAISSANCE ORNAMENT. for carvers, of the purest taste and most exquisitefancy. Of the perfection attained in this depart-ment of art by the last-named artist, the celebratedwooden stalls of the choir of San Pietro dei Casinensi,at Perugia, will long remain unquestionable carrying out of these carvings by Stefano daBergamo does full justice to the admirable composi-tions of Raffaelle. At Milan, the important works of the Duomo,and the Certosa at Pavia, created a truly remark-able school of art; among the most celebrated mas-. Panel from the Piscina of the High Altar of the Certosa, Pavia. ters of which may be noticed, Fusina, Solari, Agrati,Amadeo, and Sacchi. The sculptors talent had longbeen traditional in that locality, and there can be nodoubt that these artists embodied in the highestforms the lingering traditions of the Maestri Coma-schi, or Freemasons, of Como; from whose geniusmany of the most celebrated buildings of the middleages derived their highest graces of adornment. Of
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