The encyclopædia britannica; a dictionary of arts, sciences, literature and general information . ining still herconnexion with the East, Venice did not fall under the sway ofthe classical ideals either so quicldy or so completely as mostItalian cities. Indeed, in this as in the earlier styles. Venicestruck out a line for herself and developed a style of her own,known as Lombardesque, after the family of the Lombardi(Solari) who came from Carona on the Lake of Lugano and maybe said to have created it. The essential point about the style is that it is intermediarybetween Venetian Gothic and ful
The encyclopædia britannica; a dictionary of arts, sciences, literature and general information . ining still herconnexion with the East, Venice did not fall under the sway ofthe classical ideals either so quicldy or so completely as mostItalian cities. Indeed, in this as in the earlier styles. Venicestruck out a line for herself and developed a style of her own,known as Lombardesque, after the family of the Lombardi(Solari) who came from Carona on the Lake of Lugano and maybe said to have created it. The essential point about the style is that it is intermediarybetween Venetian Gothic and full Renaissance. We find it retainingsome traces of Byzantine influence in the decorated surfaces ofapplied marbles, and in the roundels of porphyry and verd antique,while it also retained certain characteristics of Gothic, as, for instance,in the pointed arches of the Renaissance fagade in the courtyardof the ducal palace designed by Antonio Rizzo (1499)- Specialnotes of the style are the central erouping of the windows, leavingcomparatively solid spaces on eacn side, which gives the effect of. t^i ^L Fig. 2.—Ca d Oro, as urigina,lly bi;i!t. a main building with wings; the large amount of window space;the comparative flatness of the facades; the employment of acornice to each storey; the effect of light and shade given by thebalconies; and in churches by the circular pediments on the facades. The most perfect example of this style in ecclesiastical archi-tecture is the little church of the Miracoli built by PietroLombardo in 1480. The church is without aisles, and ^ ^** has a semicircular roof, and the choir is raised twelvesteps above the floor of the nave. The walls, both internallyand externally, are encrusted with marbles. The facade hasthe characteristic circular pediment with a large west windowsurrounded by three smaller windows separated by two orna-mental roundels in coloured marble and of geometric the pediment comes an arcade with flat pilasters, which
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectencyclo, bookyear1910
