. The grammar of ornament . well toadvert to that of painted; the more especially as for a short time, during which a great degree of zealfor the preservation of old Eoman vestiges of polychromatic decoration was exercised, a very high andremarkable degree of perfection and beauty was attained. It is ever to be borne in mind that avery wide difference existed between the painted and carved arabesques of the ancients. The latterduring the period of the Early Eenaissance were almost entirely neglected, whilst the former wereimitated with great success, as may be seen from the interesting pilaste
. The grammar of ornament . well toadvert to that of painted; the more especially as for a short time, during which a great degree of zealfor the preservation of old Eoman vestiges of polychromatic decoration was exercised, a very high andremarkable degree of perfection and beauty was attained. It is ever to be borne in mind that avery wide difference existed between the painted and carved arabesques of the ancients. The latterduring the period of the Early Eenaissance were almost entirely neglected, whilst the former wereimitated with great success, as may be seen from the interesting pilaster panels, designed by BaccioPintelli for the Church of Sant Agostino at Rome, and which form the subject of our woodcuts onthe next page. The study of ancient Eoman and Greek sculptures was naturally followed by that of the antiquedecorations in marble and stone which throughout Italy abounded so profusely, and which every daysexcavation brought to light,—such, for instance, as perfect remains or shattered fragments of140.
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Keywords: ., bookcentury1800, booksubjectde, booksubjectdecorationandornament
