Architecture in Italy, from the sixth to the eleventh century; historical and critical researches . itals of the latter must yield to those ofCaorle in variety and elegance of form and delicacy of execution ;a circumstance o^\ing, perhaj^s, to the progress made in Venetianart in the thirty-two years that divide them, or to the surveillanceof a Greek master. They are always of Corinthian manner, withdouble caulicules and leaves of Greek character, and often oforiginal form, crowned by cymatia much more expanded andhigher than those of the cathedral of Torcello, and adorned withblack incrustatio
Architecture in Italy, from the sixth to the eleventh century; historical and critical researches . itals of the latter must yield to those ofCaorle in variety and elegance of form and delicacy of execution ;a circumstance o^\ing, perhaj^s, to the progress made in Venetianart in the thirty-two years that divide them, or to the surveillanceof a Greek master. They are always of Corinthian manner, withdouble caulicules and leaves of Greek character, and often oforiginal form, crowned by cymatia much more expanded andhigher than those of the cathedral of Torcello, and adorned withblack incrustations of Bvzautine design. It seems that we mav attribute to the same period the curious belfry of Caorle. cylin-drical like the very old ones of Eavenna, but covered by a cone,and adorned half way up by a false arched gallery supported bycolumns, and above by a saw-tooth frieze of Venetian-Byzantinecharacter. Padua.—The Neo-Byzantine style of this first period has leftits traces in Padua also. In one of the cloisters of the conventof S. Antonio is to be seen a sarcophagus of the fourteenth. Fig. 167.—Sarcophagus in a Cloister of the Convent of S. .tonio atPadua—Parapet sculptured ahout tlie year 1000. century containing the ashes of a certain (luido da Lozzo. Forthe front a whole Byzantine parapet has been used, sculpturedwithout doubt towards the year 1000. and for the sides twofragments of a second parapet like the preceding one. It isdecorated by three arches with an intaglio of graceful leaflets,sustained by columns, and enclosing, in the centre, a simplemonogram of the Saviour in a wreath tied with ribbons, borneup by the claws of an eagle with spread wings : at each side is avase, from out of which the symbolic \ine arises, rich in leaves,grape-bunches. ;ind vine-branches. The coarse technique, espe- 340 cially of the intaglio of the leaves, the wreath and the capitals,makes one suspect that the artificer was one of those whoworked under Pietro Orseolo in S. Mark
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectarchitecture, bookyea
