. Cathedral antiquities . CATHEMAL AfTTIpriTIEC. Pi. v:zz. ?A a ta>» Miary frof wuwcimiESTEiE (CATEEEiaisAiL sraj: JBtiUn/ ty J&jrtrjrd FONT. 105 ing of its rude un-artist-like sculpture, have afforded themes for literaryspecidation, and will probably long continue enveloped in doubt and obscu-rity. On such a subject conjecture is likely to play truant: but in the ab-sence of satisfactory history, conjecture must be sometimes allowed, as itleads to investigation, if not immediately to demonstration. The Font is alarge square block of black marble, having i
. Cathedral antiquities . CATHEMAL AfTTIpriTIEC. Pi. v:zz. ?A a ta>» Miary frof wuwcimiESTEiE (CATEEEiaisAiL sraj: JBtiUn/ ty J&jrtrjrd FONT. 105 ing of its rude un-artist-like sculpture, have afforded themes for literaryspecidation, and will probably long continue enveloped in doubt and obscu-rity. On such a subject conjecture is likely to play truant: but in the ab-sence of satisfactory history, conjecture must be sometimes allowed, as itleads to investigation, if not immediately to demonstration. The Font is alarge square block of black marble, having its four sides charged with sculp-ture, the angles at the top also ornamented with doves, and cups, and zigzag,and supported by four small columns at the corners, and one larger one inthe centre14. On two sides are groups of figures, in low, flat relief, with a ruderepresentation in one compartment of a side of a church, and a view of aship, or boat, in another. Although, as subjects of art, these tablets arebeneath criticism, yet as delineations o
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Keywords: ., bookcentury1800, bookdecade1810, booksubjectchurcharchitecture
