. The art of the Italian renaissance; a handbook for students and travellers. de boys, seatedon the bier, try to showtearful faces. Abo\e them, on the top of the pilasters, are two full-grown angels, gra^c andmajestic, offering the crown and palms. The niche is enframed by adraped curtain in stone. In order to picture to oursebes the original effect of the monumentan important factor has to be imagined, colour. The \iolet marbleof the background, the green surfaces between the jnlasters, and themosaic pattern of the floor under the sarcophagus are still visible, sincestone does not lose i
. The art of the Italian renaissance; a handbook for students and travellers. de boys, seatedon the bier, try to showtearful faces. Abo\e them, on the top of the pilasters, are two full-grown angels, gra^c andmajestic, offering the crown and palms. The niche is enframed by adraped curtain in stone. In order to picture to oursebes the original effect of the monumentan important factor has to be imagined, colour. The \iolet marbleof the background, the green surfaces between the jnlasters, and themosaic pattern of the floor under the sarcophagus are still visible, sincestone does not lose its colour, but all the painted colours have disappeared,destroyed by an age hostile to colour. Traces still remain however,enough to allow us to imagine the original effect. E-very detail wascoloured. The robes of the cardinal, the cushion, and the brocade of thepall in which the pattern is also suggested in Ioav relief. The monumentglittered -with gold and purple. The lid of the sarcophagus had a brightlycoloured scale patteni, and the ornamental pilasters as Avell as the. Tomb of the Cardinal of Purtuga], Ijy Antonio Rosscliino. 74 THE ART OP THE ITALIAN RENAISSANCE mouldings of the frame were gilded. The rosettes of the soffit weregold on a dark ground. The festoons and the angels were also orna-mented with gold. The triviality of a stone curtain is only endurable ifcarried out ^\ith colour. The pattern of the brocaded surface and thecheckers of the lining are still (juite discernible. This colouring of statues and monuments ceased suddenly with thesixteenth century. The grandiose tombs of Andrea Sanso-\ino in Santa]Maria del Popolo show no trace of it. Colour is replaced by effects oflicrht and shade. The figures stand out white from the dark niches. A second element appears in the sixteenth century ; the architectonicsense makes itself felt. The early Renaissance was still fanciful in itsbuildings, and according to our ideas there is something adventitious inits combinatio
Size: 1406px × 1777px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, books, booksubjectartrenaissance
