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Updated: June 24, 2025
"On July 3rd," says Giovanni Villani, writing of the year 1292, "great and manifest miracles began to be shown forth in the city of Florence by a figure of Saint Mary which was painted on a pilaster of the loggia of S. Michele d'Orto, where the corn was sold: the sick were healed, the deformed were made straight, and those who were possessed of devils were delivered from them in numbers."
When the snows come, there will be avalanches by day and night, rushing into all parts of the valley. The Hermit hears a rumbling in the clouds, as he hoes his potatoes. He looks; a granite pilaster, hewn out by the hurricanes centuries ago, at last grown weary of clinging to that precipitous bluff, lets go its hold, and is dashed from crag to crag in a prolonged and horrible suicide.
In every part, interior and exterior, do we see a matchless proportion and beauty, whether in the shaft, or the capital, or the frieze, or the pilaster, or the pediment, or the cornices, or even the mouldings everywhere grace and harmony, which grow upon the mind the more they are contemplated.
No long time after, by reason of the devotion that he bore to that holy man, Parri portrayed the said S. Bernardino in fresco on a large pilaster in the Duomo Vecchio; in which place, in a chapel dedicated to the same Saint, he also painted him glorified in Heaven and surrounded by a legion of angels, with three half-length figures, one on either side Patience and Poverty and one above Chastity with which three virtues that Saint held company up to his death. Under his feet he had some Bishops' mitres and Cardinals' hats, in order to show that, laughing at the world, he had despised such dignities; and below these pictures was portrayed the city of Arezzo, such as it was in those times. For the Company of the Nunziata, likewise, in a little chapel, or rather maest
MY DEAR MR. FIELDS, I did promise to write an Introduction to these charming papers but an Introduction, what is it? a sort of pilaster, put upon the face of a building for looks' sake, and usually flat, very flat.
When we come near, we find that the church, though very short, has two western towers. The northern one is the rich piece of Flamboyant work with which we have already got familiar or rather not familiar, as its narrow windows may in the distance be taken for a Romanesque arcade. Its southern fellow is a real Romanesque tower with pilaster buttresses, which bears the spire.
The site of this great battle is marked by a monument, a square pilaster of marble, called the Colonna dei Francesi, adorned with bas-reliefs and inscriptions, raised in 1557 by the President of the Romagna, Pier Donato Cesi, on the right bank of the Ronco, some three miles from the city.
The hours are marked in these clocks on a column or a pilaster, and a figure emerging from the bottom points to them with a rod throughout the whole day. Their decrease or increase in length with the different days and months, must be adjusted by inserting or withdrawing wedges. The shutoffs for regulating the water are constructed as follows.
On the right of this pilaster, slightly recessed to admit of relief, is the naked right thigh and leg of a figure that must have stood 1ft. 6in. high. Although only a fragment, this is a most charming piece of work, the action and anatomy of the limb being perfect.
In both the pilaster projections and the central panel the carving has been done in such a manner as to leave four-sided decorative figures with segmental sides in slender outline flush with the surface. The upper fascia of the architrave is adorned by shallow drillings suggesting tiny festoons and straight hanging garlands with a conventionalized flower above each festoon.
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