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Updated: June 7, 2025
The cathedral is a basilica with nave and aisles. The main apse is octagonal outside and semicircular within; the apse to the north aisle also exists; that of the south aisle has been replaced by a square chapel. The nave arcade consists of six bays of round arches, resting on five pairs of columns which, though they are made up with plaster and painted, are probably antique, since the caps differ enormously in height and column and cap frequently do not fit. Some of the capitals might be late Roman, but most of them are very rude imitations. Super-abaci are used. The ciborium is hexagonal and rests on six columns of Greek cipollino, with the top and bottom mouldings worked on them; the caps are Byzantine of the sixth or seventh century, but without super-abaci. The front arches have huge Renaissance swags in the spandrils and a moulded cornice with classic enrichments; at the back are three ninth-century panels with arch and spandril in one piece, carved with ornament similar to that on the baptistery of Calixtus at Cividale; the pyramidal roof terminates in a carved finial. The greater part of the building is of the thirteenth century. The church, having become ruinous in 1237, was restored in 1287, and again in 1438 and 1490. It is now the chief parish church of the diocese of Veglia. The west door belongs to the last restoration; in the tympanum is a poorly carved Piet
Again, whereas in what is called the decorated construction of English Gothic, the pillars would have been left plain and the spandrils deep cut, here, are we to call it decoration of the construction, when the pillars are carved and the spandrils left plain?
They will think that smooth cheeks, wavy hair, straight noses, limbs of such or such measure, attitude, and expression, set so, constitute the Antique; that clustered pillars, cross vaulting, spandrils, and Tudor roses make Gothic.
Fourth side. Fifth side. A man with a turban, and a sharp chisel, at work on a kind of panel or niche, the back of which is of red marble. Sixth side. A crowned figure, with hammer and chisel, employed on a little range of windows of the fifth order, having roses set, instead of orbicular ornaments, between the spandrils with a rich cornice, and a band of marble inserted above.
There is Loelia elegans, exterminated in its native home, of such bulk and such luxuriance of growth that the islanders left forlorn might almost find consolation in regarding it here. Over all, climbing up the spandrils of the roof in full blaze of sunshine, is Vanda teres, round as a pencil both leaves and stalk, which will drape those bare iron rods presently with crimson and pink and gold.
Onofrio, where Tasso was buried; and also the still grander head of the Cumæan Sibyl, with its flowing turban by Domenichino, in the great picture gallery of the Borghese Palace. But the highest honour ever conferred upon the Sibyls was that which Michael Angelo bestowed when he painted them on the spandrils of the wonderful roof of the Sistine Chapel.
Beautiful carvings enrich the friezes everywhere, and small heads in medallions all the spandrils. At the top, in a hollow circle upheld by carved supports, crowned and bearing an orb in His left hand, is God the Father Himself.
A trace of another of these ornaments may be seen over the 21st capital; but I doubt if the marbles have ever been inserted in the other spandrils, and their want of ornament occasions the slight meagreness in the effect of the lower story, which is almost the only fault of the building.
Dona Brites lies on a plain tomb in front of which there is a long inscription. Above her rises a round arch set in a square frame. Large flowers like Tudor roses are cut on the spandrils, the ogee hood-mould is enriched with huge wonderfully undercut curly crockets, all Gothic, but the band between the two mouldings of the arch is carved with renaissance arabesques.
Miss Wilson has been accorded the largest commission given any woman sculptor for the decoration of the buildings of the St. Louis Exposition. She is to design eight spandrils for Machinery Hall, each one being twenty-eight by fifteen feet in size, with figures larger than life. The design represents the wheelwright and boiler-making trades.
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