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Updated: June 27, 2025
Magnificent columns of it were introduced into the temples and triumphal arches. We find relics of these in the older churches. Four splendid fluted Corinthian columns of Verde antico, with gilded capitals, support the pediment of the high altar in Sta. Agnese, in the Piazza Navone, which formerly belonged to the Arch of Marcus Aurelius in the Corso.
Four very large columns in the Braccio Nuova of the Vatican, which may have belonged originally, like the two large columns of giallo antico in the same apartment, to some sumptuous tomb on the Appian Way, are formed of this variety, and are unique among all the other pillars of cipollino marble to be seen in Rome for the brightness of their colour and the exquisite beauty of their venation.
"Twenty-two columns have been found, many of rare and beautiful marble, one of verde antico, most superb, others of breccia and of cipollino marino, said to be rare, and certainly very beautiful. Forty bases and over thirty capitals of various styles have also been found, as well as architectural ornaments without number, many of them carved with Greek or Roman crosses.
Well, the Youth sits down to his plans, and at once orders begin to fly across ocean to this port and that for the rarest marbles rosso antico from Mount Taenarus, verde antico from Thessally; with green Carystian, likewise shipped from Corinth; Carrara, Veronese Orange, Spanish broccatello, Derbyshire alabaster, black granite from Vyell's Cornish estate, red and purple porphyries from high up the Nile. . . . The Youth conjures up his gardens as by magic.
The most precious of the old marbles of Rome is the Rosso antico. Its classical name has been lost, unless it be identical, as Corsi conjectures, with the Marmor Alabandicum, described by Pliny as black inclining much to purple.
All those beautiful violet veinings and variegations of the marbles of Sicily and Spain, the glowing orange and amber colours of those of Siena, the deep russet of the Rosso antico, and the blood-colour of all the precious jaspers that enrich the temples of Italy; and, finally, all the lovely transitions of tint in the pebbles of Scotland and the Rhine, which form, though not the most precious, by far the most interesting portion of our modern jewellers' work; all these are painted by nature with this one material only, variously proportioned and applied the oxide of iron that stains your Tunbridge springs.
And Jessica translated Shylock's declaration that the goblet had been at Murano for hundreds of years; it was antico antichissimo, as the signor could see for himself. It was of the best period of the art. That Shylock would guarantee. How came it into his possession? By the greatest good fortune. It was taken from Murano during the troubles after the fall of the Republic in the time of Napoleon.
These men are still in the age of platitudes, so far as music is concerned; an infantile aria is to them what some foolish rhymed proverb is to the Arabs: a thing of God, a portent, a joy for ever. You may visit the cathedral; there is a fine verde antico column on either side of the sumptuous main portal.
If we laugh at the French, they stare at us. Our enormous luxury and expense astonishes them. I carried their Ambassador, and a Comte de Levi, the other morning to see the new winter Ranelagh [The Pantheon] in Oxford Road, which is almost finished. It amazed me myself. Imagine Balbec in all its glory! The pillars are of artificial giallo antico. The ceilings, even of the passages, are of the most beautiful stuccos in the best taste of grotesque. The ceilings of the ball-rooms and the panels painted like Raphael's loggias in the Vatican. A dome like the pantheon, glazed. It is to cost fifty thousand pounds. Monsieur de Guisnes said to me, "Ce n'est qu'
As the boat rose and sank on the crests and into the hollows of the waves the light shone and faded, shone and faded. She guessed it to be a light at the Antico Giuseppone. Despite the head wind and the waves that met them the launch travelled bravely, and soon the light was gone.
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