|
|
|
|
|
|
|
|
|
|
|
|
27 18
MONZA DUOMO
their moulding shown in the pure transparent golden
marble; of which one can see through the edges. They
hardly amount to more than undulations, and would be
meagre in a common stone; above the disposition of the
alternate shafts, and squares is shown in fig 2 p 41
They are crowned by exquisitely rich and delicate capitals
and these support a horizontal frieze thrown across their
angles with egg and foliage mouldings of perfect beauty;
richly rounded, Almost the same moulding crowns the still
more finished detached capital of the two main shafts,
rudely sketched at p 42, remarkable for their expansion
perhaps the loveliest cinq-cento capitals I have yet
seen: their bases simple and square: (shafts of deep
green serpentine opposed to white marble capital and
vase [base]) set on a high pedestal, through which is seen a
monster, much broken: the proportion of pedtesal
to shaft rudely at p 43 1 I; it would be vi[;]l[,]e in a row of
shafts - it is beautiful on each side of a porch: its
proportion here [herd] quite perfect. The whole work in
its unity of classical or cinque-cento dignity and
grace and delicacy f ronament and moulding, with a pure
early Gothic plan, and intricacy of shadow, is unique;
and marks a manner never yet worked out: and soon lost
by the over prevalence of renaissance forms.
Its foliation is throughout also full of grace,
though received with flat fillets. purely penetrative
like slender trefoils and alwsys
|
|
|
|
|
|
[Version 0.05: May 2008]