File:The architecture of the renaissance in Italy - a general view for the use of students and others (1909) (14784145283).jpg

Identifier: architectureofre1909ande (find matches)
Title: The architecture of the renaissance in Italy : a general view for the use of students and others
Year: 1909 (1900s)
Authors: Anderson, William J. (William James), 1864-1900
Subjects: Architecture, Renaissance Architecture
Publisher: London, B. T. Batsford
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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tunately it collapsed, and poor San-sovino was thrown into prison, and fined a thousand scudi forhis failure, a fate, says Smirke, which must have powerfullyoperated on the minds of his brother artists in overcoming theirscruples about plaster coves. The large scale photograph (Plate 58) gives a capital idea ofthis building in detail. The lower and open arcade is almostperfect in its proportion and treatment, and is in Sansovinosbest Peruzzi manner. We could wish he had carried it through-out. It is true that the heads are the heads of Sanmicheli, butthe figures in the spandrils, the treatment of the Doric, andevery moulding of it rather recall Peruzzi. One peculiarity ithas, and defect may be, in the great depth of the entablature(one-third of the column), and an inordinate enlargement of themetope. This seems peculiarly unnecessary in an intermediateentablature. One might also criticise the pillar of the sameIonic order in varying heights, but on the same level, as also Plate LVIII.
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SOUTH END OF THE LIBRERIA VECCHIA, VENICE. JACOPO SANSOVINO, Archt. ARTISTIC ATTAINMENT OF THE PERIOD. 141 the crowding of the pedestals on the first fioor cornice. Theupper entablature is exceedingly high, being one half of thecolumn supporting it, and is evidently proportioned to theheight of the whole fa9ade. As mentioned before, it derives fromthe Farnesina (Plate 48) its sculptural detail and arrangementof windows. The stylobate is too shallow for due effect, whilethe steps should have been double the height. It were easy topoint out faults, for the work cannot be commended as archi-tecture of the very highest class, but it has many charms, andfew buildings have been more admired and imitated. If they are regarded as a whole, it is not too much toclaim that the series of remarkable buildings described in thischapter, joined to those referred to in the last, prove that thisculminating period of the Renaissance was a great fact inarchitectural history, quite worthy of comparison wi

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