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Jones, Owen, 1809-1874. / The grammar of ornament
(1910)

Renaissance ornament,   pp. 107-128


Page 113


RENAISSANCE ORNAMENT.
all the Lombard Cinque-centists, however, the highest admiration must be
reserved for Agostino Busti,
better known as Bambaja, and his pupil Brambilla, whose exquisite works in
arabesque at the Certosa
must ever remain marvels of execution. Our woodcuts, selected from the Piscina
of the High Altar,
furnish some idea of the general style of the Pavian arabesques.
At Venice, the first great names which call for notice are those of the Lombardi
(Pietro, Tullio,.
Giulio, Sante, and Antonio), through whose talents that city was adorned
with its most famous monu-
ments. They were followed by Riccio, Bernardo, and Domenico di Mantua, and
many other sculptors;
but their lesser glories are altogether eclipsed by those of the great Jacopo
Sansovino. At Lucca,
Matteo Civitale (born 1435, died 1501) fully maintained the reputation of
the period. Returning to-
Tuscany, we find, towards the close of the fifteenth century, the greatest
perfection of ornamental sculp-
ture, the leading characteristic of which, however, we now no longer find
to be the sedulous and simple-
imitation of nature, but rather a conventional rendering of the antique.
The names of Mino de Fiesole-
the greatest of the celebrated school of the Fiesolani-Benedetto da Majano,
and Bernardo Rossellini,
bring to our recollection many exquisite monuments which abound in the churches
of Florence, and the
other principal towns of the Grand Duchy.  These artists excelled alike in
wood, in stone, and in marble,
and their works have been surpassed in this style of art only by those of
their predecessors we have
already named, and by some few others, their contemporaries. Of these, Andrea
Contucci, better known
as the elder Sansovino, was pre-eminent in his art; and it would appear impossible
to carry ornamental
modelling to greater perfection than he has exhibited in the wonderful monuments
which form the pride
of the Church of Sta. Maria del Popolo, at Rome. His pupil, Jacopo Tatti,
who subsequently took his
master's name, may be regarded as his only rival. Of him, however, more hereafter.
Ornaments from the                                    Portions of Pilasters
from the Church of Sta. Maria dei Miracoli, Venice.
liseina of the High Altar
of the Certona, Pavia.
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113


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