DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0185
EXTRACTS AND ILLUSTRATIONS.
117
del Campo Santo de Pisa. L. L. p. 11), states that while the ar-
chitect was preparing the roof, the Campo Santo remained for a long
time uncovered on account of tedious law-suits, and the damp occa-
sioned by exposure to the rains did great damage to the works and
to the memory of Giotto. This is a proof we do not complain with-
out reason against insufficient superintendents of public works.”3—
II. Pisa Illust.p. 205.
C£ The Campo Santo of Pisa is faced with white marble procured
chiefly from the neighbouring mountains—II. Pisa Illustrata, p. 175.
—except on the north side where it joins the city walls.”—P. 176.
“ In the early part of his life, Andrea Schiavone employed himself
in painting all subjects for the shops ; he also contracted a friendship
with masons in order to procure employment, accustoming himself to
paint the fronts of houses, the painting of which was frequently in-
trusted to these "workmen; so that his friendship with the masons
was the cause of his fortune. And to such a state was the art
reduced in Venice that painters were often obliged to carry away
the rubbish, as if there were no difference between painting and
whitewashing. This practice of fresco painting is disused in Venice,
because the frescoes are destroyed by the salt water, which incorpo-
rates with the lime, and instead of it, architects introduce the custom
of encrusting the walls with marble like a fortress, as if men had to
make war with death, not remembering the words of Horace,—
‘ Pallida mors cequo pulsat pede pauperum tabernas,
Regumque turves.’
* Pale death, with equal step will soon or late,
Knock at the cottage and the palace gate.’ ”
—I Ridolfi, p. 320.
“ Giorgione, took great pleasure in fresco painting, and, among
other things, wffiich he painted, was one whole facade of the Ca
Soranzo in the Piazza di S. Paolo, in which, besides many other
pictures and stories, and other fantastical ideas of his, there is seen
a These pictures were painted previous to the year 1400. The Campo Santo
was begun in 1278, and it was finished in 1283, except the Capello Maggiore,
which was finished in 1454.—II. Pisa Illu»t.,p. 203.—Ed.
117
del Campo Santo de Pisa. L. L. p. 11), states that while the ar-
chitect was preparing the roof, the Campo Santo remained for a long
time uncovered on account of tedious law-suits, and the damp occa-
sioned by exposure to the rains did great damage to the works and
to the memory of Giotto. This is a proof we do not complain with-
out reason against insufficient superintendents of public works.”3—
II. Pisa Illust.p. 205.
C£ The Campo Santo of Pisa is faced with white marble procured
chiefly from the neighbouring mountains—II. Pisa Illustrata, p. 175.
—except on the north side where it joins the city walls.”—P. 176.
“ In the early part of his life, Andrea Schiavone employed himself
in painting all subjects for the shops ; he also contracted a friendship
with masons in order to procure employment, accustoming himself to
paint the fronts of houses, the painting of which was frequently in-
trusted to these "workmen; so that his friendship with the masons
was the cause of his fortune. And to such a state was the art
reduced in Venice that painters were often obliged to carry away
the rubbish, as if there were no difference between painting and
whitewashing. This practice of fresco painting is disused in Venice,
because the frescoes are destroyed by the salt water, which incorpo-
rates with the lime, and instead of it, architects introduce the custom
of encrusting the walls with marble like a fortress, as if men had to
make war with death, not remembering the words of Horace,—
‘ Pallida mors cequo pulsat pede pauperum tabernas,
Regumque turves.’
* Pale death, with equal step will soon or late,
Knock at the cottage and the palace gate.’ ”
—I Ridolfi, p. 320.
“ Giorgione, took great pleasure in fresco painting, and, among
other things, wffiich he painted, was one whole facade of the Ca
Soranzo in the Piazza di S. Paolo, in which, besides many other
pictures and stories, and other fantastical ideas of his, there is seen
a These pictures were painted previous to the year 1400. The Campo Santo
was begun in 1278, and it was finished in 1283, except the Capello Maggiore,
which was finished in 1454.—II. Pisa Illu»t.,p. 203.—Ed.