DOI Page / Citation link:
https://doi.org/10.11588/diglit.56076#0042
36
shall justly perceive that this sculpture belongs to a more recent period and to a foreign master
of the Italian school. This the pedestal bespeaks, and also the house against which the statue
is placed, which is on ly the entrance into a court and garden containing a small caslle, the oldest
part of which is built in fine Renaissance style. A large room in the same with the date 1534
is particularly worthy of notice; its walls are richly decorated in the above style and its ceiling
is painted in the Italian männer with many figures of the gods. Above all it remains a matter of
obscurity how a work of art of such beauty as this Gueen of heaven, and standing as it does so
entirely isolated, has found the way to its present Situation.
shall justly perceive that this sculpture belongs to a more recent period and to a foreign master
of the Italian school. This the pedestal bespeaks, and also the house against which the statue
is placed, which is on ly the entrance into a court and garden containing a small caslle, the oldest
part of which is built in fine Renaissance style. A large room in the same with the date 1534
is particularly worthy of notice; its walls are richly decorated in the above style and its ceiling
is painted in the Italian männer with many figures of the gods. Above all it remains a matter of
obscurity how a work of art of such beauty as this Gueen of heaven, and standing as it does so
entirely isolated, has found the way to its present Situation.