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Excerpt from The Pavement Masters of Siena (1369-1562) Examined all the recognized authorities, and tried to introduce any side-lights that may brighten up a somewhat dull record of facts. I have avoided venturing on criticism partly because I felt myself unequal to the task; and partly because my space was too limited to allow of such digressions without a sacrifice of more important matter. Where I have put forward a theoretical suggestion, I have carefully pointed out that it is only offered as such. I regret that it is impossible to translate all the documents quoted, chiefly because the quaint lan guage in which they are written is untranslatable, and would lose most of its charm if rendered into modern English. On the other hand, I have, where a passage specially important to my argu ment occurs in a document, given its general mean ing in the text. I have added a long list of authori ties, and works connected With the Cathedral and its Pavement which have been consulted, and I have to thank cordially, for practical and artistic help, and advice throughout, three ladies the Hon. Mrs. A. L. Pelham, Mrs. P. Richter, and Mrs. Trail. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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A Stanford University Press classic.
A sweeping history of premodern architecture told through the material of stone Spanning almost five millennia, Painting in Stone tells a new history of premodern architecture through the material of precious stone. Lavishly illustrated examples include the synthetic gems used to simulate Sumerian and Egyptian heavens; the marble temples and mansions of Greece and Rome; the painted palaces and polychrome marble chapels of early modern Italy; and the multimedia revival in 19th-century England. Poetry, the lens for understanding costly marbles as an artistic medium, summoned a spectrum of imaginative associations and responses, from princes and patriarchs to the populace. Three salient themes sustained this “lithic imagination”: marbles as images of their own elemental substance according to premodern concepts of matter and geology; the perceived indwelling of astral light in earthly stones; and the enduring belief that colored marbles exhibited a form of natural—or divine—painting, thanks to their vivacious veining, rainbow palette, and chance images.