The daily morning journal and courier. [volume] (New Haven, Conn.) 1894-1907, 1898-03-05

f9rTaFa, ana place you THIS time ul-
rectly in front of the cathedral. The
whole front is such fine and finished
piece of architecture that you should
feel it's beauty and establish its pro-
portions and it's details in your minds
as an artistic possession, as well as
measure to be applied to other build
ings you may see in your journeys. The
divisions, by their regularity, give
full satisfaction. The details, by their
harmonious variety, give full delight.
You should pause in front of such a
successful work OF art until your spirit
has grasped and accepted it in such a
way that it will ever remain part of
artistic experience and growth. The
eyes, not words, are of use in the Gull
tivation of the artistic sense. It's germ
exists in every one, and may be de-
veloped into faculty of great value,
of the keenest apprehension and enjoy
ment, and of elevation and refinement
to the whole being. How to start it's
latent and dormant activities is an in
dividual question, but in each individ-
ual success is sure If the teacher use
correct methods and may apply them
in time
- V Ppi Siiy WillIu ttuuo lllC Sliul la VI
irregularity to the composition is in
teresting in itself and should be stud
led apart The lower portion is as old
as any part of the church, and is
adorned with quaint scenes and statues
of the earliest period of italian sculpt-
ure. Unfortunately, they are so bat
tered and defaced as hardly to be
recognizable. You may see that the
columns supporting the arch of entrance
rest on the backs of lions. This will
clearly appear from the next view,
which gives the lefthand columns. On
the back of the lion is a slab on which,
rest the two columns, one Of which is
supported by a little man, who seems
oppressed by his burden. Not so with
the lion, who is apparently well pleased
to be drafted into the service of the
church. He not only bears his burden
with ease and comfort, but has
strength and good will over to shelter
lamb between his paws. The very old
statues on the jambs are hard to make
out. They are apostles, because they
are barefooted. Christian iconography
always represented the Apostles bare
footed: How beautiful are the feet of
those bringing good tidings." Who they
are is uncertain, for their distinguish
ing emblems can no longer be de-
tected.
Over the entrance is st. George and
the dragon and row of medalions
giving scenes from the life Of our Sa
viour. You may still recognize the Ma
tivity, the wise men of the East bring
ing gifts, and the flight into Egypt. The
upper part Of, the porch, which must
be at least 100 years later, is a very
fine specimen of Italian Gothic and is
rich in sculpture. Above sits our Lord
on the throne of judgment, only st.
John and the Virgin still daring to
pray for the exercise of mercy. Be-
meath is a row OF the risen dead, divid-
ed by trumpet blowing angels. The
wicked who are naked, stripped of
their false Righteousness, move to the
left of the judge and are received
story below into, hell; while the good,
clothed with their robes of true right
eousness, are received into Abraham's
bosom. The full imagery Of Amiens
only tells the same story with larger
detail and greater excellency of sculpt-
ure. Notice in the spandrils of the
arches the dead emerging from their
collins. Notice, too, the gargoils at the
corners Of the upper story. A wise
German critic has stated that there are
no gargoyles in italian Gothic. Let
him visit Ferrara and open his eyes.
The next view Is from the corner and
shows not only the front Of the cathe-
dral. but the north side, reaching down
to the campaniIe at the east end of the
building. The colonnades along the
side are all of round headed arches and
are of earlier work than the front. The
homogeneous gables cover the interior of
the church which was all made over
early in the last century during the
pontifcate and under the direction of
Clement XII.
The unfinished campani1e was COM
menced by Hercules III, who ruled over
Ferrara from 1884 to 1888. He, poor
man, was the husband of Rene of
France. daughter of Louis XII, fam
atical Calvinist. He finally, in exer-
else of his lordly rights and most
commendable wisdom, locked her up
| tight till she recanted; telling her that
1t was all very we'll for private people
to believe as they pleased, but that her
position in the state and her duty to
himself, to her children, and to his sub
jects, made her professionalism a nuis-
ance that bordered on treason. She
finally concluded to make show of re-
canting, but ever afterward was al
ways up in the air, sailing away from
her household and family duties on
clouds of ecstatic visions Her daugh-
ters grew up as daughters of such
mothers must, headstrong, self willed,
and unattractive. One, after she was
quite an old maid, was married. against
his will, to the young Duke of Urbino.
When he saw her, he bolted and all
the Popes and Potentates of Italy
could not bring him back to his marital
duties. Another sister was sickly and
passed half her time in bed. She was
good at figures, however, fair house
keeper, and her fathers right hand
man. Her name was Leonora, and she
it is who figures as victim in the redc-
ulous story of Tasso's infatuation Ac-
cording to the latest and best docu-
mentary information Tasso was be-
coming more and more of a lunatic
when in his poetical phases. In the
last one in which he was allowed to
indulge he took it into his crazy head
to kiss all the ladies of the court, in
Guiding the princesses. After this per-
formance their brother Alphonso, who
to lock him up. But he was treated
with consideration and had everything
at his disposal. He could even go about