A walk on foot to Santa Maria dei Frari; a beautiful impression;[3] much thinking on the Renaissance and the eighteenth century; the latter, judging by the tombs, possessed a stronger sense of the monumental, though at the same time lacking in taste. On the whole, I find little pleasure in the sculpture of the Renaissance, save for certain aspects. A drive to the Giardino Papadopoli. The evening spent with Countess Voss. R. unwell! —
[1] Inserted in the margin: ‘Titian’s “Pesaro Madonna”!!!’
[2] Added at the end of the day’s entry: ‘Schlüter’s “Great Elector” is finer than the very fine “Condottiere” here.’
[3] In the church of Santa Maria Gloriosa dei Frari, Titian’s “Pesaro Madonna” is located in the left side aisle, while his masterpiece, the “Assumption of the Virgin”, is above the high altar.
– regarding the monumental: the “Great Elector” by Andreas Schlüter (c. 1660–1740) mentioned in the footnote—cast in 1700, originally on the Lange Brücke in Berlin, and now situated in front of Charlottenburg Palace.
… des Monumentalen: der in der Fußnote erwähnte Große Kurfürst von Andreas Schlüter (um 1660-1740), 1700 gegossen, auf der Langen Brücke Berlin, heute vor dem Charlottenburger Schloß.
Revised English translation by Jo Cousins [© Jo Cousins | WAGNER Salon]