The Stones of Venice, Volume 3 (of 3)

Name: The Stones of Venice, Volume 3 (of 3)
Author: Ruskin, John

Ruskin, John

Architecture -- Italy -- Venice

The next Plate, VII., will show the principal characters of the Gothic
jambs, and the total difference between them and the Byzantine ones. Two
more Byzantine forms, 1 and 2, are given here for the sake of
comparison; then 3, 4, and 5 are the common profiles of simple jambs of
doors in the Gothic period; 6 is one of the jambs of the Frari windows,
continuous into the archivolt, and meeting the traceries, where the line
is set upon it at the extremity of its main slope; 7 and 8 are jambs of
the Ducal Palace windows, in which the great semicircle is the half
shaft which sustains the traceries, and the rest of the profile is
continuous in the archivolt; 17, 18, and 19 are the principal piers of
the Ducal Palace; and 20, from St. Fermo of Verona, is put with them in
order to show the step of transition from the Byzantine form 2 to the
Gothic chamfer, which is hardly represented at Venice. The other
profiles on the plate are all late Gothic, given to show the gradual
increase of complexity without any gain of power. The open lines in 12,
14, 16, etc., are the parts of the profile cut into flowers or cable
mouldings; and so much incised as to show the constant outline of the
cavetto or curve beneath them. The following are the references:

             1. Door in house of Marco Polo.
             2. Old door in a restored church of St. Cassan.
             3, 4, 5. Common jambs of Gothic doors.
             6. Frari windows.
             7, 8. Ducal Palace windows.
             9. Casa Priuli, great entrance.
            10. San Stefano, great door.
 PLATE VII. 11. San Gregorio, door opening to the water.
 Vol. III.  12. Lateral door, Frari.
            13. Door of Campo San Zaccaria.
            14. Madonna dell'Orto.
            15. San Gregorio, door in the façade.
            16. Great lateral door, Frari.
            17. Pilaster at Vine angle, Ducal Palace.
            18. Pier, inner cortile, Ducal Palace.
            19. Pier, under the medallion of Venice, on the Piazetta
                  façade of the Ducal Palace.


  _III. Capitals._

I shall here notice the various facts I have omitted in the text of the
work.

First, with respect to the Byzantine Capitals represented in Plate VII.
Vol. II., I omitted to notice that figs. 6 and 7 represent two sides of
the same capital at Murano (though one is necessarily drawn on a smaller
scale than the other). Fig. 7 is the side turned to the light, and fig.
6 to the shade, the inner part, which is quite concealed, not being
touched at all.

Public-domain text, read in full here on John Shaqi.

Opening the text

The Stones of Venice, Volume 3 (of 3)Ruskin, John

Philosophy

The Stones of Venice, Volume 3 (of 3)

Ruskin, John

Architecture -- Italy -- Venice

The next Plate, VII., will show the principal characters of the Gothic
jambs, and the total difference between them and the Byzantine ones. Two
more Byzantine forms, 1 and 2, are given here for the sake of
comparison; then 3, 4, and 5 are the common profiles of simple jambs of
doors in the Gothic period; 6 is one of the jambs of the Frari windows,
continuous into the archivolt, and meeting the traceries, where the line
is set upon it at the extremity of its main slope; 7 and 8 are jambs of
the Ducal Palace windows, in which the great semicircle is the half
shaft which sustains the traceries, and the rest of the profile is
continuous in the archivolt; 17, 18, and 19 are the principal piers of
the Ducal Palace; and 20, from St. Fermo of Verona, is put with them in
order to show the step of transition from the Byzantine form 2 to the
Gothic chamfer, which is hardly represented at Venice. The other
profiles on the plate are all late Gothic, given to show the gradual
increase of complexity without any gain of power. The open lines in 12,
14, 16, etc., are the parts of the profile cut into flowers or cable
mouldings; and so much incised as to show the constant outline of the
cavetto or curve beneath them. The following are the references:

             1. Door in house of Marco Polo.
             2. Old door in a restored church of St. Cassan.
             3, 4, 5. Common jambs of Gothic doors.
             6. Frari windows.
             7, 8. Ducal Palace windows.
             9. Casa Priuli, great entrance.
            10. San Stefano, great door.
 PLATE VII. 11. San Gregorio, door opening to the water.
 Vol. III.  12. Lateral door, Frari.
            13. Door of Campo San Zaccaria.
            14. Madonna dell'Orto.
            15. San Gregorio, door in the façade.
            16. Great lateral door, Frari.
            17. Pilaster at Vine angle, Ducal Palace.
            18. Pier, inner cortile, Ducal Palace.
            19. Pier, under the medallion of Venice, on the Piazetta
                  façade of the Ducal Palace.


  _III. Capitals._

I shall here notice the various facts I have omitted in the text of the
work.

First, with respect to the Byzantine Capitals represented in Plate VII.
Vol. II., I omitted to notice that figs. 6 and 7 represent two sides of
the same capital at Murano (though one is necessarily drawn on a smaller
scale than the other). Fig. 7 is the side turned to the light, and fig.
6 to the shade, the inner part, which is quite concealed, not being
touched at all.

Public-domain text, read in full here on John Shaqi.

The Stones of Venice, Volume 3 (of 3)

The Stones of Venice, Volume 3 (of 3)

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