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204 XIX. SUPERIMPOSITION. CONSTRUCTION.
limits. The greatest, if not the only, merit of the Roman
and Renaissance Venetian architects is their graceful management of this kind of superimposition ; sometimes of complete
courses of external arches and shafts one above the other;
sometimes of apertures with intermediate cornices at the levels
of the floors, and large shafts from top to bottom of the building ; always observing that the upper stories shall be at once
lighter and richer than the lower ones. The entire value of
such buildings depends upon the perfect and easy expression
of the relative strength of the stories, and the unity obtained
by the varieties of their proportions, while yet the fact of
superimposition and separation by floors is frankly told.
§ x. In churches and other buildings in which there is no
separation by floors, another kind of pure shaft superimposition
is often .used, in order to enable the builder to avail himself of
short and slender shafts. It has been noted that these are
often easily attainable, and of precious materials, when shafts
large enough and strong enough to do the work at once, could
not be obtained except at unjustifiable expense, and of coarse
stone. The architect has then no choice but to arrange his
work in successive stories; either frankly completing the arch
work and cornice of each, and beginning a new story above it,
which is the honester and nobler way, or else tying the stories
together by supplementary shafts from floor to roof,—the
general practice of the Northern Gothic, and one which, unless
most gracefully managed, gives the look of a scaffolding, with
cross-poles tied to its uprights, to the whole clerestory wall.
The best method is that which avoids all chance of the upright
shafts being supposed continuous, by increasing their number
and changing their places in the Upper stories, so that the
whole work branches from the ground like a tree. This is the
superimposition of the Byzantine and the Pisan Romanesque;
the most beautiful examples of it being, I think, the Southern
portico of St. Mark's, the church of S. Giovanni at Pistoja,
and the apse of the cathedral of Pisa. In Renaissance work
the two principles are equally distinct, though the shafts are
(I think) always one above the other. The reader may see one
| Title | The stones of Venice - 1 |
| Creator | Ruskin, John |
| Publisher | J. Wiley |
| Place of Publication | New York |
| Date | 1889 |
| Language | eng |
| Type | Books/Pamphlets |
| Title | 00000235 |
| Type | Books/Pamphlets |
| Transcript | 204 XIX. SUPERIMPOSITION. CONSTRUCTION. limits. The greatest, if not the only, merit of the Roman and Renaissance Venetian architects is their graceful management of this kind of superimposition ; sometimes of complete courses of external arches and shafts one above the other; sometimes of apertures with intermediate cornices at the levels of the floors, and large shafts from top to bottom of the building ; always observing that the upper stories shall be at once lighter and richer than the lower ones. The entire value of such buildings depends upon the perfect and easy expression of the relative strength of the stories, and the unity obtained by the varieties of their proportions, while yet the fact of superimposition and separation by floors is frankly told. § x. In churches and other buildings in which there is no separation by floors, another kind of pure shaft superimposition is often .used, in order to enable the builder to avail himself of short and slender shafts. It has been noted that these are often easily attainable, and of precious materials, when shafts large enough and strong enough to do the work at once, could not be obtained except at unjustifiable expense, and of coarse stone. The architect has then no choice but to arrange his work in successive stories; either frankly completing the arch work and cornice of each, and beginning a new story above it, which is the honester and nobler way, or else tying the stories together by supplementary shafts from floor to roof,—the general practice of the Northern Gothic, and one which, unless most gracefully managed, gives the look of a scaffolding, with cross-poles tied to its uprights, to the whole clerestory wall. The best method is that which avoids all chance of the upright shafts being supposed continuous, by increasing their number and changing their places in the Upper stories, so that the whole work branches from the ground like a tree. This is the superimposition of the Byzantine and the Pisan Romanesque; the most beautiful examples of it being, I think, the Southern portico of St. Mark's, the church of S. Giovanni at Pistoja, and the apse of the cathedral of Pisa. In Renaissance work the two principles are equally distinct, though the shafts are (I think) always one above the other. The reader may see one |
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