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DECORATION.' XXV. THE BASE. - 287
above triangular spur, c d e, by all means let him keep it; but
if he be on the whole dissatisfied with it, I may be permitted,
perhaps, to advise him to set to work like a tapestry bee, to cut
off the little bit of line of salvia leaf x y, and try how he can
best substitute it for the awkward lines c d c e. He may try it
toy way that he likes; but if he puts the salvia curvature
inside the present lines, he will find the spur looks weak, and I
think he will determine at last on placing it as I have done at
c d, c e, Fig. LX. (If the reader wdll be at the pains to transfer the salvia leaf line with tracing paper, he will find it accurately used in this figure.) Then I merely add an outer circular
line to represent the outer swell of the roll against which the
spur is set, and I put another such spur to the opposite corner
Fig. LX.
c^-——_^^—
^e
-— -—_^ "'^~——,am—
\
\ /
6 ^^\V"^
\\ /
\ /
/r
\\
1
of the square, and we have the half base, Fig. LX., which is a
general type of the best Gothic bases in existence, being very
nearly that of the upper shafts of the Ducal Palace of Venice.
In those shafts the quadrant a b, or the upper edge of the lower
roll, is 2 feet If inches round, and the base of the spur d e, is
10 inches; the line d e being therefore to a b as 10 to 25f. In
Fig. LX. it is as 10 to 24, the measurement being easier and the
type somewhat more generally representative of the best, i. e.
broadest, spurs of Italian Gothic.
§ xiii. Now, the reader is to remember, there is nothing
| 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 | 00000328 |
| Type | Books/Pamphlets |
| Transcript | DECORATION.' XXV. THE BASE. - 287 above triangular spur, c d e, by all means let him keep it; but if he be on the whole dissatisfied with it, I may be permitted, perhaps, to advise him to set to work like a tapestry bee, to cut off the little bit of line of salvia leaf x y, and try how he can best substitute it for the awkward lines c d c e. He may try it toy way that he likes; but if he puts the salvia curvature inside the present lines, he will find the spur looks weak, and I think he will determine at last on placing it as I have done at c d, c e, Fig. LX. (If the reader wdll be at the pains to transfer the salvia leaf line with tracing paper, he will find it accurately used in this figure.) Then I merely add an outer circular line to represent the outer swell of the roll against which the spur is set, and I put another such spur to the opposite corner Fig. LX. c^-——_^^— ^e -— -—_^ "'^~——,am— \ \ / 6 ^^\V"^ \\ / \ / /r \\ 1 of the square, and we have the half base, Fig. LX., which is a general type of the best Gothic bases in existence, being very nearly that of the upper shafts of the Ducal Palace of Venice. In those shafts the quadrant a b, or the upper edge of the lower roll, is 2 feet If inches round, and the base of the spur d e, is 10 inches; the line d e being therefore to a b as 10 to 25f. In Fig. LX. it is as 10 to 24, the measurement being easier and the type somewhat more generally representative of the best, i. e. broadest, spurs of Italian Gothic. § xiii. Now, the reader is to remember, there is nothing |
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