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DECORATION. XXV. THE BASE. 289
in diameter, and 6, three or four feet, the proportionate size of
the roll varies accordingly, being largest, as in 9, where the
base is smallest, and in 6 and 12 the leaf profile is given on a
larger scale than the plan, or its character could not have been
exhibited.
§ xv. Now, in all these spurs, the reader will observe that
('the narrowest are for the most part the earliest. No. 2, from
the upper colonnade of St. Mark's, is the only instance I ever
saw of the double spur, as transitive between the square and
octagon plinth; the truncated form, 1, is also rare and very
ugly. Nos. 3, 4, 5, 7, and 9 are the general conditions of the
Byzantine spur; 8 is a very rare form of plan in Byzantine
work, but proved to be so by its rude level profile; while 7,
on the contrary, Byzantine in plan, is eminently Gothic in the
profile. 9 to 12 are from formed Gothic buildings, equally
refined in their profile and plan.
§ xvi. The character of the profile is indeed much altered
by the accidental nature of the surface decoration; but the
importance of the broad difference between the raised and flat
profile will be felt on glancing at the examples 1 to 6 in Plate
XIL The three upper examples are the Romanesque types,
which occur as parallels with the Byzantine types, 1 to 3 of
Plate XL Their plans would be nearly the same; but instead
of resembling flat leaves, they are literally spurs, or claws, as
high as they are broad ; and the third, from St. Michele of
Pavia, appears to be intended to have its resemblance to a
claw enforced by the transverse fillet. 1 is from St. Ambrogio,
Milan ; 2 from Vienne, France. The 4th type, Plate XIL,
almost like the extremity of a man's foot, is a Byzantine form
(perhaps worn on the edges), from the nave of St. Mark's;
and the two next show the unity of the two principles, forming the perfect Italian Gothic types,—5, from tomb of Can
Signorio della Scala, Verona; 6, from San Stefano, Venice
(the base 11 of Plate XL, in perspective). The two other
bases, 10 and 12 of Plate XL, are conditions of the same kind,
showing the varieties of rise and fall in exquisite modulation;
the 10th, a type more frequent at Verona than Venice, in
| 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 | 00000332 |
| Type | Books/Pamphlets |
| Transcript | DECORATION. XXV. THE BASE. 289 in diameter, and 6, three or four feet, the proportionate size of the roll varies accordingly, being largest, as in 9, where the base is smallest, and in 6 and 12 the leaf profile is given on a larger scale than the plan, or its character could not have been exhibited. § xv. Now, in all these spurs, the reader will observe that ('the narrowest are for the most part the earliest. No. 2, from the upper colonnade of St. Mark's, is the only instance I ever saw of the double spur, as transitive between the square and octagon plinth; the truncated form, 1, is also rare and very ugly. Nos. 3, 4, 5, 7, and 9 are the general conditions of the Byzantine spur; 8 is a very rare form of plan in Byzantine work, but proved to be so by its rude level profile; while 7, on the contrary, Byzantine in plan, is eminently Gothic in the profile. 9 to 12 are from formed Gothic buildings, equally refined in their profile and plan. § xvi. The character of the profile is indeed much altered by the accidental nature of the surface decoration; but the importance of the broad difference between the raised and flat profile will be felt on glancing at the examples 1 to 6 in Plate XIL The three upper examples are the Romanesque types, which occur as parallels with the Byzantine types, 1 to 3 of Plate XL Their plans would be nearly the same; but instead of resembling flat leaves, they are literally spurs, or claws, as high as they are broad ; and the third, from St. Michele of Pavia, appears to be intended to have its resemblance to a claw enforced by the transverse fillet. 1 is from St. Ambrogio, Milan ; 2 from Vienne, France. The 4th type, Plate XIL, almost like the extremity of a man's foot, is a Byzantine form (perhaps worn on the edges), from the nave of St. Mark's; and the two next show the unity of the two principles, forming the perfect Italian Gothic types,—5, from tomb of Can Signorio della Scala, Verona; 6, from San Stefano, Venice (the base 11 of Plate XL, in perspective). The two other bases, 10 and 12 of Plate XL, are conditions of the same kind, showing the varieties of rise and fall in exquisite modulation; the 10th, a type more frequent at Verona than Venice, in |
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