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DECORATION. XXVII. THE CORNICE AND CAPITAL. 307
which the architect has leave to choose according to the circumstances of his building and the method of its composition,
let him set down a figure 1 to begin with, and write ciphers
after it as fast as he can, without stopping, for an hour.
§ v. None of the types are, however, found in perfection
of curvature, except in the best work. Very often cornices
are worked with circular segments (with a noble, massive effect,
for instance, in St. Michele of Lucca), or with rude approximation to finer curvature, especially a, Plate XV., which occurs often so small as to render it useless to take much pains
upon its curve. It occurs perfectly pure in the condition represented by 1 of the series 1—6, in Plate XV., on many of the
Byzantine and early Gothic buildings of Venice; in more
developed form it becomes the profile of the bell of the-capital
in the later Venetian Gothic, and in much of the best Northern Gothic. It also represents the Corinthian capital, in which
the curvature is taken from the bell to be added in some excess
to the nodding leaves. It is the most graceful of all simple
profiles of cornice and capital.
§ vi. b is a much rarer and less manageable type : for this
evident reason, that while a is the natural condition of a line
rooted and strong beneath, but bent out by superincumbent
weight, or nodding over in freedom, b is yielding at the base
and rigid at the summit. It has, however, some exquisite uses,
especially in combination, as the reader may see by glancing
in advance at the inner line of the profile 14 in Plate XV.
§ vii. c is the leading convex or Doric type, as a is the
leading concave or Corinthian. Its relation to the best Greek
Doric is exactly what the relation of a is to the Corinthian;
that is to say, the curvature must be taken from the straighter
limb of the curve and added to the bolder bend, giving it a
sudden turn inwards (as in the Corinthian a nod outwards),
as the reader may see in the capital of the Parthenon in the
British Museum, where the lower limb of the curve is all but
a right line.* But these Doric and Corinthian lines are mere
* In very early Doric it was an absolute right line; and that capital is
therefore derived from the pure cornice root, represented by the dotted line.
| 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 | 00000356 |
| Type | Books/Pamphlets |
| Transcript | DECORATION. XXVII. THE CORNICE AND CAPITAL. 307 which the architect has leave to choose according to the circumstances of his building and the method of its composition, let him set down a figure 1 to begin with, and write ciphers after it as fast as he can, without stopping, for an hour. § v. None of the types are, however, found in perfection of curvature, except in the best work. Very often cornices are worked with circular segments (with a noble, massive effect, for instance, in St. Michele of Lucca), or with rude approximation to finer curvature, especially a, Plate XV., which occurs often so small as to render it useless to take much pains upon its curve. It occurs perfectly pure in the condition represented by 1 of the series 1—6, in Plate XV., on many of the Byzantine and early Gothic buildings of Venice; in more developed form it becomes the profile of the bell of the-capital in the later Venetian Gothic, and in much of the best Northern Gothic. It also represents the Corinthian capital, in which the curvature is taken from the bell to be added in some excess to the nodding leaves. It is the most graceful of all simple profiles of cornice and capital. § vi. b is a much rarer and less manageable type : for this evident reason, that while a is the natural condition of a line rooted and strong beneath, but bent out by superincumbent weight, or nodding over in freedom, b is yielding at the base and rigid at the summit. It has, however, some exquisite uses, especially in combination, as the reader may see by glancing in advance at the inner line of the profile 14 in Plate XV. § vii. c is the leading convex or Doric type, as a is the leading concave or Corinthian. Its relation to the best Greek Doric is exactly what the relation of a is to the Corinthian; that is to say, the curvature must be taken from the straighter limb of the curve and added to the bolder bend, giving it a sudden turn inwards (as in the Corinthian a nod outwards), as the reader may see in the capital of the Parthenon in the British Museum, where the lower limb of the curve is all but a right line.* But these Doric and Corinthian lines are mere * In very early Doric it was an absolute right line; and that capital is therefore derived from the pure cornice root, represented by the dotted line. |
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