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DECORATION. XXVIII. THE ARCHIVOLT AND APERTURE. 335
trave lines get worsted, and driven away outside of the voussoirs ; being permitted to stay at all only on condition of their
dressing themselves in mediaeval costume, as in the plate opposite.
§ v. In other cases, however, before the entire discomfiture
of the architrave, a treaty of peace is signed between the adverse parties on these terms: That the architrave shall entirely dismiss its inner three meagre lines, and leave the space
of them to the voussoirs, to display themselves after their
manner; but that, in return fete* this concession, the architrave
shall have leave to expand the small cornice which usually
terminates it (the reader had better look at the original form
in that of the Erechtheum, in the middle of the Elgin room of
the British Museum) into bolder prominence, and even to put
brackets under it, as if it were a roof cornice, and thus mark
with a bold shadow the terminal line of the voussoirs. This
condition is seen in the arch from St. Pietro of Pistoja, Plate
XIIL, above.
§ vi. If the Gothic spirit of the building be thoroughly
determined, and victorious, the architrave cornice is compelled to relinquish its classical form, and take the profile of a
Gothic cornice or dripstone; while, in other cases, as in much
of the Gothic of Verona, it is forced to disappear altogether.
But the voussoirs then concede, on the other hand, so much
of their dignity as to receive a running ornament of foliage or
animals, like a classical frieze, and continuous round the arch.
Jn fact, the contest between the adversaries may be seen running through all the early architecture of Italy: success inclining sometimes to the one, sometimes to the other, and
various kinds of truce or reconciliation being effected between
them: sometimes merely formal, sometimes honest and affectionate, but with no regular succession in time. The greatest
victory of the voussoir is to annihilate the cornice, and re
ceive an ornament of its own outline, and entirely limited
by its own joints: and yet this may be seen in the very early
apse of Murano.
§ vii. The most usual condition, however, is that unity of
| 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 | 00000393 |
| Type | Books/Pamphlets |
| Transcript | DECORATION. XXVIII. THE ARCHIVOLT AND APERTURE. 335 trave lines get worsted, and driven away outside of the voussoirs ; being permitted to stay at all only on condition of their dressing themselves in mediaeval costume, as in the plate opposite. § v. In other cases, however, before the entire discomfiture of the architrave, a treaty of peace is signed between the adverse parties on these terms: That the architrave shall entirely dismiss its inner three meagre lines, and leave the space of them to the voussoirs, to display themselves after their manner; but that, in return fete* this concession, the architrave shall have leave to expand the small cornice which usually terminates it (the reader had better look at the original form in that of the Erechtheum, in the middle of the Elgin room of the British Museum) into bolder prominence, and even to put brackets under it, as if it were a roof cornice, and thus mark with a bold shadow the terminal line of the voussoirs. This condition is seen in the arch from St. Pietro of Pistoja, Plate XIIL, above. § vi. If the Gothic spirit of the building be thoroughly determined, and victorious, the architrave cornice is compelled to relinquish its classical form, and take the profile of a Gothic cornice or dripstone; while, in other cases, as in much of the Gothic of Verona, it is forced to disappear altogether. But the voussoirs then concede, on the other hand, so much of their dignity as to receive a running ornament of foliage or animals, like a classical frieze, and continuous round the arch. Jn fact, the contest between the adversaries may be seen running through all the early architecture of Italy: success inclining sometimes to the one, sometimes to the other, and various kinds of truce or reconciliation being effected between them: sometimes merely formal, sometimes honest and affectionate, but with no regular succession in time. The greatest victory of the voussoir is to annihilate the cornice, and re ceive an ornament of its own outline, and entirely limited by its own joints: and yet this may be seen in the very early apse of Murano. § vii. The most usual condition, however, is that unity of |
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