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III. MURANO. 43
enjoyment of this decoration : the one is the love of trinity in
unity, the other7that of the sense of fulness with order; of
every place being instantly filled, and yet filled with propriety
and ease; the leaves do not push each other, nor put themselves out of their own way, and yet whenever there is a
vacant space, a leaf is always ready to step in and occupy it.
§ xxiv. I said the trefoil was five or six hundred times
repeated. It is so, but observe, it is hardly ever twice of the
same size ; and this law is studiously and resolutely observed.
In the carvings a and b of the upper series, Plate III., the
diminution of the leaves might indeed seem merely representative of the growth of the plant. But look at the lower : the
triangles of inlaid purple marble are made much more nearly
equilateral than those of white marble, into whose centres they
are set, so that the leaves may continually diminish in size as
the ornament descends at the sides. The reader may perhaps
doubt the accuracy of the drawing on the smaller scale, but in
that given larger, fig. 3, Plate IV., the angles are all measured,
and the purposeful variation of width in the border therefore
admits of no dispute.* Remember how absolutely this principle is that of nature; the same leaf continually repeated,
but never twice of the same size. Look at the clover under
your feet, and then you will see what this Murano builder
meant, and that he was not altogether a barbarian.
§ xxv. Another point I wish the reader to observe is, the
importance attached to color in the mind of the designer.
Note especially—for it is of the highest importance to see how
the great principles of art are carried out through the whole
building—that, as only the white capitals are sculptured below,
only the white triangles are sculptured above. No colored
triangle is touched with sculpture; note also, that in the two
principal groups of the apse, given in Plate III., the centre of
the group is color, not sculpture, and the eye is evidently
* The intention is farther confirmed by the singular variation in the
breadth of the small fillet which encompasses the inner marble. It is
much narrower at the bottom than at the sides, so as to recover the original breadth in the lower border,
| Title | The stones of Venice - 2 |
| Creator | Ruskin, John |
| Publisher | J. Wiley |
| Place of Publication | New York |
| Date | 1889 |
| Language | eng |
| Type | Books/Pamphlets |
| Title | 00000061 |
| Type | Books/Pamphlets |
| Transcript | III. MURANO. 43 enjoyment of this decoration : the one is the love of trinity in unity, the other7that of the sense of fulness with order; of every place being instantly filled, and yet filled with propriety and ease; the leaves do not push each other, nor put themselves out of their own way, and yet whenever there is a vacant space, a leaf is always ready to step in and occupy it. § xxiv. I said the trefoil was five or six hundred times repeated. It is so, but observe, it is hardly ever twice of the same size ; and this law is studiously and resolutely observed. In the carvings a and b of the upper series, Plate III., the diminution of the leaves might indeed seem merely representative of the growth of the plant. But look at the lower : the triangles of inlaid purple marble are made much more nearly equilateral than those of white marble, into whose centres they are set, so that the leaves may continually diminish in size as the ornament descends at the sides. The reader may perhaps doubt the accuracy of the drawing on the smaller scale, but in that given larger, fig. 3, Plate IV., the angles are all measured, and the purposeful variation of width in the border therefore admits of no dispute.* Remember how absolutely this principle is that of nature; the same leaf continually repeated, but never twice of the same size. Look at the clover under your feet, and then you will see what this Murano builder meant, and that he was not altogether a barbarian. § xxv. Another point I wish the reader to observe is, the importance attached to color in the mind of the designer. Note especially—for it is of the highest importance to see how the great principles of art are carried out through the whole building—that, as only the white capitals are sculptured below, only the white triangles are sculptured above. No colored triangle is touched with sculpture; note also, that in the two principal groups of the apse, given in Plate III., the centre of the group is color, not sculpture, and the eye is evidently * The intention is farther confirmed by the singular variation in the breadth of the small fillet which encompasses the inner marble. It is much narrower at the bottom than at the sides, so as to recover the original breadth in the lower border, |
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