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236 SECOND PERIOD.
into central and lateral windows, and small arched doors,
pierced in great surfaces of brick wail. The sea story of a
Byzantine palace consists of seven, nine, or more arches in a
continuous line ; but the sea story of a Gothic palace consists
of a door and one or two windows on each side, as in a modern
house. The first story of a Byzantine palace consists of, perhaps, eighteen or twenty arches, reaching from one side of the
house to the other ; the first story of a Gothic palace consists
of a window of four or five lights in the centre, and one or
two single windows on each side. The germ, however, of the
Gothic arrangement is already found in the Byzantine, where,
as we have seen, the arcades, though continuous, are always
composed of a central mass and two wings of smaller arches.
The central group becomes the door or the middle light of the
Gothic palace, and the wings break into its lateral windows.
§ vn. But the most essential difference in the entire ar- ■
rangement, is the loss of the unity of conception which regulated Byzantine composition. How subtle the sense of gradation which disposed the magnitudes of the early palaces we
have seen already, but I have not hitherto noticed that the
Byzantine work was centralized in its ornamentation as much
as in its proportions. Not only were the lateral capitals and
archivolts kept comparatively plain, while the central ones
were sculptured, but the midmost piece of sculpture, whatever
it might be,—capital, inlaid circle, or architrave,—was always
made superior to the rest. In the Fondaco de' Turchi, for
instance, the midmost capital of the upper arcade is the key
to the whole group, larger and more studied than all the rest;
and the lateral ones are so disposed as to answer each other
on the opposite sides, thus, a being put for the central one,
FEBCACBEF,
a sudden break of the system being admitted in one unique
capital at the extremity of the series.
§ viii. Now, long after the Byzantine arcades had been contracted into windows, this system of centralization was more
| 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 | 00000266 |
| Type | Books/Pamphlets |
| Transcript | 236 SECOND PERIOD. into central and lateral windows, and small arched doors, pierced in great surfaces of brick wail. The sea story of a Byzantine palace consists of seven, nine, or more arches in a continuous line ; but the sea story of a Gothic palace consists of a door and one or two windows on each side, as in a modern house. The first story of a Byzantine palace consists of, perhaps, eighteen or twenty arches, reaching from one side of the house to the other ; the first story of a Gothic palace consists of a window of four or five lights in the centre, and one or two single windows on each side. The germ, however, of the Gothic arrangement is already found in the Byzantine, where, as we have seen, the arcades, though continuous, are always composed of a central mass and two wings of smaller arches. The central group becomes the door or the middle light of the Gothic palace, and the wings break into its lateral windows. § vn. But the most essential difference in the entire ar- ■ rangement, is the loss of the unity of conception which regulated Byzantine composition. How subtle the sense of gradation which disposed the magnitudes of the early palaces we have seen already, but I have not hitherto noticed that the Byzantine work was centralized in its ornamentation as much as in its proportions. Not only were the lateral capitals and archivolts kept comparatively plain, while the central ones were sculptured, but the midmost piece of sculpture, whatever it might be,—capital, inlaid circle, or architrave,—was always made superior to the rest. In the Fondaco de' Turchi, for instance, the midmost capital of the upper arcade is the key to the whole group, larger and more studied than all the rest; and the lateral ones are so disposed as to answer each other on the opposite sides, thus, a being put for the central one, FEBCACBEF, a sudden break of the system being admitted in one unique capital at the extremity of the series. § viii. Now, long after the Byzantine arcades had been contracted into windows, this system of centralization was more |
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