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VII. GOTHIC PALACES. 241
Ducal Palace, on the Casa d' Oro, and, some years back, were
still standing on the Fondaco de' Turchi; but the majority of
the Gothic Palaces have the plain dog-tooth cornice under the
tiled projecting roof (Vol. I. Chap. XIV. § iv.); and the
highly decorated parapet is employed only on the tops of walls
which surround courts or gardens, and which, without such
decoration, would have been utterly devoid of interest. Fig.
XXIII. represents, at b, part of a parapet of this kind which
surrounds the court-yard of a palace in the Calle del Bagatin,
between San G. Grisostomo, and San Canzian: the whole is
of brick, and the mouldings peculiarly sharp and varied; the
height of each separate pinnacle being about four feet, crowning a wall twelve or fifteen feet high: a piece of the moulding
which surrounds the quatrefoil is given larger in the figure at
a, together with the top of the small arch below, having the
common Venetian dentil round it, and a delicate little moulding with dog-tooth ornament to carry the flanks of the arch.
The moulding of the brick is throughout sharp and beautiful
in the highest degree. One of the most curious points about
it is the careless way in which the curved outlines of the pinnacles are cut into the plain brickwork, with no regard whatever to the places of its joints. The weather of course wears
the bricks at the exposed joints, and jags the outline a little;
but the work has stood, evidently from the fourteenth century,
without sustaining much harm.
§ xiii. This parapet may be taken as a general type of the
i0#^-parapet of Venice in the Gothic period; some being much
less decorated, and others much more richly: the most beautiful in Venice is in the little Calle, opening on the Campo and
Traghetto San Samuele; it has delicately carved devices in
stone let into each pinnacle.
The parapets of the palaces themselves were lighter and
more fantastic, consisting of narrow lance-like spires of marble,
set between the broader pinnacles, which were in such cases generally carved into the form of a fleur-de-lis: the French word
gives the reader the best idea of the form, though he must
remember that this use of the lily for the parapets has nothing
| 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 | 00000271 |
| Type | Books/Pamphlets |
| Transcript | VII. GOTHIC PALACES. 241 Ducal Palace, on the Casa d' Oro, and, some years back, were still standing on the Fondaco de' Turchi; but the majority of the Gothic Palaces have the plain dog-tooth cornice under the tiled projecting roof (Vol. I. Chap. XIV. § iv.); and the highly decorated parapet is employed only on the tops of walls which surround courts or gardens, and which, without such decoration, would have been utterly devoid of interest. Fig. XXIII. represents, at b, part of a parapet of this kind which surrounds the court-yard of a palace in the Calle del Bagatin, between San G. Grisostomo, and San Canzian: the whole is of brick, and the mouldings peculiarly sharp and varied; the height of each separate pinnacle being about four feet, crowning a wall twelve or fifteen feet high: a piece of the moulding which surrounds the quatrefoil is given larger in the figure at a, together with the top of the small arch below, having the common Venetian dentil round it, and a delicate little moulding with dog-tooth ornament to carry the flanks of the arch. The moulding of the brick is throughout sharp and beautiful in the highest degree. One of the most curious points about it is the careless way in which the curved outlines of the pinnacles are cut into the plain brickwork, with no regard whatever to the places of its joints. The weather of course wears the bricks at the exposed joints, and jags the outline a little; but the work has stood, evidently from the fourteenth century, without sustaining much harm. § xiii. This parapet may be taken as a general type of the i0#^-parapet of Venice in the Gothic period; some being much less decorated, and others much more richly: the most beautiful in Venice is in the little Calle, opening on the Campo and Traghetto San Samuele; it has delicately carved devices in stone let into each pinnacle. The parapets of the palaces themselves were lighter and more fantastic, consisting of narrow lance-like spires of marble, set between the broader pinnacles, which were in such cases generally carved into the form of a fleur-de-lis: the French word gives the reader the best idea of the form, though he must remember that this use of the lily for the parapets has nothing |
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