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VII. GOTHIC PALACES. 251
Venice, of their having used any of them for a dwelling-house
in the truly Byzantine period. But so soon as the Gothic influence began to be felt, and the pointed arch forced itself
upon them, their first concession to its attack was the adoption,
in preference to the round arch, of the form 3 a (Plate XIV.,
above); the point of the Gothic arch forcing itself up, as it
were, through the top of the semicircle which it was-soon to
supersede.
§ xxvii. The woodcut above, Fig. XXVI., represents the
door and two of the lateral windows of a house in the Corte
del Remer, facing the Grand Canal, in the parish of the Apos-
toli. It is remarkable as having its great entrance on the first
floor, attained by a bold flight of steps, sustained on pure
pointed arches wrought in brick. I cannot tell if these arches
are contemporary with the building, though it must always
have had an access of the kind. The rest of its aspect is
Byzantine, except only that the rich sculptures of its archivolt
show in combats of animals, beneath the soffit, a beginning of
the Gothic fire and energy. The moulding of its plinth is of
a Gothic profile,* and the windows are pointed, not with a reversed curve, but in a pure straight gable, very curiously contrasted with the delicate bending of the pieces
of marble armor cut for the shoulders of each Fis- xxvii.
arch. There is a two-lighted window, such
as that seen in the vignette, on each side of
the door, sustained in the centre by a basket-
worked Byzantine capital: the mode of
covering the brick archivolt with marble,
both in the windows and doorway, is precisely like that of
the true Byzantine palaces.
§ xxviii. But as, even on a small scale, these arches are
weak, if executed in brickwork, the appearance of this sharp
point in the outline was rapidly accompanied by a parallel
change in the method of building; and instead of constructing
the arch of brick and coating it with marble, the builders
* For all details of this kind, the reader is referred to the final Appendix
in Vol. III.
| 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 | 00000285 |
| Type | Books/Pamphlets |
| Transcript | VII. GOTHIC PALACES. 251 Venice, of their having used any of them for a dwelling-house in the truly Byzantine period. But so soon as the Gothic influence began to be felt, and the pointed arch forced itself upon them, their first concession to its attack was the adoption, in preference to the round arch, of the form 3 a (Plate XIV., above); the point of the Gothic arch forcing itself up, as it were, through the top of the semicircle which it was-soon to supersede. § xxvii. The woodcut above, Fig. XXVI., represents the door and two of the lateral windows of a house in the Corte del Remer, facing the Grand Canal, in the parish of the Apos- toli. It is remarkable as having its great entrance on the first floor, attained by a bold flight of steps, sustained on pure pointed arches wrought in brick. I cannot tell if these arches are contemporary with the building, though it must always have had an access of the kind. The rest of its aspect is Byzantine, except only that the rich sculptures of its archivolt show in combats of animals, beneath the soffit, a beginning of the Gothic fire and energy. The moulding of its plinth is of a Gothic profile,* and the windows are pointed, not with a reversed curve, but in a pure straight gable, very curiously contrasted with the delicate bending of the pieces of marble armor cut for the shoulders of each Fis- xxvii. arch. There is a two-lighted window, such as that seen in the vignette, on each side of the door, sustained in the centre by a basket- worked Byzantine capital: the mode of covering the brick archivolt with marble, both in the windows and doorway, is precisely like that of the true Byzantine palaces. § xxviii. But as, even on a small scale, these arches are weak, if executed in brickwork, the appearance of this sharp point in the outline was rapidly accompanied by a parallel change in the method of building; and instead of constructing the arch of brick and coating it with marble, the builders * For all details of this kind, the reader is referred to the final Appendix in Vol. III. |
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