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258
SECOND PERIOD.
and changes of arch-line: 4 a and 4 b are the early Venetian
forms; 4 c, later, is general at Venice; 4 d, the best and
most piquant condition, owing to its fantastic and bold projection of cusp, is common to Venice and Verona; 4 e is early
Veronese.
§ xxxv. The reader will see at once, in descending to the
fifth row in Plate XIV., representing the windows of the fifth
order, that they are nothing more than a combination of the
third and fourth. By this union they become the nearest
approximation to a perfect Gothic form which occurs characteristically at Venice; and we shall therefore pause on the
threshold of this final change, to glance back upon, and gather
together, those fragments of purer pointed architecture which
were above noticed as the forlorn hopes of the Gothic assault.
Fig. xxxiv.
Fig. xxxnx
The little Campiello San Rocco is entered by a sotto-portico
behind the church of the Frari. Looking back,-the upper
traceries of the magnificent apse are seen towering above the
irregular roofs and chimneys of the little square; and our lost
Prout was enabled to bring the whole subject into an exquisitely picturesque composition, by the fortunate occurrence
of four quaint trefoiled windows in one of the houses on the
right. Those trefoils are among the most ancient efforts of
Gothic art in Venice. I have given a rude sketch of them in
Fig. XXXIIL They are built entirely of brick, except the
| 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 | 00000296 |
| Type | Books/Pamphlets |
| Transcript | 258 SECOND PERIOD. and changes of arch-line: 4 a and 4 b are the early Venetian forms; 4 c, later, is general at Venice; 4 d, the best and most piquant condition, owing to its fantastic and bold projection of cusp, is common to Venice and Verona; 4 e is early Veronese. § xxxv. The reader will see at once, in descending to the fifth row in Plate XIV., representing the windows of the fifth order, that they are nothing more than a combination of the third and fourth. By this union they become the nearest approximation to a perfect Gothic form which occurs characteristically at Venice; and we shall therefore pause on the threshold of this final change, to glance back upon, and gather together, those fragments of purer pointed architecture which were above noticed as the forlorn hopes of the Gothic assault. Fig. xxxiv. Fig. xxxnx The little Campiello San Rocco is entered by a sotto-portico behind the church of the Frari. Looking back,-the upper traceries of the magnificent apse are seen towering above the irregular roofs and chimneys of the little square; and our lost Prout was enabled to bring the whole subject into an exquisitely picturesque composition, by the fortunate occurrence of four quaint trefoiled windows in one of the houses on the right. Those trefoils are among the most ancient efforts of Gothic art in Venice. I have given a rude sketch of them in Fig. XXXIIL They are built entirely of brick, except the |
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