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260 SECOND PERIOD.
this manner, with brick and stone; sometimes the brick alternating with the stones of the arch, as in the finished example
given in Plate XIX. of the first volume, and there selected in
preference to other examples of archivolt decoration, because
furnishing a complete type of the master school from which
the Venetian Gothic is derived.
§ xxxvii. The arch from St. Fermo, however, fig. 4, Plate
XVIL, corresponds more closely, in its entire simplicity, with
the little windows from the Campiello San Rocco; and with
the type 5 set beside it in Plate XVIL, from a very ancient
house in the Corte del Forno at Santa Marina (all in brick); while
the upper examples, 1 and 2, show the use of the flat but highly
enriched architrave, for the connection of which with Byzantine
work see the final Appendix, Vol. III., under the head "Archivolt." These windows (figs. 1 and 2, Plate XVIL) are from
a narrow alley in apart of Venice now exclusively inhabited
by the lower orders, close to the arsenal;* they are entirely
wrought in brick, with exquisite mouldings, not cast, but
moulded in the clay by the hand, so that there is" not one
piece of the arch like another; the pilasters and shafts being,
as usual, of stone.
§ xxxviii. And here let me pause for a moment, to note
what one should have thought was well enough known in England,—yet I could not perhaps touch upon anything less considered,—the real use of brick. Our fields of good clay were
never given us to be made into oblong morsels of one size.
They were given us that we might play with them, and that
men who could not handle a chisel, might knead out of them
some expression of human thought. In the ancient architecture of the clay districts of Italy, every possible adaptation of
the material is found exemplified: from the coarsest and most
* If the traveller desire to find them (and they are worth seeking), let
him row from the Fondamenta S. Biagio down the Rio della Tana; and
look, on his right, for a low house with windows in it like those in the
woodcut No. XXXI. above, p. 256. Let him go in at the door of the
portico in the middle of this house, and he will find himself in a small alley,
with the windows in question on each side of him.
| 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 | 00000300 |
| Type | Books/Pamphlets |
| Transcript | 260 SECOND PERIOD. this manner, with brick and stone; sometimes the brick alternating with the stones of the arch, as in the finished example given in Plate XIX. of the first volume, and there selected in preference to other examples of archivolt decoration, because furnishing a complete type of the master school from which the Venetian Gothic is derived. § xxxvii. The arch from St. Fermo, however, fig. 4, Plate XVIL, corresponds more closely, in its entire simplicity, with the little windows from the Campiello San Rocco; and with the type 5 set beside it in Plate XVIL, from a very ancient house in the Corte del Forno at Santa Marina (all in brick); while the upper examples, 1 and 2, show the use of the flat but highly enriched architrave, for the connection of which with Byzantine work see the final Appendix, Vol. III., under the head "Archivolt." These windows (figs. 1 and 2, Plate XVIL) are from a narrow alley in apart of Venice now exclusively inhabited by the lower orders, close to the arsenal;* they are entirely wrought in brick, with exquisite mouldings, not cast, but moulded in the clay by the hand, so that there is" not one piece of the arch like another; the pilasters and shafts being, as usual, of stone. § xxxviii. And here let me pause for a moment, to note what one should have thought was well enough known in England,—yet I could not perhaps touch upon anything less considered,—the real use of brick. Our fields of good clay were never given us to be made into oblong morsels of one size. They were given us that we might play with them, and that men who could not handle a chisel, might knead out of them some expression of human thought. In the ancient architecture of the clay districts of Italy, every possible adaptation of the material is found exemplified: from the coarsest and most * If the traveller desire to find them (and they are worth seeking), let him row from the Fondamenta S. Biagio down the Rio della Tana; and look, on his right, for a low house with windows in it like those in the woodcut No. XXXI. above, p. 256. Let him go in at the door of the portico in the middle of this house, and he will find himself in a small alley, with the windows in question on each side of him. |
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