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278 SECOND PERIOD.
plained: it may be studied to advantage in our rows of new-
built houses, or rather of new-built house, changeless for
miles together, from which, to each inhabitant, we allot his
proper quantity of windows, and a Doric portico. The Venetian carried out his theory very simply. In the centre of the
archivolt we find almost invariably, in the older work, the
hand between the sun and moon in the attitude of blessing,
expressing the general power and presence of God, the source
of light. On the tympanum is the shield of the family.
Venetian heraldry requires no beasts for supporters, but usually
prefers angels, neither the supporters nor crests forming any
necessary part of Venetian bearings. Sometimes, however,
human figures, or grotesques, are substituted; but, in that
case, an angel is almost always introduced above the shield,
bearing a globe in his left hand, and therefore clearly intended
for the l Angel of the Lord,' or, as it is expressed elsewhere,
the ' Angel of His Presence.' "Where elaborate sculpture of
this kind is inadmissible, the shield is merely represented as
suspended by a leather thong ; and a cross is introduced above
the archivolt. The Renaissance architects perceived the irrationality of all this, cut away both crosses and angels, and.
substituted heads of satyrs, which were the proper presiding
deities of Venice in the Renaissance periods, and which in our
own domestic institutions, we have ever since, with much
piety and sagacity, retained."
§ lvii. The habit of employing some religious symbol, or
writing some religious legend, over the door of the house,
does not entirely disappear until far into the period of the
Renaissance. The words " Peace be to this house" occur on
one side of a Veronese gateway, with the appropriate and
veracious inscription S.P.Q.R., on a Roman standard, on the
other; and " Blessed is he that cometh in the name of the
Lord," is written on one of the doorways of a building added
at the flank of the Casa Barbarigo, in the sixteenth or seventeenth century. It seems to be only modern Protestantism
which is entirely ashamed of all symbols and words that
appear in anywise like a confession of faith.
§ lviii. This peculiar feeling is well worthy of attentive
| 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 | 00000320 |
| Type | Books/Pamphlets |
| Transcript | 278 SECOND PERIOD. plained: it may be studied to advantage in our rows of new- built houses, or rather of new-built house, changeless for miles together, from which, to each inhabitant, we allot his proper quantity of windows, and a Doric portico. The Venetian carried out his theory very simply. In the centre of the archivolt we find almost invariably, in the older work, the hand between the sun and moon in the attitude of blessing, expressing the general power and presence of God, the source of light. On the tympanum is the shield of the family. Venetian heraldry requires no beasts for supporters, but usually prefers angels, neither the supporters nor crests forming any necessary part of Venetian bearings. Sometimes, however, human figures, or grotesques, are substituted; but, in that case, an angel is almost always introduced above the shield, bearing a globe in his left hand, and therefore clearly intended for the l Angel of the Lord,' or, as it is expressed elsewhere, the ' Angel of His Presence.' "Where elaborate sculpture of this kind is inadmissible, the shield is merely represented as suspended by a leather thong ; and a cross is introduced above the archivolt. The Renaissance architects perceived the irrationality of all this, cut away both crosses and angels, and. substituted heads of satyrs, which were the proper presiding deities of Venice in the Renaissance periods, and which in our own domestic institutions, we have ever since, with much piety and sagacity, retained." § lvii. The habit of employing some religious symbol, or writing some religious legend, over the door of the house, does not entirely disappear until far into the period of the Renaissance. The words " Peace be to this house" occur on one side of a Veronese gateway, with the appropriate and veracious inscription S.P.Q.R., on a Roman standard, on the other; and " Blessed is he that cometh in the name of the Lord," is written on one of the doorways of a building added at the flank of the Casa Barbarigo, in the sixteenth or seventeenth century. It seems to be only modern Protestantism which is entirely ashamed of all symbols and words that appear in anywise like a confession of faith. § lviii. This peculiar feeling is well worthy of attentive |
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