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286 SECOND PERIOD.
architect, terrified at the idea of violating external symmetry,
would have sacrificed both the pictures and the peace of the
council. He would have placed the larger windows at the
same level with the other two, and have introduced above
them smaller windows, like those of the upper story in the
older building, as if that upper story had been continued
along the facade. But the old Venetian thought of the honor
of the paintings, and the comfort of the senate, before his own
reputation. He unhesitatingly raised the large windows to
their proper position with reference to the interior of the
chamber, and suffered the external appearance to take care of
itself. And I believe the whole pile rather gains than loses in
effect by the variation thus obtained in the spaces of wall above
and below the windows.
§ viii. On the party wall, between the second and third
wdndows, which faces the eastern extremity of the Great
Council Chamber, is painted the Paradise of Tintoret; and
this wall will therefore be hereafter called the " Wall of the
Paradise."
■ In nearly the centre of the Sea Facade, and between the
first and second windows of the Great Council Chamber, is a
large window to the ground, opening on a balcony, which is
one of the chief ornaments of the palace, and will be called
in future the " Sea Balcony."
The facade which looks on the Piazetta is very nearly like
this to the Sea, but the greater part of it was built in the
fifteenth century, when people had become studious of their
symmetries. Its side windows are all on the same level.
Two light the west end of the Great Council Chamber, one
lights a small room anciently called the Quarantia Civil
Nuova; the other three, and the central one, with a balcony
like that to the Sea, light another large chamber, called Sala
del Scrutinio, or "Hall of Enquiry," which extends to the
extremity of the palace above the Porta deila Carta.
§ ix. The reader is now well enough acquainted with the
topography of the existing building, to be able to follow the
accounts of its history.
| 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 | 00000330 |
| Type | Books/Pamphlets |
| Transcript | 286 SECOND PERIOD. architect, terrified at the idea of violating external symmetry, would have sacrificed both the pictures and the peace of the council. He would have placed the larger windows at the same level with the other two, and have introduced above them smaller windows, like those of the upper story in the older building, as if that upper story had been continued along the facade. But the old Venetian thought of the honor of the paintings, and the comfort of the senate, before his own reputation. He unhesitatingly raised the large windows to their proper position with reference to the interior of the chamber, and suffered the external appearance to take care of itself. And I believe the whole pile rather gains than loses in effect by the variation thus obtained in the spaces of wall above and below the windows. § viii. On the party wall, between the second and third wdndows, which faces the eastern extremity of the Great Council Chamber, is painted the Paradise of Tintoret; and this wall will therefore be hereafter called the " Wall of the Paradise." ■ In nearly the centre of the Sea Facade, and between the first and second windows of the Great Council Chamber, is a large window to the ground, opening on a balcony, which is one of the chief ornaments of the palace, and will be called in future the " Sea Balcony." The facade which looks on the Piazetta is very nearly like this to the Sea, but the greater part of it was built in the fifteenth century, when people had become studious of their symmetries. Its side windows are all on the same level. Two light the west end of the Great Council Chamber, one lights a small room anciently called the Quarantia Civil Nuova; the other three, and the central one, with a balcony like that to the Sea, light another large chamber, called Sala del Scrutinio, or "Hall of Enquiry," which extends to the extremity of the palace above the Porta deila Carta. § ix. The reader is now well enough acquainted with the topography of the existing building, to be able to follow the accounts of its history. |
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