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Viii. the ducal palace. 355
meant to be conveyed by the dress of the figure. For all the
draperies of the other figures on this capital, as well as on the
jrest of the facade, are disposed in severe but full folds, showing
little of the forms beneath them; but the moon's drapery
ripples down to her feet, so as exactly to suggest the trembling
of the moonlight on the waves. This beautiful idea is highly
characteristic of the thoughtfulness of the early sculptors: five
hundred men may be now found who could have cut the
drapery, as such, far better, for one who would have disposed
its folds with this intention. The inscription is :
" LUNE CANCER DOMU T. PBET IORBE SIGNORU."
§ cxv. Eighth side. God creating Man. Represented as a
throned figure, with a glory round the head, laying his left
hand on the head of a naked youth, and sustaining him with
his right hand. The inscription puzzled me for a long time ;
but except the lost r and m of " formavit," and a letter
quite undefaced, but to me unintelligible, before the word
Eva, in the shape of a figure of 7, I have safely ascertained
the rest.
"DELIMO DSADA DECO STAPO ** AVIT7EVA."
Or
" De limo Dominus Adam, de costa fo(rm) avit Evam;"
From the dust the Lord made Adam, and from the rib Eve.
I imagine the whole of this capital, therefore—the principal
one of the old palace,—to have been intended to signify, first,
the formation of the planets for the service of man upon the
earth ; secondly, the entire subjection of the fates and fortune
of man to the will of God. as determined from the time when
the earth and stars were made, and, in fact, written in the
volume of the stars themselves.
Thus interpreted, the doctrines of judicial astrology were
not only consistent with, but an aid to, the most spiritual and
humble Christianity.
In the workmanship and grouping of its foliage, this capital
is, on the whole, the finest I know in Europe. The sculptor
has put his whole strength into it. 'I trust that it will appear
among the other Venetian casts lately taken for the Crystal
| 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 | 00000401 |
| Type | Books/Pamphlets |
| Transcript | Viii. the ducal palace. 355 meant to be conveyed by the dress of the figure. For all the draperies of the other figures on this capital, as well as on the jrest of the facade, are disposed in severe but full folds, showing little of the forms beneath them; but the moon's drapery ripples down to her feet, so as exactly to suggest the trembling of the moonlight on the waves. This beautiful idea is highly characteristic of the thoughtfulness of the early sculptors: five hundred men may be now found who could have cut the drapery, as such, far better, for one who would have disposed its folds with this intention. The inscription is : " LUNE CANCER DOMU T. PBET IORBE SIGNORU." § cxv. Eighth side. God creating Man. Represented as a throned figure, with a glory round the head, laying his left hand on the head of a naked youth, and sustaining him with his right hand. The inscription puzzled me for a long time ; but except the lost r and m of " formavit," and a letter quite undefaced, but to me unintelligible, before the word Eva, in the shape of a figure of 7, I have safely ascertained the rest. "DELIMO DSADA DECO STAPO ** AVIT7EVA." Or " De limo Dominus Adam, de costa fo(rm) avit Evam;" From the dust the Lord made Adam, and from the rib Eve. I imagine the whole of this capital, therefore—the principal one of the old palace,—to have been intended to signify, first, the formation of the planets for the service of man upon the earth ; secondly, the entire subjection of the fates and fortune of man to the will of God. as determined from the time when the earth and stars were made, and, in fact, written in the volume of the stars themselves. Thus interpreted, the doctrines of judicial astrology were not only consistent with, but an aid to, the most spiritual and humble Christianity. In the workmanship and grouping of its foliage, this capital is, on the whole, the finest I know in Europe. The sculptor has put his whole strength into it. 'I trust that it will appear among the other Venetian casts lately taken for the Crystal |
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