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I. EARLY RENAISSANCE. 11
Church of St. John and Paul. On our left hand, as we enter,
is the tomb of the Doge Marco Cornaro, who died in 1367.
It is rich and fully developed Gothic, with crockets and finials,
but not yet attaining any extravagant developement. Opposite to it is that of the Doge Andrea Morosini, who died in
1382. Its Gothic is voluptuous, and over-wrought; the crockets are bold and florid, and the enormous finial represents a
statue of St. Michael. There is no excuse for the antiquaries
who, having this tomb before them, could have attributed the
severe architecture of the Ducal Palace to a later date; for
every one of the Renaissance errors is here in complete developement, though not so grossly as entirely to destroy the
loveliness of the Gothic forms. In -the Porta della Carta,
1423, the vice reaches its climax.
§ xvi. Against this degraded Gothic, then, came up the
Renaissance armies; and their first" assault was in the require-,
ment of universal perfection. For the first time since the
destruction of Rome, the world had seen, in the work of the
greatest artists of the fifteenth century,—in the painting of
Ghirlandajo, Masaccio, Francia, Perugino, Pinturicchio, and
Bellini; in the sculpture of Mino da Fiesole, of Ghiberti, and
Yerrocchio,—a perfection of execution and fulness of knowledge which cast all previous art into the shade, and which,
being in the work of those men united with all that was great
in that of former days, did indeed justify the utmost enthusiasm with which their efforts were, or could be, regarded.
But when this perfection had once been exhibited in anything,
it was required in everything; the world could no longer be
satisfied with less exquisite execution, or less disciplined knowledge. The first thing that it demanded in all work was, that
it should be done in a consummate and learned way; and men
altogether forgot that it was possible to consummate what was
contemptible, and to know what was useless. Imperatively
requiring dexterity of touch, they gradually forgot to look for
tenderness of feeling; imperatively requiring accuracy of
knowledge, they gradually forgot to ask for originality of
thought. The thought and the feeling which they despised
| Title | The stones of Venice - 3 |
| Creator | Ruskin, John |
| Publisher | J. Wiley |
| Place of Publication | New York |
| Date | 1889 |
| Language | eng |
| Type | Books/Pamphlets |
| Title | 00000025 |
| Type | Books/Pamphlets |
| Transcript | I. EARLY RENAISSANCE. 11 Church of St. John and Paul. On our left hand, as we enter, is the tomb of the Doge Marco Cornaro, who died in 1367. It is rich and fully developed Gothic, with crockets and finials, but not yet attaining any extravagant developement. Opposite to it is that of the Doge Andrea Morosini, who died in 1382. Its Gothic is voluptuous, and over-wrought; the crockets are bold and florid, and the enormous finial represents a statue of St. Michael. There is no excuse for the antiquaries who, having this tomb before them, could have attributed the severe architecture of the Ducal Palace to a later date; for every one of the Renaissance errors is here in complete developement, though not so grossly as entirely to destroy the loveliness of the Gothic forms. In -the Porta della Carta, 1423, the vice reaches its climax. § xvi. Against this degraded Gothic, then, came up the Renaissance armies; and their first" assault was in the require-, ment of universal perfection. For the first time since the destruction of Rome, the world had seen, in the work of the greatest artists of the fifteenth century,—in the painting of Ghirlandajo, Masaccio, Francia, Perugino, Pinturicchio, and Bellini; in the sculpture of Mino da Fiesole, of Ghiberti, and Yerrocchio,—a perfection of execution and fulness of knowledge which cast all previous art into the shade, and which, being in the work of those men united with all that was great in that of former days, did indeed justify the utmost enthusiasm with which their efforts were, or could be, regarded. But when this perfection had once been exhibited in anything, it was required in everything; the world could no longer be satisfied with less exquisite execution, or less disciplined knowledge. The first thing that it demanded in all work was, that it should be done in a consummate and learned way; and men altogether forgot that it was possible to consummate what was contemptible, and to know what was useless. Imperatively requiring dexterity of touch, they gradually forgot to look for tenderness of feeling; imperatively requiring accuracy of knowledge, they gradually forgot to ask for originality of thought. The thought and the feeling which they despised |
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