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200 APPENDIX, 1.
In the description of the Fig-tree angle, given in the eighth
chapter of Yol. II., I said that it seemed to me somewhat earlier
than that of the Yine, and the reader might be surprised at the
apparent opposition of this statement to my supposition that the
Palace was built gradually round from the Rio Facade to the
Piazzetta. But in the two great open arcades there is no succession of work traceable; from the Yine angle, to the junction
with the fifteenth century work, above and below, all seems
nearly of the same date, the only question being of the accidental precedence of workmanship of one capital or another; and I
think, from its style, that the Fig-tree angle must have been
first completed. But in the upper stories of the Palace there
are enormous differences of style. On the-Rio Facade, in the
upper story, are several series of massive windows of the third
order, corresponding exactly in mouldings and manner of workmanship to those of the chapter-house of the Frari, and consequently carrying us back to a very early date in the fourteenth
century : several of the capitals of these windows, and two
richly sculptured string-courses in the wall below, are of Byzantine workmanship, and in all probability fragments of the Ziani
Palace. The traceried windows on the Rio Facade, and the two
eastern windows on the Sea Facade, are all of the finest early
fourteenth century work, masculine and noble in their capitals
and bases to the highest degree, and evidently contemporary
with the very earliest portions of the lower arcades. But the
moment we come to the windows of the Great Council Chamber
the style is debased. The mouldings are the same, but they are
coarsely worked, and the heads set amidst the leafage of the
capitals quite valueless and vile.
I have not the least doubt that these window-jambs and
traceries were restored after the great fire ;* and various other
restorations have taken place since, beginning with the removal
of the traceries from all the windows except the northern one
of the Sala del Scrutinio, behind the Porta della Carta, where
they are still left. I made out four periods of restoration among
* A print, dated 1585, barbarously inaccurate, as all prints were at that
time, but still in some respects to be depended upon, represents all the windows on the facade full of traceries; and the circles above, between them,
occupied by quatrefoils.
| 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 | 00000218 |
| Type | Books/Pamphlets |
| Transcript | 200 APPENDIX, 1. In the description of the Fig-tree angle, given in the eighth chapter of Yol. II., I said that it seemed to me somewhat earlier than that of the Yine, and the reader might be surprised at the apparent opposition of this statement to my supposition that the Palace was built gradually round from the Rio Facade to the Piazzetta. But in the two great open arcades there is no succession of work traceable; from the Yine angle, to the junction with the fifteenth century work, above and below, all seems nearly of the same date, the only question being of the accidental precedence of workmanship of one capital or another; and I think, from its style, that the Fig-tree angle must have been first completed. But in the upper stories of the Palace there are enormous differences of style. On the-Rio Facade, in the upper story, are several series of massive windows of the third order, corresponding exactly in mouldings and manner of workmanship to those of the chapter-house of the Frari, and consequently carrying us back to a very early date in the fourteenth century : several of the capitals of these windows, and two richly sculptured string-courses in the wall below, are of Byzantine workmanship, and in all probability fragments of the Ziani Palace. The traceried windows on the Rio Facade, and the two eastern windows on the Sea Facade, are all of the finest early fourteenth century work, masculine and noble in their capitals and bases to the highest degree, and evidently contemporary with the very earliest portions of the lower arcades. But the moment we come to the windows of the Great Council Chamber the style is debased. The mouldings are the same, but they are coarsely worked, and the heads set amidst the leafage of the capitals quite valueless and vile. I have not the least doubt that these window-jambs and traceries were restored after the great fire ;* and various other restorations have taken place since, beginning with the removal of the traceries from all the windows except the northern one of the Sala del Scrutinio, behind the Porta della Carta, where they are still left. I made out four periods of restoration among * A print, dated 1585, barbarously inaccurate, as all prints were at that time, but still in some respects to be depended upon, represents all the windows on the facade full of traceries; and the circles above, between them, occupied by quatrefoils. |
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