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HI. CAPITALS.
10. FINAL APPENDIX. 241
Fig. 5. A more advanced condition ; the fold at the recess,
between each division of the leaf, carefully expressed, and the
concave or depressed portions of the extremities marked more
deeply, as well as the central furrow, and a rib added in the
centre.
Fig. 7. A Contemporary, but more finished form; the
sharp furrows becoming softer, and the whole leaf more
flexible.
Fig. 8. An exquisite form of the same period, but showing still more advanced naturalism, from a very early group of
third order windows, near the Church of St. Eustachio on the
Grand Canal.
Fig. 9. Of the same time, from a small capital of an angle
shaft of the sarcophagi at the side of St. John and Paul, in the
little square which is adorned by the Colleone statue. This
leaf is very quaint and pretty in giving its midmost lateral
divisions only two lobes each, instead of the usual three or
four.
Fig. 10. Leaf employed in the cornice of the tomb of the
Doge Giovanni Soranzo, who died in 1312. It nods over, and
has three ribs on its upper surface ; thus giving us the completed ideal form of the leaf, but its execution is still very
archaic and severe.
Now the next example, fig. 11, is from the tomb of the Doge
Andrea Dandolo, and therefore executed between 1354 and 1360;
and this leaf shows the Gothic naturalism and refinement of
curvature fully developed. In this forty years' interval, then,
the principal advance of Gothic sculpture is to be placed.
I had prepared a complete series of examples, showing this
advance, and the various ways in which the separations of the
ribs, a most characteristic feature, are more and more delicately
and scientifically treated, from the beginning to the middle of
the fourteenth century, but I feared that no general reader
would care to follow me into these minutiae, and have cancelled
this portion of the work, at least for the present, the main point
being, that the reader should feel the full extent of the change,
which he can hardly fail to do in looking from fig. 10 to figs. 11
and 12. I believe that fig. 12 is the earlier of the two ; and it
is assuredly the finer, having all the elasticity and simplicity of
| 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 | 00000265 |
| Type | Books/Pamphlets |
| Transcript | HI. CAPITALS. 10. FINAL APPENDIX. 241 Fig. 5. A more advanced condition ; the fold at the recess, between each division of the leaf, carefully expressed, and the concave or depressed portions of the extremities marked more deeply, as well as the central furrow, and a rib added in the centre. Fig. 7. A Contemporary, but more finished form; the sharp furrows becoming softer, and the whole leaf more flexible. Fig. 8. An exquisite form of the same period, but showing still more advanced naturalism, from a very early group of third order windows, near the Church of St. Eustachio on the Grand Canal. Fig. 9. Of the same time, from a small capital of an angle shaft of the sarcophagi at the side of St. John and Paul, in the little square which is adorned by the Colleone statue. This leaf is very quaint and pretty in giving its midmost lateral divisions only two lobes each, instead of the usual three or four. Fig. 10. Leaf employed in the cornice of the tomb of the Doge Giovanni Soranzo, who died in 1312. It nods over, and has three ribs on its upper surface ; thus giving us the completed ideal form of the leaf, but its execution is still very archaic and severe. Now the next example, fig. 11, is from the tomb of the Doge Andrea Dandolo, and therefore executed between 1354 and 1360; and this leaf shows the Gothic naturalism and refinement of curvature fully developed. In this forty years' interval, then, the principal advance of Gothic sculpture is to be placed. I had prepared a complete series of examples, showing this advance, and the various ways in which the separations of the ribs, a most characteristic feature, are more and more delicately and scientifically treated, from the beginning to the middle of the fourteenth century, but I feared that no general reader would care to follow me into these minutiae, and have cancelled this portion of the work, at least for the present, the main point being, that the reader should feel the full extent of the change, which he can hardly fail to do in looking from fig. 10 to figs. 11 and 12. I believe that fig. 12 is the earlier of the two ; and it is assuredly the finer, having all the elasticity and simplicity of |
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