SECTION XXIX. The repairs necessarily undertaken at this time were however extensive, and interfered in many directions with the earlier work of the palace: still the only serious alteration in its form was the transposition of the prisons, formerly at the top of the palace to the other side of the Rio del Palazzo; and the building of the Bridge of Sighs, to connect them with the palace, by Antonio da Ponte. The completion of this work brought the whole edifice into its present form; with the exception of alterations indoors, partitions, and staircases among the inner apartments, not worth noticing, and such barbarisms and defacements as have been suffered within the last fifty years, by, I suppose nearly every building of importance in Italy.
SECTION XXX. Now, therefore, we are at liberty to examine some of the details of the Ducal Palace, without any doubt about their dates. I shall not however, give any elaborate illustrations of them here, because I could not do them justice on the scale of the page of this volume, or by means of line engraving. I believe a new era is opening to us in the art of illustration, [Footnote: See the last chapter of the third volume, Stones of Venice.] and that I shall be able to give large figures of the details of the Ducal Palace at a price which will enable every person who is interested in the subject to possess them; so that the cost and labor of multiplying illustrations here would be altogether wasted. I shall therefore direct the reader's attention only to such points of interest as can be explained in the text.
SECTION XXXI. First, then, looking back to the woodcut at the beginning of this chapter, the reader will observe that, as the building was very nearly square on the ground plan, a peculiar prominence and importance were given to its angles, which rendered it necessary that they should be enriched and softened by sculpture. I do not suppose that the fitness of this arrangement will be questioned; but if the reader will take the pains to glance over any series of engravings of church towers or other four-square buildings in which great refinement of form has been attained, he will at once observe how their effect depends on some modification of the sharpness of the angle, either by groups of buttresses, or by turrets and niches rich in sculpture. It is to be noted also that this principle of breaking the angle is peculiarly Gothic, arising partly out of the necessity of strengthening the flanks of enormous buildings, where composed of imperfect materials, by buttresses or pinnacles; partly out of the conditions of Gothic warfare, which generally required a tower at the angle; partly out of the natural dislike of the meagreness of effect in buildings which admitted large surfaces of wall, if the angle were entirely unrelieved. The Ducal Palace, in its acknowledgment of this principle, makes a more definite concession to the Gothic spirit than any of the previous architecture of Venice. No angle, up to the time of its erection, had been otherwise decorated than by a narrow fluted pilaster of red marble, and the sculpture was reserved always, as in Greek and Roman work, for the plane surfaces of the building, with, as far as I recollect, two exceptions only, both in St. Mark's; namely, the bold and grotesque gargoyle on its north-west angle, and the angels which project from the four inner angles under the main cupola; both of these arrangements being plainly made under Lombardic influence. And if any other instances occur, which I may have at present forgotten, I am very sure the Northern influence will always be distinctly traceable in them.
SECTION XXXII. The Ducal Palace, however, accepts the principle in its completeness, and throws the main decoration upon its angles. The central window, which looks rich and important in the woodcut, was entirely restored in the Renaissance time, as we have seen, under the Doge Steno; so that we have no traces of its early treatment; and the principal interest of the older palace is concentrated in the angle sculpture, which is arranged in the following manner. The pillars of the two bearing arcades are much enlarged in thickness at the angles, and their capitals increased in depth, breadth, and fulness of subject; above each capital, on the angle of the wall, a sculptural subject is introduced, consisting, in the great lower arcade, of two or more figures of the size of life; in the upper arcade, of a single angel holding a scroll: above these angels rise the twisted pillars with their crowning niches, already noticed in the account of parapets in the seventh chapter; thus forming an unbroken line of decoration from the ground to the top of the angle.
SECTION XXXIII. It was before noticed that one of the corners of the palace joins the irregular outer buildings connected with St. Mark's, and is not generally seen. There remain, therefore, to be decorated, only the three angles, above distinguished as the Vine angle, the Fig-tree angle, and the Judgment angle; and at these we have, according to the arrangement just explained,—
First, Three great bearing capitals (lower arcade).
Secondly, Three figure subjects of sculpture above them (lower arcade).
Thirdly, Three smaller bearing capitals (upper arcade).
Fourthly, Three angels above them (upper arcade).
Fifthly, Three spiral, shafts with niches.