“On this plinth, thus carefully studied in relations of magnitude, the shafts are set at the angles, as close to each other as possible, as seen in the ground-plan. These shafts are founded on pure Roman tradition; their bases have no spurs, and the shaft itself is tapered in a bold curve, according to the classical model. But, in the adjustment of the bases to each other, we have a most curious instance of the first beginning of the Gothic principle of aggregation of shafts. They have a singularly archaic and simple profile, composed of a single cavetto and roll, which are circular, on a square plinth. Now when these bases are brought close to each other at the angles of the apse, their natural position would be as in fig. 3, [Plate I.], leaving an awkward fissure between the two square plinths. This offended the architect’s eye; so he cut part of each of the bases away, and fitted them close to each other, as in fig. 5, [Plate I.], which is their actual position. As before this piece of rough harmonization the circular mouldings reached the sides of the squares, they were necessarily cut partly away in the course of the adjustment, and run into each other as in the figure, so as to give us one of the first Venetian instances of the continuous Gothic base.
“The shafts measure on the average 2 ft. 8½ in. in circumference, at the base, tapering so much that under the lowest fillet of their necks they measure only 2 feet round, though their height is only 5 ft. 6 in., losing thus eight inches of girth in five feet and a half of height. They are delicately curved all the way up; and are 2½ in. apart from each other where they are nearest, and about 5 in. at the necks of their capitals.”
Sansovino’s account of the changes in the dress of the Venetians is brief, masterly, and full of interest; one or two passages are deserving of careful notice, especially the introductory sentence. “For the Venetians from their first origin, having made it their aim to be peaceful and religious, and to keep on an equality with one another, that equality might induce stability and concord (as disparity produces confusion and ruin), made their dress a matter of conscience, ...; and our ancestors, observant lovers of religion, upon which all their acts were founded, and desiring that their young men should direct themselves to virtue, the true soul of all human action, and above all to peace, invented a dress conformable to their gravity, such, that in clothing themselves with it, they might clothe themselves also with modesty and honor. And because their mind was bent upon giving no offence to any one, and living quietly as far as might be permitted them, it seemed good to them to show to every one, even by external signs, this their endeavor, by wearing a long dress, which was in no wise convenient for persons of a quick temperament, or of eager and fierce spirits.”
Respecting the color of the women’s dress, it is noticeable that blue is called “Venetian color” by Cassiodorus, translated “turchino” by Filiasi, vol. v. chap. iv. It was a very pale blue, as the place in which the word occurs is the description by Cassiodorus of the darkness which came over the sun’s disk at the time of the Belisarian wars and desolation of the Gothic kingdom.
There are two other inscriptions on the border of the concha; but these, being written on the soffit of the face arch, which, as before noticed, is supported by the last two shafts of the chancel, could not be read by the congregation, and only with difficulty by those immediately underneath them. One of them is in black, the other in red letters. The first:
| “Mutat quod sumsit, quod sollat crimina tandit Et quod sumpsit, vultus vestisq. refulsit.” |