And now observe the dimensions. The small arches of the wings in the ground story, a, a, a, measure, in breadth, from
| Ft. | In. | |
| shaft to shaft | 4 | 5 |
| interval b | 7 | 6½ |
| interval c | 7 | 11 |
| intervals d, e, f, &c. | 8 | 1 |
The difference between the width of the arches b and c is necessitated by the small recess of the cornice on the left hand as compared with that of the great capitals; but this sudden difference of half a foot between the two extreme arches of the centre offended the builder’s eye, so he diminished the next one, unnecessarily, two inches, and thus obtained the gradual cadence to the flanks, from eight feet down to four and a half, in a series of continually increasing steps. Of course the effect cannot be shown in the diagram, as the first difference is less than the thickness of its lines. In the upper story the capitals are all nearly of the same height, and there was no occasion for the difference between the extreme arches. Its twenty-six arches are placed, four small ones above each lateral three of the lower arcade, and eighteen larger above the central ten; thus throwing the shafts into all manner of relative positions, and completely confusing the eye in any effort to count them: but there is an exquisite symmetry running through their apparent confusion; for it will be seen that the four arches in each flank are arranged in two groups, of which one has a large single shaft in the centre, and the other a pilaster and two small shafts. The way in which the large shaft is used as an echo of those in the central arcade, dovetailing them, as it were, into the system of the pilasters,—just as a great painter, passing from one tone of color to another, repeats, over a small space, that which he has left,—is highly characteristic of the Byzantine care in composition. There are other evidences of it in the arrangement of the capitals, which will be noticed below in the seventh chapter. The lateral arches of this upper arcade measure 3 ft. 2 in. across, and the central 3 ft. 11 in., so that the arches in the building are altogether of six magnitudes.
§ VII. Next let us take the Casa Loredan. The mode of arrangement of its pillars is precisely like that of the Fondaco de’ Turchi, so that I shall merely indicate them by vertical lines in order to be able to letter the intervals. It has five arches in the centre of the lower story, and two in each of its wings.
| Ft. | In. | |
| The midmost interval, a, of the central five, is | 6 | 1 |
| The two on each side, b, b | 5 | 2 |
| The two extremes, c, c | 4 | 9 |
| Inner arches of the wings, d, d | 4 | 4 |
| Outer arches of the wings, e, e | 4 | 6 |
The gradation of these dimensions is visible at a glance; the boldest step being here taken nearest the centre, while in the Fondaco it is farthest from the centre. The first loss here is of eleven inches, the second of five, the third of five, and then there is a most subtle increase of two inches in the extreme arches, as if to contradict the principle of diminution, and stop the falling away of the building by firm resistance at its flanks.
I could not get the measures of the upper story accurately, the palace having been closed all the time I was in Venice; but it has seven central arches above the five below, and three at the flanks above the two below, the groups being separated by double shafts.
§ VIII. Again, in the Casa Farsetti, the lower story has a centre of five arches, and wings of two. Referring, therefore, to the last figure, which will answer for this palace also, the measures of the intervals are:
| Ft. | In. | |
| a | 8 | 0 |
| b | 5 | 10 |
| c | 5 | 4 |
| d and e | 5 | 3 |