The Stones of Venice, Volume 2 (of 3),

by John Ruskin

Fig. VII.

§ XIII. I must not, however, weary the reader with this subject, which has always been a favorite one with me, and is apt to lead too far; we will return to the palaces on the Grand Canal. Admitting, then, that their fragments are proved, by the minute correspondences of their arrangement, to be still in their original positions, they indicate to us a form, whether of palace or dwelling-house, in which there were, universally, central galleries, or loggias, opening into apartments on each wing, the amount of light admitted being immense; and the general proportions of the building, slender, light, and graceful in the utmost degree, it being in fact little more than an aggregate of shafts and arches. Of the interior disposition of these palaces there is in no instance the slightest trace left, nor am I well enough acquainted with the existing architecture of the East to risk any conjecture on this subject. I pursue the statement of the facts which still are ascertainable respecting their external forms.

§ XIV. In every one of the buildings above mentioned, except the Rio-Foscari House (which has only one great entrance between its wings), the central arcades are sustained, at least in one story, and generally in both, on bold detached cylindrical shafts, with rich capitals, while the arches of the wings are carried on smaller shafts assisted by portions of wall, which become pilasters of greater or less width.

And now I must remind the reader of what was pointed out above (Vol. I. [Chap. XXVII]. §§ III. XXXV. XL.), that there are two great orders of capitals in the world; that one of these is convex in its contour, the other concave; and that richness of ornament, with all freedom of fancy, is for the most part found in the one, and severity of ornament, with stern discipline of the fancy, in the other.

Of these two families of capitals both occur in the Byzantine period, but the concave group is the longest-lived, and extends itself into the Gothic times. In the account which I gave of them in the first volume, they were illustrated by giving two portions of a simple curve, that of a salvia leaf. We must now investigate their characters more in detail; and these may be best generally represented by considering both families as formed upon the types of flowers,—the one upon that of the water-lily, the other upon that of the convolvulus. There was no intention in the Byzantine architects to imitate either one or the other of these flowers; but, as I have already so often repeated, all beautiful works of art must either intentionally imitate or accidentally resemble natural forms; and the direct comparison with the natural forms which these capitals most resemble, is the likeliest mode of fixing their distinctions in the reader’s mind.

The one then, the convex family, is modelled according to the commonest shapes of that great group of flowers which form rounded cups, like that of the water-lily, the leaves springing horizontally from the stalk, and closing together upwards. The rose is of this family, but her cup is filled with the luxuriance of her leaves; the crocus, campanula, ranunculus, anemone, and almost all the loveliest children of the field, are formed upon the same type.

The other family resembles the convolvulus, trumpet-flower, and such others, in which the lower part of the bell is slender, and the lip curves outwards at the top. There are fewer flowers constructed on this than on the convex model; but in the organization of trees and of clusters of herbage it is seen continually. Of course, both of these conditions are modified, when applied to capitals, by the enormously greater thickness of the stalk or shaft, but in other respects the parallelism is close and accurate; and the reader had better at once fix the flower outlines in his mind,[47] and remember them as representing the only two orders of capitals that the world has ever seen, or can see.

§ XV. The examples of the concave family in the Byzantine times are found principally either in large capitals founded on the Greek Corinthian, used chiefly for the nave pillars of churches, or in the small lateral shafts of the palaces. It appears somewhat singular that the pure Corinthian form should have been reserved almost exclusively for nave pillars, as at Torcello, Murano, and St. Mark’s; it occurs, indeed, together with almost every other form, on the exterior of St. Mark’s also, but never so definitely as in the nave and transept shafts. Of the conditions assumed by it at Torcello enough has been said; and one of the most delicate of the varieties occurring in St. Mark’s is given in [Plate VIII.], fig. 15, remarkable for the cutting of the sharp thistle-like leaves into open relief, so that the light sometimes shines through them from behind, and for the beautiful curling of the extremities of the leaves outwards, joining each other at the top, as in an undivided flower.

§ XVI. The other characteristic examples of the concave groups in the Byzantine times are as simple as those resulting from the Corinthian are rich. They occur on the small shafts at the flanks of the Fondaco de’ Turchi, the Casa Farsetti, Casa Loredan, Terraced House, and upper story of the Madonnetta House, in forms so exactly similar that the two figures 1 and 2 in [Plate VIII.] may sufficiently represent them all. They consist merely of portions cut out of the plinths or string-courses which run along all the faces of these palaces, by four truncations in the form of arrowy leaves (fig. 1, Fondaco de’ Turchi), and the whole rounded a little at the bottom so as to fit the shaft. When they occur between two arches they assume the form of the group fig. 2 (Terraced House). Fig. 3 is from the central arches of the Casa Farsetti, and is only given because either it is a later restoration or a form absolutely unique in the Byzantine period.

VII.

BYZANTINE CAPITALS. CONVEX GROUP.