| Fig. XXIX. |
§ XXX. But the second order window soon attained nobler developement. At once simple, graceful, and strong, it was received into all the architecture of the period, and there is hardly a street in Venice which does not exhibit some important remains of palaces built with this form of window in many stories, and in numerous groups. The most extensive and perfect is one upon the Grand Canal in the parish of the Apostoli, near the Rialto, covered with rich decoration, in the Byzantine manner, between the windows of its first story; but not completely characteristic of the transitional period, because still retaining the dentil in the arch mouldings, while the transitional houses all have the simple roll. Of the fully established type, one of the most extensive and perfect examples is in a court in the Calle di Rimedio, close to the Ponte dell’ Angelo, near St. Mark’s Place. Another looks out upon a small square garden, one of the few visible in the centre of Venice, close by the Corte Salviati (the latter being known to every cicerone as that from which Bianca Capello fled). But, on the whole, the most interesting to the traveller is that of which I have given a vignette opposite.
But for this range of windows, the little piazza SS. Apostoli would be one of the least picturesque in Venice; to those, however, who seek it on foot, it becomes geographically interesting from the extraordinary involution of the alleys leading to it from the Rialto. In Venice, the straight road is usually by water, and the long road by land; but the difference of distance appears, in this case, altogether inexplicable. Twenty or thirty strokes of the oar will bring a gondola from the foot of the Rialto to that of the Ponte SS. Apostoli; but the unwise pedestrian, who has not noticed the white clue beneath his feet,[87] may think himself fortunate, if, after a quarter of an hour’s wandering among the houses behind the Fondaco de’ Tedeschi, he finds himself anywhere in the neighborhood of the point he seeks. With much patience, however, and modest following of the guidance of the marble thread, he will at last emerge over a steep bridge into the open space of the Piazza, rendered cheerful in autumn by a perpetual market of pomegranates, and purple gourds, like enormous black figs; while the canal, at its extremity, is half-blocked up by barges laden with vast baskets of grapes as black as charcoal, thatched over with their own leaves.
Looking back, on the other side of this canal, he will see the windows represented in [Plate XV.], which, with the arcade of pointed arches beneath them, are the remains of the palace once belonging to the unhappy doge, Marino Faliero.
The balcony is, of course, modern, and the series of windows has been of greater extent, once terminated by a pilaster on the left hand, as well as on the right; but the terminal arches have been walled up. What remains, however, is enough, with its sculptured birds and dragons, to give the reader a very distinct idea of the second order window in its perfect form. The details of the capitals, and other minor portions, if these interest him, he will find given in the final Appendix.
| XV. |
| WINDOWS OF THE SECOND ORDER. CASA FALIER. |
§ XXXI. The advance of the Gothic spirit was, for a few years, checked by this compromise between the round and pointed arch. The truce, however, was at last broken, in consequence of the discovery that the keystone would do duty quite as well in the form b as in the form a, [Fig. XXX.], and the substitution of b, at the head of the arch, gives us the window of the third order, 3 b, 3 d, and 3 e, in [Plate XIV.] The forms 3 a and 3 c are exceptional; the first occurring, as we have seen, in the Corte del Remer, and in one other palace on the Grand Canal, close to the Church of St. Eustachio; the second only, as far as I know, in one house on the Canna-Reggio, belonging to the true Gothic period. The other three examples, 3 b, 3 d, 3 e, are generally characteristic of the third order; and it will be observed that they differ not merely in mouldings, but in slope of sides, and this latter difference is by far the most material. For in the example 3 b there is hardly any true Gothic expression; it is still the pure Byzantine arch, with a point thrust up through it: but the moment the flanks slope, as in 3 d, the Gothic expression is definite, and the entire school of the architecture is changed.
| Fig. XXX. |
This slope of the flanks occurs, first, in so slight a degree as to be hardly perceptible, and gradually increases until, reaching the form 3 e at the close of the thirteenth century, the window is perfectly prepared for a transition into the fifth order.
§ XXXII. The most perfect examples of the third order in Venice are the windows of the ruined palace of Marco Querini, the father-in-law of Bajamonte Tiepolo, in consequence of whose conspiracy against the government this palace was ordered to be razed in 1310; but it was only partially ruined, and was afterwards used as the common shambles. The Venetians have now made a poultry market of the lower story (the shambles being removed to a suburb), and a prison of the upper, though it is one of the most important and interesting monuments in the city, and especially valuable as giving us a secure date for the central form of these very rare transitional windows. For, as it was the palace of the father-in-law of Bajamonte, and the latter was old enough to assume the leadership of a political faction in 1280,[88] the date of the accession to the throne of the Doge Pietro Gradenigo, we are secure of this palace having been built not later than the middle of the thirteenth century. Another example, less refined in workmanship, but, if possible, still more interesting, owing to the variety of its capitals, remains in the little piazza opening to the Rialto, on the St. Mark’s side of the Grand Canal. The house faces the bridge, and its second story has been built in the thirteenth century, above a still earlier Byzantine cornice remaining, or perhaps introduced from some other ruined edifice, in the walls of the first floor. The windows of the second story are of pure third order; four of them are represented above, with their flanking pilaster, and capitals varying constantly in the form of the flower or leaf introduced between their volutes.