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

by John Ruskin

Fig. XXXI.

§ XXXIII. Another most important example exists in the lower story of the Casa Sagredo, on the Grand Canal, remarkable as having the early upright form (3 b, [Plate XIV.]) with a somewhat late moulding. Many others occur in the fragmentary ruins in the streets: but the two boldest conditions which I found in Venice are those of the Chapter-House of the Frari, in which the Doge Francesco Dandolo was buried circa 1339; and those of the flank of the Ducal Palace itself absolutely corresponding with those of the Frari, and therefore of inestimable value in determining the date of the palace. Of these more hereafter.

XVI.

WINDOWS OF THE FOURTH ORDER.

Fig. XXXII.

§ XXXIV. Contemporarily with these windows of the second and third orders, those of the fourth (4 a and 4 b, in [Plate XIV.]) occur, at first in pairs, and with simple mouldings, precisely similar to those of the second order, but much more rare, as in the example at the side, [Fig. XXXII.], from the Salizada San Liò; and then, enriching their mouldings as shown in the continuous series 4 c, 4 d, of [Plate XIV.], associate themselves with the fifth order windows of the perfect Gothic period. There is hardly a palace in Venice without some example, either early or late, of these fourth order windows; but the Plate opposite ([XVI.]) represents one of their purest groups at the close of the thirteenth century, from a house on the Grand Canal, nearly opposite the Church of the Scalzi. I have drawn it from the side, in order that the great depth of the arches may be seen, and the clear detaching of the shafts from the sheets of glass behind. The latter, as well as the balcony, are comparatively modern; but there is no doubt that if glass were used in the old window, it was set behind the shafts, at the same depth. The entire modification of the interiors of all the Venetian houses by recent work has however prevented me from entering into any inquiry as to the manner in which the ancient glazing was attached to the interiors of the windows.

The fourth order window is found in great richness and beauty at Verona, down to the latest Gothic times, as well as in the earliest, being then more frequent than any other form. It occurs, on a grand scale, in the old palace of the Scaligers, and profusely throughout the streets of the city. The series 4 a to 4 e, [Plate XIV.], shows its most ordinary conditions and changes of arch-line: 4 a and 4 b are the early Venetian forms; 4 c, later, is general at Venice; 4 d, the best and most piquant condition, owing to its fantastic and bold projection of cusp, is common to Venice and Verona; 4 e is early Veronese.

§ XXXV. The reader will see at once, in descending to the fifth row in [Plate XIV.], representing the windows of the fifth order, that they are nothing more than a combination of the third and fourth. By this union they become the nearest approximation to a perfect Gothic form which occurs characteristically at Venice; and we shall therefore pause on the threshold of this final change, to glance back upon, and gather together, those fragments of purer pointed architecture which were above noticed as the forlorn hopes of the Gothic assault.

Fig. XXXIII.	Fig. XXXIV.

The little Campiello San Rocco is entered by a sotto-portico behind the church of the Frari. Looking back, the upper traceries of the magnificent apse are seen towering above the irregular roofs and chimneys of the little square; and our lost Prout was enabled to bring the whole subject into an exquisitely picturesque composition, by the fortunate occurrence of four quaint trefoiled windows in one of the houses on the right. Those trefoils are among the most ancient efforts of Gothic art in Venice. I have given a rude sketch of them in [Fig. XXXIII.] They are built entirely of brick, except the central shaft and capital, which are of Istrian stone. Their structure is the simplest possible; the trefoils being cut out of the radiating bricks which form the pointed arch, and the edge or upper limit of that pointed arch indicated by a roll moulding formed of cast bricks, in length of about a foot, and ground at the bottom so as to meet in one, as in [Fig. XXXIV.] The capital of the shaft is one of the earliest transitional forms;[89] and observe the curious following out, even in this minor instance, of the great law of centralization above explained with respect to the Byzantine palaces. There is a central shaft, a pilaster on each side, and then the wall. The pilaster has, by way of capital, a square flat brick, projecting a little, and cast, at the edge, into the form of the first type of all cornices (a, [p. 63], Vol. I.; the reader ought to glance back at this passage, if he has forgotten it); and the shafts and pilasters all stand, without any added bases, on a projecting plinth of the same simple profile. These windows have been much defaced; but I have not the least doubt that their plinths are the original ones: and the whole group is one of the most valuable in Venice, as showing the way in which the humblest houses, in the noble times, followed out the system of the larger palaces, as far as they could, in their rude materials. It is not often that the dwellings of the lower orders are preserved to us from the thirteenth century.

XVII.

WINDOWS OF THE EARLY GOTHIC PALACES.