The Stones of Venice, Volume 3 (of 3)

by John Ruskin

Fig. 13. One of the bearing capitals, already drawn on a small scale in the windows represented in [Plate XVI.] Vol. II.

Now, observe. The capital of the form of fig. 10 appeared sufficient to the Venetians for all ordinary purposes; and they used it in common windows to the latest Gothic periods, but yet with certain differences which at once show the lateness of the work. In the first place, the rose, which at first was flat and quatrefoiled, becomes, after some experiments, a round ball dividing into three leaves, closely resembling our English ball flower, and probably derived from it; and, in other cases, forming a bold projecting bud in various degrees of contraction or expansion. In the second place, the extremities of the angle leaves are wrought into rich flowing lobes, and bent back so as to lap against their own breasts; showing lateness of date in exact proportion to the looseness of curvature. [Fig. 3] represents the general aspect of these later capitals, which may be conveniently called the rose capitals of Venice; two are seen on service, in [Plate VIII.] Vol. I., showing comparatively early date by the experimental form of the six-foiled rose. But for elaborate edifices this form was not sufficiently rich; and there was felt to be something awkward in the junction of the leaves at the bottom. Therefore, four other shorter leaves were added at the sides, as in fig. 13, [Plate II.], and as generally represented in [Plate X.] Vol. II. fig. 1. This was a good and noble step, taken very early in the thirteenth century; and all the best Venetian capitals were thenceforth of this form. Those which followed, and rested in the common rose type, were languid and unfortunate: I do not know a single good example of them after the first half of the thirteenth century.

But the form reached in fig. 13 was quickly felt to be of great value and power. One would have thought it might have been taken straight from the Corinthian type; but it is clearly the work of men who were making experiments for themselves. For instance, in the central capital of Fig. XXXI. Vol. II., there is a trial condition of it, with the intermediate leaf set behind those at the angles (the reader had better take a magnifying glass to this woodcut; it will show the character of the capitals better). Two other experimental forms occur in the Casa Cicogna (Vol. II.), and supply one of the evidences which fix the date of that palace. But the form soon was determined as in fig. 13, and then means were sought of recommending it by farther decoration.

The leaves which are used in fig. 13, it will be observed, have lost the Corinthian volute, and are now pure and plain leaves, such as were used in the Lombardic Gothic of the early thirteenth century all over Italy. Now in a round-arched gateway at Verona, certainly not later than 1300; the pointed leaves of this pure form are used in one portion of the mouldings, and in another are enriched by having their surfaces carved each into a beautiful ribbed and pointed leaf. The capital, fig. 6, [Plate II.], is nothing more than fig. 13 so enriched; and the two conditions are quite contemporary, fig. 13 being from a beautiful series of fourth order windows in Campo Sta. M^{a.} Mater Domini, already drawn in my folio work.

Fig. 13 is representative of the richest conditions of Gothic capital which existed at the close of the thirteenth century. The builder of the Ducal Palace amplified them into the form of fig. 9, but varying the leafage in disposition and division of lobes in every capital; and the workmen trained under him executed many noble capitals for the Gothic palaces of the early fourteenth century, of which fig. 12, from a palace in the Campo St. Polo, is one of the most beautiful examples. In figs. 9 and 12 the reader sees the Venetian Gothic capital in its noblest developement. The next step was to such forms as fig. 15, which is generally characteristic of the late fourteenth and early fifteenth century Gothic, and of which I hope the reader will at once perceive the exaggeration and corruption.

This capital is from a palace near the Miracoli, and it is remarkable for the delicate, though corrupt, ornament on its abacus, which is precisely the same as that on the pillars of the screen of St. Mark’s. That screen is a monument of very great value, for it shows the entire corruption of the Gothic power, and the style of the later palaces accurately and completely defined in all its parts, and is dated 1380; thus at once furnishing us with a limiting date, which throws all the noble work of the early Ducal Palace, and all that is like it in Venice, thoroughly back into the middle of the fourteenth century at the latest.

[Fig. 2] is the simplest condition of the capital universally employed in the windows of the second order, noticed above, Vol. II., as belonging to a style of great importance in the transitional architecture of Venice. Observe, that in all the capitals given in the lateral columns in [Plate II.], the points of the leaves turn over. But in this central group they lie flat against the angle of the capital, and form a peculiarly light and lovely succession of forms, occurring only in their purity in the windows of the second order, and in some important monuments connected with them.

In fig. 2 the leaf at the angle is cut, exactly in the manner of an Egyptian bas-relief, into the stone, with a raised edge round it, and a raised rib up the centre; and this mode of execution, seen also in figs. 4 and 7, is one of the collateral evidences of early date. But in figs. 5 and 8, where more elaborate effect was required, the leaf is thrown out boldly with an even edge from the surface of the capital, and enriched on its own surface: and as the treatment of fig. 2 corresponds with that of fig. 4, so that of fig. 5 corresponds with that of fig. 6; 2 and 5 having the upright leaf, 4 and 6 the bending leaves; but all contemporary.

Fig. 5 is the central capital of the windows of Casa Falier, drawn in [Plate XV.] Vol. II.; and one of the leaves set on its angles is drawn larger at fig. 7, [Plate XX.] Vol. II. It has no rib, but a sharp raised ridge down its centre; and its lobes, of which the reader will observe the curious form,—round in the middle one, truncated in the sides,—are wrought with a precision and care which I have hardly ever seen equalled: but of this more presently.

The next figure (8, [Plate II.]) is the most important capital of the whole transitional period, that employed on the two columns of the Piazzetta. These pillars are said to have been raised in the close of the twelfth century, but I cannot find even the most meagre account of their bases, capitals, or, which seems to me most wonderful, of that noble winged lion, one of the grandest things produced by mediæval art, which all men admire, and none can draw. I have never yet seen a faithful representation of his firm, fierce, and fiery strength. I believe that both he and the capital which bears him are late thirteenth century work. I have not been up to the lion, and cannot answer for it; but if it be not thirteenth century work, it is as good; and respecting the capitals, there can be small question. They are of exactly the date of the oldest tombs, bearing crosses, outside of St. John and Paul; and are associated with all the other work of the transitional period, from 1250 to 1300 (the bases of these pillars, representing the trades of Venice, ought, by the by, to have been mentioned as among the best early efforts of Venetian grotesque); and, besides, their abaci are formed by four reduplications of the dentilled mouldings of St. Mark’s, which never occur after the year 1300.