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+The Project Gutenberg eBook of The Stones of Venice, Volume III (of 3), by John Ruskin
+
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online at
+www.gutenberg.org. If you are not located in the United States, you
+will have to check the laws of the country where you are located before
+using this eBook.
+
+Title: The Stones of Venice, Volume III (of 3)
+
+Author: John Ruskin
+
+Release Date: December 31, 2009 [eBook #30756]
+[Most recently updated: March 15, 2023]
+
+Language: English
+
+Produced by: Marius Masi, Juliet Sutherland, and the Project Gutenberg Online Distributed Proofreading Team
+
+*** START OF THE PROJECT GUTENBERG EBOOK THE STONES OF VENICE, VOLUME III (OF 3) ***
+
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations and also
+      the index for all three volumes of the set with links
+      to the other two volumes.
+      See 30756-h.htm or 30756-h.zip:
+      (https://www.gutenberg.org/files/30756/30756-h/30756-h.htm)
+      or
+      (https://www.gutenberg.org/files/30756/30756-h.zip)
+
+      Volumes I and II are available in the Project Gutenberg
+      Library:
+      Volume I--see https://www.gutenberg.org/etext/30754
+      Volume II--see https://www.gutenberg.org/etext/30755
+
+
+Transcriber's note:
+
+      A few typographical errors have been corrected. They are
+      listed at the end of the text.
+
+      Characters following a caret were printed as superscript
+      in the original. For example, "M^a,"; here the "a." is a
+      superscript.
+
+
+
+
+
+The Complete Works of John Ruskin
+
+Volume IX
+
+STONES OF VENICE
+
+VOLUME III
+
+
+[Illustration:
+     THE BRIDGE OF SIGHS
+     FROM A PHOTOGRAPH]
+
+
+Library Edition
+
+The Complete Works of John Ruskin
+
+STONES OF VENICE
+
+VOLUME III
+
+Giotto
+Lectures on Architecture
+Harbours of England
+A Joy Forever
+
+
+
+
+
+
+
+National Library Association
+New York             Chicago
+
+
+
+
+THE
+STONES OF VENICE
+
+VOLUME III.
+
+THE FALL
+
+
+
+
+CONTENTS.
+
+
+  THIRD, OR RENAISSANCE, PERIOD.
+
+                          CHAPTER I.
+                                                      PAGE
+    Early Renaissance,                                   1
+
+                         CHAPTER II.
+    Roman Renaissance,                                  32
+
+                         CHAPTER III.
+    Grotesque Renaissance,                             112
+
+                         CHAPTER IV.
+    Conclusion,                                        166
+
+
+  APPENDIX.
+
+     1. Architect of the Ducal Palace,                 199
+     2. Theology of Spenser,                           205
+     3. Austrian Government in Italy,                  209
+     4. Date of the Palaces of the Byzantine
+          Renaissance,                                 211
+     5. Renaissance Side of Ducal Palace,              212
+     6. Character of the Doge Michele Morosini,        213
+     7. Modern Education,                              214
+     8. Early Venetian Marriages,                      222
+     9. Character of the Venetian Aristocracy,         223
+    10. Final Appendix,                                224
+
+
+  INDICES.
+
+     I. Personal Index,                                263
+    II. Local Index,                                   268
+   III. Topical Index,                                 271
+    IV. Venetian Index,                                287
+
+
+
+
+LIST OF PLATES.
+
+                                                    Facing Page
+
+ PLATE 1. Temperance and Intemperance in Ornament,            6
+   "   2. Gothic Capitals,                                    8
+   "   3. Noble and Ignoble Grotesque,                      125
+   "   4. Mosaic of Olive Tree and Flowers,                 179
+   "   5. Byzantine Bases,                                  225
+   "   6. Byzantine Jambs,                                  229
+   "   7. Gothic Jambs,                                     230
+   "   8. Byzantine Archivolts,                             244
+   "   9. Gothic Archivolts,                                245
+   "  10. Cornices,                                         248
+   "  11. Tracery Bars,                                     252
+   "  12. Capitals of Fondaco de Turchi,                    304
+
+
+
+
+THE
+
+STONES OF VENICE.
+
+THIRD, OR RENAISSANCE, PERIOD.
+
+
+
+
+CHAPTER I.
+
+EARLY RENAISSANCE.
+
+
+§ I. I trust that the reader has been enabled, by the preceding
+chapters, to form some conception of the magnificence of the streets of
+Venice during the course of the thirteenth and fourteenth centuries. Yet
+by all this magnificence she was not supremely distinguished above the
+other cities of the middle ages. Her early edifices have been preserved
+to our times by the circuit of her waves; while continual recurrences of
+ruin have defaced the glory of her sister cities. But such fragments as
+are still left in their lonely squares, and in the corners of their
+streets, so far from being inferior to the buildings of Venice, are even
+more rich, more finished, more admirable in invention, more exuberant in
+beauty. And although, in the North of Europe, civilization was less
+advanced, and the knowledge of the arts was more confined to the
+ecclesiastical orders, so that, for domestic architecture, the period of
+perfection must be there placed much later than in Italy, and considered
+as extending to the middle of the fifteenth century; yet, as each city
+reached a certain point in civilization, its streets became decorated
+with the same magnificence, varied only in style according to the
+materials at hand, and temper of the people. And I am not aware of any
+town of wealth and importance in the middle ages, in which some proof
+does not exist, that, at its period of greatest energy and prosperity,
+its streets were inwrought with rich sculpture, and even (though in
+this, as before noticed, Venice always stood supreme) glowing with color
+and with gold. Now, therefore, let the reader,--forming for himself as
+vivid and real a conception as he is able, either of a group of Venetian
+palaces in the fourteenth century, or, if he likes better, of one of the
+more fantastic but even richer street scenes of Rouen, Antwerp, Cologne,
+or Nuremberg, and keeping this gorgeous image before him,--go out into
+any thoroughfare, representative, in a general and characteristic way,
+of the feeling for domestic architecture in modern times; let him, for
+instance, if in London, walk once up and down Harley Street, or Baker
+Street, or Gower Street; and then, looking upon this picture and on
+this, set himself to consider (for this is to be the subject of our
+following and final inquiry) what have been the causes which have
+induced so vast a change in the European mind.
+
+§ II. Renaissance architecture is the school which has conducted men's
+inventive and constructive faculties from the Grand Canal to Gower
+Street; from the marble shaft, and the lancet arch, and the wreathed
+leafage, and the glowing and melting harmony of gold and azure, to the
+square cavity in the brick wall. We have now to consider the causes and
+the steps of this change; and, as we endeavored above to investigate the
+nature of Gothic, here to investigate also the nature of Renaissance.
+
+§ III. Although Renaissance architecture assumes very different forms
+among different nations, it may be conveniently referred to three
+heads:--Early Renaissance, consisting of the first corruptions
+introduced into the Gothic schools: Central or Roman Renaissance, which
+is the perfectly formed style: and Grotesque Renaissance, which is the
+corruption of the Renaissance itself.
+
+§ IV. Now, in order to do full justice to the adverse cause, we will
+consider the abstract _nature_ of the school with reference only to its
+best or central examples. The forms of building which must be classed
+generally under the term _early_ Renaissance are, in many cases, only
+the extravagances and corruptions of the languid Gothic, for whose
+errors the classical principle is in no wise answerable. It was stated
+in the second chapter of the "Seven Lamps," that, unless luxury had
+enervated and subtlety falsified the Gothic forms, Roman traditions
+could not have prevailed against them; and, although these enervated and
+false conditions are almost instantly colored by the classical
+influence, it would be utterly unfair to lay to the charge of that
+influence the first debasement of the earlier schools, which had lost
+the strength of their system before they could be struck by the plague.
+
+§ V. The manner, however, of the debasement of all schools of art, so
+far as it is natural, is in all ages the same; luxuriance of ornament,
+refinement of execution, and idle subtleties of fancy, taking the place
+of true thought and firm handling: and I do not intend to delay the
+reader long by the Gothic sick-bed, for our task is not so much to watch
+the wasting of fever in the features of the expiring king, as to trace
+the character of that Hazael who dipped the cloth in water, and laid it
+upon his face, Nevertheless, it is necessary to the completeness of our
+view of the architecture of Venice, as well as to our understanding of
+the manner in which the Central Renaissance obtained its universal
+dominion, that we glance briefly at the principal forms into which
+Venetian Gothic first declined. They are two in number: one the
+corruption of the Gothic itself; the other a partial return to Byzantine
+forms; for the Venetian mind having carried the Gothic to a point at
+which it was dissatisfied, tried to retrace its steps, fell back first
+upon Byzantine types, and through them passed to the first Roman. But in
+thus retracing its steps, it does not recover its own lost energy. It
+revisits the places through which it had passed in the morning light,
+but it is now with wearied limbs, and under the gloomy shadows of
+evening.
+
+§ VI. It has just been said that the two principal causes of natural
+decline in any school, are over-luxuriance and over-refinement. The
+corrupt Gothic of Venice furnishes us with a curious instance of the
+one, and the corrupt Byzantine of the other. We shall examine them in
+succession.
+
+Now, observe, first, I do not mean by _luxuriance_ of ornament,
+_quantity_ of ornament. In the best Gothic in the world there is hardly
+an inch of stone left unsculptured. But I mean that character of
+extravagance in the ornament itself which shows that it was addressed to
+jaded faculties; a violence and coarseness in curvature, a depth of
+shadow, a lusciousness in arrangement of line, evidently arising out of
+an incapability of feeling the true beauty of chaste form and restrained
+power. I do not know any character of design which may be more easily
+recognized at a glance than this over-lusciousness; and yet it seems to
+me that at the present day there is nothing so little understood as the
+essential difference between chasteness and extravagance, whether in
+color, shade, or lines. We speak loosely and inaccurately of
+"overcharged" ornament, with an obscure feeling that there is indeed
+something in visible Form which is correspondent to Intemperance in
+moral habits; but without any distinct detection of the character which
+offends us, far less with any understanding of the most important lesson
+which there can be no doubt was intended to be conveyed by the
+universality of this ornamental law.
+
+§ VII. In a word, then, the safeguard of highest beauty, in all visible
+work, is exactly that which is also the safeguard of conduct in the
+soul,--Temperance, in the broadest sense; the Temperance which we have
+seen sitting on an equal throne with Justice amidst the Four Cardinal
+Virtues, and, wanting which, there is not any other virtue which may not
+lead us into desperate error. Now, observe: Temperance, in the nobler
+sense, does not mean a subdued and imperfect energy; it does not mean a
+stopping short in any good thing, as in Love or in Faith; but it means
+the power which governs the most intense energy, and prevents its acting
+in any way but as it ought. And with respect to things in which there
+may be excess, it does not mean imperfect enjoyment of them; but the
+regulation of their quantity, so that the enjoyment of them shall be
+greatest. For instance, in the matter we have at present in hand,
+temperance in color does not mean imperfect or dull enjoyment of color;
+but it means that government of color which shall bring the utmost
+possible enjoyment out of all hues. A bad colorist does not _love_
+beautiful color better than the best colorist does, nor half so much.
+But he indulges in it to excess; he uses it in large masses, and
+unsubdued; and then it is a law of Nature, a law as universal as that of
+gravitation, that he shall not be able to enjoy it so much as if he had
+used it in less quantity. His eye is jaded and satiated, and the blue
+and red have life in them no more. He tries to paint them bluer and
+redder, in vain: all the blue has become grey, and gets greyer the more
+he adds to it; all his crimson has become brown, and gets more sere and
+autumnal the more he deepens it. But the great painter is sternly
+temperate in his work; he loves the vivid color with all his heart; but
+for a long time he does not allow himself anything like it, nothing but
+sober browns and dull greys, and colors that have no conceivable beauty
+in them; but these by his government become lovely: and after bringing
+out of them all the life and power they possess, and enjoying them to
+the uttermost,--cautiously, and as the crown of the work, and the
+consummation of its music, he permits the momentary crimson and azure,
+and the whole canvas is in a flame.
+
+§ VIII. Again, in curvature, which is the cause of loveliness in all
+form; the bad designer does not enjoy it more than the great designer,
+but he indulges in it till his eye is satiated, and he cannot obtain
+enough of it to touch his jaded feeling for grace. But the great and
+temperate designer does not allow himself any violent curves; he works
+much with lines in which the curvature, though always existing, is long
+before it is perceived. He dwells on all these subdued curvatures to the
+uttermost, and opposes them with still severer lines to bring them out
+in fuller sweetness; and, at last, he allows himself a momentary curve
+of energy, and all the work is, in an instant, full of life and grace.
+
+The curves drawn in Plate VII. of the first volume, were chosen entirely
+to show this character of dignity and restraint, as it appears in the
+lines of nature, together with the perpetual changefulness of the
+degrees of curvature in one and the same line; but although the purpose
+of that plate was carefully explained in the chapter which it
+illustrates, as well as in the passages of "Modern Painters" therein
+referred to (vol. ii. pp. 43, 79), so little are we now in the habit of
+considering the character of abstract lines, that it was thought by many
+persons that this plate only illustrated Hogarth's reversed line of
+beauty, even although the curve of the salvia leaf, which was the one
+taken from that plate for future use, in architecture, was not a
+reversed or serpentine curve at all. I shall now, however, I hope, be
+able to show my meaning better.
+
+§ IX. Fig. 1 in Plate I., opposite, is a piece of ornamentation from a
+Norman-French manuscript of the thirteenth century, and fig. 2 from an
+Italian one of the fifteenth. Observe in the first its stern moderation
+in curvature; the gradually united lines _nearly straight_, though none
+quite straight, used for its main limb, and contrasted with the bold but
+simple offshoots of its leaves, and the noble spiral from which it
+shoots, these in their turn opposed by the sharp trefoils and thorny
+cusps. And see what a reserve of resource there is in the whole; how
+easy it would have been to make the curves more palpable and the foliage
+more rich, and how the noble hand has stayed itself, and refused to
+grant one wave of motion more.
+
+[Illustration: Plate I.
+               TEMPERANCE AND INTEMPERANCE.
+               IN CURVATURE.]
+
+§ X. Then observe the other example, in which, while the same idea is
+continually repeated, excitement and interest are sought for by means of
+violent and continual curvatures wholly unrestrained, and rolling hither
+and thither in confused wantonness. Compare the character of the
+separate lines in these two examples carefully, and be assured that
+wherever this redundant and luxurious curvature shows itself in
+ornamentation, it is a sign of jaded energy and failing invention. Do
+not confuse it with fulness or richness. Wealth is not necessarily
+wantonness: a Gothic moulding may be buried half a foot deep in thorns
+and leaves, and yet will be chaste in every line; and a late Renaissance
+moulding may be utterly barren and poverty-stricken, and yet will show
+the disposition to luxury in every line.
+
+§ XI. Plate XX., in the second volume, though prepared for the special
+illustration of the notices of capitals, becomes peculiarly interesting
+when considered in relation to the points at present under
+consideration. The four leaves in the upper row are Byzantine; the two
+middle rows are transitional, all but fig. 11, which is of the formed
+Gothic; fig. 12 is perfect Gothic of the finest time (Ducal Palace,
+oldest part), fig. 13 is Gothic beginning to decline, fig. 14 is
+Renaissance Gothic in complete corruption.
+
+Now observe, first, the Gothic naturalism advancing gradually from the
+Byzantine severity; how from the sharp, hard, formalized conventionality
+of the upper series the leaves gradually expand into more free and
+flexible animation, until in fig. 12 we have the perfect living leaf as
+if fresh gathered out of the dew. And then, in the last two examples and
+partly in fig. 11, observe how the forms which can advance no longer in
+animation, advance, or rather decline, into luxury and effeminacy as the
+strength of the school expires.
+
+§ XII. In the second place, note that the Byzantine and Gothic schools,
+however differing in degree of life, are both alike in _temperance_,
+though the temperance of the Gothic is the nobler, because it consists
+with entire animation. Observe how severe and subtle the curvatures are
+in all the leaves from fig. 1 to fig. 12, except only in fig. 11; and
+observe especially the firmness and strength obtained by the close
+approximation to the straight line in the lateral ribs of the leaf, fig.
+12. The longer the eye rests on these temperate curvatures the more it
+will enjoy them, but it will assuredly in the end be wearied by the
+morbid exaggeration of the last example.
+
+[Illustration: Plate II.
+               GOTHIC CAPITALS.]
+
+§ XIII. Finally, observe--and this is very important--how one and the
+same character in the work may be a sign of totally different states of
+mind, and therefore in one case bad, and in the other good. The
+examples, fig. 3. and fig. 12., are both equally pure in line; but one
+is subdivided in the extreme, the other broad in the extreme, and both
+are beautiful. The Byzantine mind delighted in the delicacy of
+subdivision which nature shows in the fern-leaf or parsley-leaf; and so,
+also, often the Gothic mind, much enjoying the oak, thorn, and thistle.
+But the builder of the Ducal Palace used great breadth in his foliage,
+in order to harmonize with the broad surface of his mighty wall, and
+delighted in this breadth as nature delights in the sweeping freshness
+of the dock-leaf or water-lily. Both breadth and subdivision are thus
+noble, when they are contemplated or conceived by a mind in health; and
+both become ignoble, when conceived by a mind jaded and satiated. The
+subdivision in fig. 13 as compared with the type, fig. 12, which it was
+intended to improve, is the sign, not of a mind which loved intricacy,
+but of one which could not relish simplicity, which had not strength
+enough to enjoy the broad masses of the earlier leaves, and cut them to
+pieces idly, like a child tearing the book which, in its weariness, it
+cannot read. And on the other hand, we shall continually find, in other
+examples of work of the same period, an unwholesome breadth or
+heaviness, which results from the mind having no longer any care for
+refinement or precision, nor taking any delight in delicate forms, but
+making all things blunted, cumbrous, and dead, losing at the same time
+the sense of the elasticity and spring of natural curves. It is as if
+the soul of man, itself severed from the root of its health, and about
+to fall into corruption, lost the perception of life in all things
+around it; and could no more distinguish the wave of the strong
+branches, full of muscular strength and sanguine circulation, from the
+lax bending of a broken cord, nor the sinuousness of the edge of the
+leaf, crushed into deep folds by the expansion of its living growth,
+from the wrinkled contraction of its decay.[1] Thus, in morals, there
+is a care for trifles which proceeds from love and conscience, and is
+most holy; and a care for trifles which comes of idleness and frivolity,
+and is most base. And so, also, there is a gravity proceeding from
+thought, which is most noble; and a gravity proceeding from dulness and
+mere incapability of enjoyment, which is most base. Now, in the various
+forms assumed by the later Gothic of Venice, there are one or two
+features which, under other circumstances, would not have been signs of
+decline; but, in the particular manner of their occurrence here,
+indicate the fatal weariness of decay. Of all these features the most
+distinctive are its crockets and finials.
+
+§ XIV. There is not to be found a single crocket or finial upon any part
+of the Ducal Palace built during the fourteenth century; and although
+they occur on contemporary, and on some much earlier, buildings, they
+either indicate detached examples of schools not properly Venetian, or
+are signs of incipient decline.
+
+The reason of this is, that the finial is properly the ornament of
+gabled architecture; it is the compliance, in the minor features of the
+building, with the spirit of its towers, ridged roof, and spires.
+Venetian building is not gabled, but horizontal in its roots and general
+masses; therefore the finial is a feature contradictory to its spirit,
+and adopted only in that search for morbid excitement which is the
+infallible indication of decline. When it occurs earlier, it is on
+fragments of true gabled architecture, as, for instance, on the porch of
+the Carmini.
+
+In proportion to the unjustifiableness of its introduction was the
+extravagance of the form it assumed; becoming, sometimes, a tuft at the
+top of the ogee windows, half as high as the arch itself, and
+consisting, in the richest examples, of a human figure, half emergent
+out of a cup of leafage, as, for instance, in the small archway of the
+Campo San Zaccaria: while the crockets, as being at the side of the
+arch, and not so strictly connected with its balance and symmetry,
+appear to consider themselves at greater liberty even than the finials,
+and fling themselves, hither and thither, in the wildest contortions.
+Fig. 4. in Plate I, is the outline of one, carved in stone, from the
+later Gothic of St. Mark's; fig. 3. a crocket from the fine Veronese
+Gothic; in order to enable the reader to discern the Renaissance
+character better by comparison with the examples of curvature above
+them, taken from the manuscripts. And not content with this exuberance
+in the external ornaments of the arch, the finial interferes with its
+traceries. The increased intricacy of these, as such, being a natural
+process in the developement of Gothic, would have been no evil; but they
+are corrupted by the enrichment of the finial at the point of the
+cusp,--corrupted, that is to say, in Venice: for at Verona the finial,
+in the form of a fleur-de-lis, appears long previously at the cusp
+point, with exquisite effect; and in our own best Northern Gothic it is
+often used beautifully in this place, as in the window from Salisbury,
+Plate XII. (Vol. II.), fig. 2. But in Venice, such a treatment of it was
+utterly contrary to the severe spirit of the ancient traceries; and the
+adoption of a leafy finial at the extremity of the cusps in the door of
+San Stefano, as opposed to the simple ball which terminates those of the
+Ducal Palace, is an unmistakable indication of a tendency to decline.
+
+In like manner, the enrichment and complication of the jamb mouldings,
+which, in other schools, might and did take place in the healthiest
+periods, are, at Venice, signs of decline, owing to the entire
+inconsistency of such mouldings with the ancient love of the single
+square jamb and archivolt. The process of enrichment in them is shown by
+the successive examples given in Plate VII., below. They are numbered,
+and explained in the Appendix.
+
+§ XV. The date at which this corrupt form of Gothic first prevailed over
+the early simplicity of the Venetian types can be determined in an
+instant, on the steps of the choir of the Church of St. John and Paul.
+On our left hand, as we enter, is the tomb of the Doge Marco Cornaro,
+who died in 1367. It is rich and fully developed Gothic, with crockets
+and finials, but not yet attaining any extravagant developement.
+Opposite to it is that of the Doge Andrea Morosini, who died in 1382.
+Its Gothic is voluptuous, and over-wrought; the crockets are bold and
+florid, and the enormous finial represents a statue of St. Michael.
+There is no excuse for the antiquaries who, having this tomb before
+them, could have attributed the severe architecture of the Ducal Palace
+to a later date; for every one of the Renaissance errors is here in
+complete developement, though not so grossly as entirely to destroy the
+loveliness of the Gothic forms. In the Porta della Carta, 1423, the vice
+reaches its climax.
+
+§ XVI. Against this degraded Gothic, then, came up the Renaissance
+armies; and their first assault was in the requirement of universal
+perfection. For the first time since the destruction of Rome, the world
+had seen, in the work of the greatest artists of the fifteenth
+century,--in the painting of Ghirlandajo, Masaccio, Francia, Perugino,
+Pinturicchio, and Bellini; in the sculpture of Mino da Fiesole, of
+Ghiberti, and Verrocchio,--a perfection of execution and fulness of
+knowledge which cast all previous art into the shade, and which, being
+in the work of those men united with all that was great in that of
+former days, did indeed justify the utmost enthusiasm with which their
+efforts were, or could be, regarded. But when this perfection had once
+been exhibited in anything, it was required in everything; the world
+could no longer be satisfied with less exquisite execution, or less
+disciplined knowledge. The first thing that it demanded in all work was,
+that it should be done in a consummate and learned way; and men
+altogether forgot that it was possible to consummate what was
+contemptible, and to know what was useless. Imperatively requiring
+dexterity of touch, they gradually forgot to look for tenderness of
+feeling; imperatively requiring accuracy of knowledge, they gradually
+forgot to ask for originality of thought. The thought and the feeling
+which they despised departed from them, and they were left to
+felicitate themselves on their small science and their neat fingering.
+This is the history of the first attack of the Renaissance upon the
+Gothic schools, and of its rapid results, more fatal and immediate in
+architecture than in any other art, because there the demand for
+perfection was less reasonable, and less consistent with the
+capabilities of the workman; being utterly opposed to that rudeness or
+savageness on which, as we saw above, the nobility of the elder schools
+in great part depends. But inasmuch as the innovations were founded on
+some of the most beautiful examples of art, and headed by some of the
+greatest men that the world ever saw, and as the Gothic with which they
+interfered was corrupt and valueless, the first appearance of the
+Renaissance feeling had the appearance of a healthy movement. A new
+energy replaced whatever weariness or dulness had affected the Gothic
+mind; an exquisite taste and refinement, aided by extended knowledge,
+furnished the first models of the new school; and over the whole of
+Italy a style arose, generally now known as cinque-cento, which in
+sculpture and painting, as I just stated, produced the noblest masters
+which the world ever saw, headed by Michael Angelo, Raphael, and
+Leonardo; but which failed of doing the same in architecture, because,
+as we have seen above, perfection is therein not possible, and failed
+more totally than it would otherwise have done, because the classical
+enthusiasm had destroyed the best types of architectural form.
+
+§ XVII. For, observe here very carefully, the Renaissance principle, as
+it consisted in a demand for universal perfection, is quite distinct
+from the Renaissance principle as it consists in a demand for classical
+and Roman _forms_ of perfection. And if I had space to follow out the
+subject as I should desire, I would first endeavor to ascertain what
+might have been the course of the art of Europe if no manuscripts of
+classical authors had been recovered, and no remains of classical
+architecture left, in the fifteenth century; so that the executive
+perfection to which the efforts of all great men had tended for five
+hundred years, and which now at last was reached, might have been
+allowed to develope itself in its own natural and proper form, in
+connexion with the architectural structure of earlier schools. This
+refinement and perfection had indeed its own perils, and the history of
+later Italy, as she sank into pleasure and thence into corruption, would
+probably have been the same whether she had ever learned again to write
+pure Latin or not. Still the inquiry into the probable cause of the
+enervation which might naturally have followed the highest exertion of
+her energies, is a totally distinct one from that into the particular
+form given to this enervation by her classical learning; and it is
+matter of considerable regret to me that I cannot treat these two
+subjects separately: I must be content with marking them for separation
+in the mind of the reader.
+
+§ XVIII. The effect, then, of the sudden enthusiasm for classical
+literature, which gained strength during every hour of the fifteenth
+century, was, as far as respected architecture, to do away with the
+entire system of Gothic science. The pointed arch, the shadowy vault,
+the clustered shaft, the heaven-pointing spire, were all swept away; and
+no structure was any longer permitted but that of the plain cross-beam
+from pillar to pillar, over the round arch, with square or circular
+shafts, and a low-gabled roof and pediment: two elements of noble form,
+which had fortunately existed in Rome, were, however, for that reason,
+still permitted; the cupola, and, internally, the waggon vault.
+
+§ XIX. These changes in form were all of them unfortunate; and it is
+almost impossible to do justice to the occasionally exquisite
+ornamentation of the fifteenth century, on account of its being placed
+upon edifices of the cold and meagre Roman outline. There is, as far as
+I know, only one Gothic building in Europe, the Duomo of Florence, in
+which, though the ornament be of a much earlier school, it is yet so
+exquisitely finished as to enable us to imagine what might have been the
+effect of the perfect workmanship of the Renaissance, coming out of the
+hands of men like Verrocchio and Ghiberti, had it been employed on the
+magnificent framework of Gothic structure. This is the question which,
+as I shall note in the concluding chapter, we ought to set ourselves
+practically to solve in modern times.
+
+§ XX. The changes effected in form, however, were the least part of the
+evil principles of the Renaissance. As I have just said, its main
+mistake, in its early stages, was the unwholesome demand for
+_perfection_, at any cost. I hope enough has been advanced, in the
+chapter on the Nature of Gothic, to show the reader that perfection is
+_not_ to be had from the general workman, but at the cost of
+everything,--of his whole life, thought, and energy. And Renaissance
+Europe thought this a small price to pay for manipulative perfection.
+Men like Verrocchio and Ghiberti were not to be had every day, nor in
+every place; and to require from the common workman execution or
+knowledge like theirs, was to require him to become their copyist. Their
+strength was great enough to enable them to join science with invention,
+method with emotion, finish with fire; but, in them, the invention and
+the fire were first, while Europe saw in them only the method and the
+finish. This was new to the minds of men, and they pursued it to the
+neglect of everything else. "This," they cried, "we must have in all our
+work henceforward:" and they were obeyed. The lower workman secured
+method and finish, and lost, in exchange for them, his soul.
+
+§ XXI. Now, therefore, do not let me be misunderstood when I speak
+generally of the evil spirit of the Renaissance. The reader may look
+through all I have written, from first to last, and he will not find one
+word but of the most profound reverence for those mighty men who could
+wear the Renaissance armor of proof, and yet not feel it encumber their
+living limbs,[2]--Leonardo and Michael Angelo, Ghirlandajo and Masaccio,
+Titian and Tintoret. But I speak of the Renaissance as an evil time,
+because, when it saw those men go burning forth into the battle, it
+mistook their armor for their strength: and forthwith encumbered with
+the painful panoply every stripling who ought to have gone forth only
+with his own choice of three smooth stones out of the brook.
+
+§ XXII. This, then, the reader must always keep in mind when he is
+examining for himself any examples of cinque-cento work. When it has
+been done by a truly great man, whose life and strength could not be
+oppressed, and who turned to good account the whole science of his day,
+nothing is more exquisite. I do not believe, for instance, that there is
+a more glorious work of sculpture existing in the world than that
+equestrian statue of Bartolomeo Colleone, by Verrocchio, of which, I
+hope, before these pages are printed, there will be a cast in England.
+But when the cinque-cento work has been done by those meaner men, who,
+in the Gothic times, though in a rough way, would yet have found some
+means of speaking out what was in their hearts, it is utterly
+inanimate,--a base and helpless copy of more accomplished models; or, if
+not this, a mere accumulation of technical skill, in gaining which the
+workman had surrendered all other powers that were in him.
+
+There is, therefore, of course, an infinite gradation in the art of the
+period, from the Sistine Chapel down to modern upholstery; but, for the
+most part, since in architecture the workman must be of an inferior
+order, it will be found that this cinque-cento painting and higher
+religious sculpture is noble, while the cinque-cento architecture, with
+its subordinate sculpture, is universally bad; sometimes, however,
+assuming forms, in which the consummate refinement almost atones for the
+loss of force.
+
+§ XXIII. This is especially the case with that second branch of the
+Renaissance which, as above noticed, was engrafted at Venice on the
+Byzantine types. So soon as the classical enthusiasm required the
+banishment of Gothic forms, it was natural that the Venetian mind should
+turn back with affection to the Byzantine models in which the round
+arches and simple shafts, necessitated by recent law, were presented
+under a form consecrated by the usage of their ancestors. And,
+accordingly, the first distinct school of architecture[3] which arose
+under the new dynasty, was one in which the method of inlaying marble,
+and the general forms of shaft and arch, were adopted from the buildings
+of the twelfth century, and applied with the utmost possible refinements
+of modern skill. Both at Verona and Venice the resulting architecture is
+exceedingly beautiful. At Verona it is, indeed, less Byzantine, but
+possesses a character of richness and tenderness almost peculiar to that
+city. At Venice it is more severe, but yet adorned with sculpture which,
+for sharpness of touch and delicacy of minute form, cannot be rivalled,
+and rendered especially brilliant and beautiful by the introduction of
+those inlaid circles of colored marble, serpentine, and porphyry, by
+which Phillippe de Commynes was so much struck on his first entrance
+into the city. The two most refined buildings in this style in Venice
+are, the small Church of the Miracoli, and the Scuola di San Marco
+beside the Church of St. John and St. Paul. The noblest is the Rio
+Façade of the Ducal Palace. The Casa Dario, and Casa Manzoni, on the
+Grand Canal, are exquisite examples of the school, as applied to
+domestic architecture; and, in the reach of the canal between the Casa
+Foscari and the Rialto, there are several palaces, of which the Casa
+Contarini (called "delle Figure") is the principal, belonging to the
+same group, though somewhat later, and remarkable for the association of
+the Byzantine principles of color with the severest lines of the Roman
+pediment, gradually superseding the round arch. The precision of
+chiselling and delicacy of proportion in the ornament and general lines
+of these palaces cannot be too highly praised; and I believe that the
+traveller in Venice, in general, gives them rather too little attention
+than too much. But while I would ask him to stay his gondola beside each
+of them long enough to examine their every line, I must also warn him to
+observe, most carefully, the peculiar feebleness and want of soul in the
+conception of their ornament, which mark them as belonging to a period
+of decline; as well as the absurd mode of introduction of their pieces
+of colored marble: these, instead of being simply and naturally inserted
+in the masonry, are placed in small circular or oblong frames of
+sculpture, like mirrors or pictures, and are represented as suspended by
+ribands against the wall; a pair of wings being generally fastened on to
+the circular tablets, as if to relieve the ribands and knots from their
+weight, and the whole series tied under the chin of a little cherub at
+the top, who is nailed against the façade like a hawk on a barn door.
+
+But chiefly let him notice, in the Casa Contarini delle Figure, one most
+strange incident, seeming to have been permitted, like the choice of the
+subjects at the three angles of the Ducal Palace, in order to teach us,
+by a single lesson, the true nature of the style in which it occurs. In
+the intervals of the windows of the first story, certain shields and
+torches are attached, in the form of trophies, to the stems of two trees
+whose boughs have been cut off, and only one or two of their faded
+leaves left, scarcely observable, but delicately sculptured here and
+there, beneath the insertions of the severed boughs.
+
+It is as if the workman had intended to leave us an image of the
+expiring naturalism of the Gothic school. I had not seen this sculpture
+when I wrote the passage referring to its period, in the first volume of
+this work (Chap. XX. § XXXI.):--"Autumn came,--the leaves were
+shed,--and the eye was directed to the extremities of the delicate
+branches. _The Renaissance frosts came, and all perished!_"
+
+§ XXIV. And the hues of this autumn of the early Renaissance are the
+last which appear in architecture. The winter which succeeded was
+colorless as it was cold; and although the Venetian painters struggled
+long against its influence, the numbness of the architecture prevailed
+over them at last, and the exteriors of all the latter palaces were
+built only in barren stone. As at this point of our inquiry, therefore,
+we must bid farewell to color, I have reserved for this place the
+continuation of the history of chromatic decoration, from the Byzantine
+period, when we left it in the fifth chapter of the second volume, down
+to its final close.
+
+§ XXV. It was above stated, that the principal difference in general
+form and treatment between the Byzantine and Gothic palaces was the
+contraction of the marble facing into the narrow spaces between the
+windows, leaving large fields of brick wall perfectly bare. The reason
+for this appears to have been, that the Gothic builders were no longer
+satisfied with the faint and delicate hues of the veined marble; they
+wished for some more forcible and piquant mode of decoration,
+corresponding more completely with the gradually advancing splendor of
+chivalric costume and heraldic device. What I have said above of the
+simple habits of life of the thirteenth century, in no wise refers
+either to costumes of state, or of military service; and any
+illumination of the thirteenth and early fourteenth centuries (the great
+period being, it seems to me, from 1250 to 1350), while it shows a
+peculiar majesty and simplicity in the fall of the robes (often worn
+over the chain armor), indicates, at the same time, an exquisite
+brilliancy of color and power of design in the hems and borders, as well
+as in the armorial bearings with which they are charged; and while, as
+we have seen, a peculiar simplicity is found also in the _forms_ of the
+architecture, corresponding to that of the folds of the robes, its
+_colors_ were constantly increasing in brilliancy and decision,
+corresponding to those of the quartering of the shield, and of the
+embroidery of the mantle.
+
+§ XXVI. Whether, indeed, derived from the quarterings of the knights'
+shields, or from what other source, I know not; but there is one
+magnificent attribute of the coloring of the late twelfth, the whole
+thirteenth, and the early fourteenth century, which I do not find
+definitely in any previous work, nor afterwards in general art, though
+constantly, and necessarily, in that of great colorists, namely, the
+union of one color with another by reciprocal interference: that is to
+say, if a mass of red is to be set beside a mass of blue, a piece of the
+red will be carried into the blue, and a piece of the blue carried into
+the red; sometimes in nearly equal portions, as in a shield divided into
+four quarters, of which the uppermost on one side will be of the same
+color as the lowermost on the other; sometimes in smaller fragments,
+but, in the periods above named, always definitely and grandly, though
+in a thousand various ways. And I call it a magnificent principle, for
+it is an eternal and universal one, not in art only,[4] but in human
+life. It is the great principle of Brotherhood, not by equality, nor by
+likeness, but by giving and receiving; the souls that are unlike, and
+the nations that are unlike, and the natures that are unlike, being
+bound into one noble whole by each receiving something from, and of, the
+others' gifts and the others' glory. I have not space to follow out this
+thought,--it is of infinite extent and application,--but I note it for
+the reader's pursuit, because I have long believed, and the whole second
+volume of "Modern Painters" was written to prove, that in whatever has
+been made by the Deity externally delightful to the human sense of
+beauty, there is some type of God's nature or of God's laws; nor are any
+of His laws, in one sense, greater than the appointment that the most
+lovely and perfect unity shall be obtained by the taking of one nature
+into another. I trespass upon too high ground; and yet I cannot fully
+show the reader the extent of this law, but by leading him thus far. And
+it is just because it is so vast and so awful a law, that it has rule
+over the smallest things; and there is not a vein of color on the
+lightest leaf which the spring winds are at this moment unfolding in the
+fields around us, but it is an illustration of an ordainment to which
+the earth and its creatures owe their continuance, and their Redemption.
+
+§ XXVII. It is perfectly inconceivable, until it has been made a subject
+of special inquiry, how perpetually Nature employs this principle in the
+distribution of her light and shade; how by the most extraordinary
+adaptations, apparently accidental, but always in exactly the right
+place, she contrives to bring darkness into light, and light into
+darkness; and that so sharply and decisively, that at the very instant
+when one object changes from light to dark, the thing relieved upon it
+will change from dark to light, and yet so subtly that the eye will not
+detect the transition till it looks for it. The secret of a great part
+of the grandeur in all the noblest compositions is the doing of this
+delicately in _degree_, and broadly in _mass_; in color it may be done
+much more decisively than in light and shade, and, according to the
+simplicity of the work, with greater frankness of confession, until, in
+purely decorative art, as in the illumination, glass-painting, and
+heraldry of the great periods, we find it reduced to segmental accuracy.
+Its greatest masters, in high art, are Tintoret, Veronese, and Turner.
+
+§ XXVIII. Together with this great principle of quartering is introduced
+another, also of very high value as far as regards the delight of the
+eye, though not of so profound meaning. As soon as color began to be
+used in broad and opposed fields, it was perceived that the mass of it
+destroyed its brilliancy, and it was _tempered_ by chequering it with
+some other color or colors in smaller quantities, mingled with minute
+portions of pure white. The two moral principles of which this is the
+type, are those of Temperance and Purity; the one requiring the fulness
+of the color to be subdued, and the other that it shall be subdued
+without losing either its own purity or that of the colors with which it
+is associated.
+
+§ XXIX. Hence arose the universal and admirable system of the diapered
+or chequered background of early ornamental art. They are completely
+developed in the thirteenth century, and extend through the whole of
+the fourteenth gradually yielding to landscape, and other pictorial
+backgrounds, as the designers lost perception of the purpose of their
+art, and of the value of color. The chromatic decoration of the Gothic
+palaces of Venice was of course founded on these two great principles,
+which prevailed constantly wherever the true chivalric and Gothic spirit
+possessed any influence. The windows, with their intermediate spaces of
+marble, were considered as the objects to be relieved, and variously
+quartered with vigorous color. The whole space of the brick wall was
+considered as a background; it was covered with stucco, and painted in
+fresco, with diaper patterns.
+
+§ XXX. What? the reader asks in some surprise,--Stucco! and in the great
+Gothic period? Even so, but _not stucco to imitate stone_. Herein lies
+all the difference; it is stucco confessed and understood, and laid on
+the bricks precisely as gesso is laid on canvas, in order to form them
+into a ground for receiving color from the human hand,--color which, if
+well laid on, might render the brick wall more precious than if it had
+been built of emeralds. Whenever we wish to paint, we may prepare our
+paper as we choose; the value of the ground in no wise adds to the value
+of the picture. A Tintoret on beaten gold would be of no more value than
+a Tintoret on coarse canvas; the gold would merely be wasted. All that
+we have to do is to make the ground as good and fit for the color as
+possible, by whatever means.
+
+§ XXXI. I am not sure if I am right in applying the term "stucco" to the
+ground of fresco; but this is of no consequence; the reader will
+understand that it was white, and that the whole wall of the palace was
+considered as the page of a book to be illuminated: but he will
+understand also that the sea winds are bad librarians; that, when once
+the painted stucco began to fade or to fall, the unsightliness of the
+defaced color would necessitate its immediate restoration; and that
+therefore, of all the chromatic decoration of the Gothic palaces, there
+is hardly a fragment left.
+
+Happily, in the pictures of Gentile Bellini, the fresco coloring of the
+Gothic palaces is recorded, as it still remained in his time; not with
+rigid accuracy, but quite distinctly enough to enable us, by comparing
+it with the existing colored designs in the manuscripts and glass of the
+period, to ascertain precisely what it must have been.
+
+§ XXXII. The walls were generally covered with chequers of very warm
+color, a russet inclining to scarlet, more or less relieved with white,
+black, and grey; as still seen in the only example which, having been
+executed in marble, has been perfectly preserved, the front of the Ducal
+Palace. This, however, owing to the nature of its materials, was a
+peculiarly simple example; the ground is white, crossed with double bars
+of pale red, and in the centre of each chequer there is a cross,
+alternately black with a red centre and red with a black centre where
+the arms cross. In painted work the grounds would be, of course, as
+varied and complicated as those of manuscripts; but I only know of one
+example left, on the Casa Sagredo, where, on some fragments of stucco, a
+very early chequer background is traceable, composed of crimson
+quatrefoils interlaced, with cherubim stretching their wings filling the
+intervals. A small portion of this ground is seen beside the window
+taken from the palace, Vol. II. Plate XIII. fig. 1.
+
+§ XXXIII. It ought to be especially noticed, that, in all chequered
+patterns employed in the colored designs of these noble periods, the
+greatest care is taken to mark that they are _grounds_ of design rather
+than designs themselves. Modern architects, in such minor imitations as
+they are beginning to attempt, endeavor to dispose the parts in the
+patterns so as to occupy certain symmetrical positions with respect to
+the parts of the architecture. A Gothic builder never does this: he cuts
+his ground into pieces of the shape he requires with utter
+remorselessness, and places his windows or doors upon it with no regard
+whatever to the lines in which they cut the pattern: and, in
+illuminations of manuscripts, the chequer itself is constantly changed
+in the most subtle and arbitrary way, wherever there is the least chance
+of its regularity attracting the eye, and making it of importance. So
+_intentional_ is this, that a diaper pattern is often set obliquely to
+the vertical lines of the designs, for fear it should appear in any way
+connected with them.
+
+§ XXXIV. On these russet or crimson backgrounds the entire space of the
+series of windows was relieved, for the most part, as a subdued white
+field of alabaster; and on this delicate and veined white were set the
+circular disks of purple and green. The arms of the family were of
+course blazoned in their own proper colors, but I think generally on a
+pure azure ground; the blue color is still left behind the shields in
+the Casa Priuli and one or two more of the palaces which are unrestored,
+and the blue ground was used also to relieve the sculptures of religious
+subject. Finally, all the mouldings, capitals, cornices, cusps, and
+traceries, were either entirely gilded or profusely touched with gold.
+
+The whole front of a Gothic palace in Venice may, therefore, be simply
+described as a field of subdued russet, quartered with broad sculptured
+masses of white and gold; these latter being relieved by smaller inlaid
+fragments of blue, purple, and deep green.
+
+§ XXXV. Now, from the beginning of the fourteenth century, when painting
+and architecture were thus united, two processes of change went on
+simultaneously to the beginning of the seventeenth. The merely
+decorative chequerings on the walls yielded gradually to more elaborate
+paintings of figure-subject; first small and quaint, and then enlarging
+into enormous pictures filled by figures generally colossal. As these
+paintings became of greater merit and importance, the architecture with
+which they were associated was less studied; and at last a style was
+introduced in which the framework of the building was little more
+interesting than that of a Manchester factory, but the whole space of
+its walls was covered with the most precious fresco paintings. Such
+edifices are of course no longer to be considered as forming an
+architectural school; they were merely large preparations of artists'
+panels; and Titian, Giorgione, and Veronese no more conferred merit on
+the later architecture of Venice, as such, by painting on its façades,
+than Landseer or Watts could confer merit on that of London by first
+whitewashing and then painting its brick streets from one end to the
+other.
+
+§ XXXVI. Contemporarily with this change in the relative values of the
+color decoration and the stone-work, one equally important was taking
+place in the opposite direction, but of course in another group of
+buildings. For in proportion as the architect felt himself thrust aside
+or forgotten in one edifice, he endeavored to make himself principal in
+another; and, in retaliation for the painter's entire usurpation of
+certain fields of design, succeeded in excluding him totally from those
+in which his own influence was predominant. Or, more accurately
+speaking, the architects began to be too proud to receive assistance
+from the colorists; and these latter sought for ground which the
+architect had abandoned, for the unrestrained display of their own
+skill. And thus, while one series of edifices is continually becoming
+feebler in design and richer in superimposed paintings, another, that of
+which we have so often spoken as the earliest or Byzantine Renaissance,
+fragment by fragment rejects the pictorial decoration; supplies its
+place first with marbles, and then, as the latter are felt by the
+architect, daily increasing in arrogance and deepening in coldness, to
+be too bright for his dignity, he casts even these aside one by one: and
+when the last porphyry circle has vanished from the façade, we find two
+palaces standing side by side, one built, so far as mere masonry goes,
+with consummate care and skill, but without the slightest vestige of
+color in any part of it; the other utterly without any claim to interest
+in its architectural form, but covered from top to bottom with paintings
+by Veronese. At this period, then, we bid farewell to color, leaving the
+painters to their own peculiar field; and only regretting that they
+waste their noblest work on walls, from which in a couple of centuries,
+if not before, the greater part of their labor must be effaced. On the
+other hand, the architecture whose decline we are tracing, has now
+assumed an entirely new condition, that of the Central or True
+Renaissance, whose nature we are to examine in the next chapter.
+
+§ XXXVII. But before leaving these last palaces over which the Byzantine
+influence extended itself, there is one more lesson to be learned from
+them of much importance to us. Though in many respects debased in style,
+they are consummate in workmanship, and unstained in honor; there is no
+imperfection in them, and no dishonesty. That there is absolutely _no_
+imperfection, is indeed, as we have seen above, a proof of their being
+wanting in the highest qualities of architecture; but, as lessons in
+masonry, they have their value, and may well be studied for the
+excellence they display in methods of levelling stones, for the
+precision of their inlaying, and other such qualities, which in them are
+indeed too principal, yet very instructive in their particular way.
+
+§ XXXVIII. For instance, in the inlaid design of the dove with the olive
+branch, from the Casa Trevisan (Vol. I. Plate XX. p. 369), it is
+impossible for anything to go beyond the precision with which the olive
+leaves are cut out of the white marble; and, in some wreaths of laurel
+below, the rippled edge of each leaf is as finely and easily drawn, as
+if by a delicate pencil. No Florentine table is more exquisitely
+finished than the façade of this entire palace; and as ideals of an
+executive perfection, which, though we must not turn aside from our main
+path to reach it, may yet with much advantage be kept in our sight and
+memory, these palaces are most notable amidst the architecture of
+Europe. The Rio Façade of the Ducal Palace, though very sparing in
+color, is yet, as an example of finished masonry in a vast building, one
+of the finest things, not only in Venice, but in the world. It differs
+from other work of the Byzantine Renaissance, in being on a very large
+scale; and it still retains one pure Gothic character, which adds not a
+little to its nobleness, that of perpetual variety. There is hardly one
+window of it, or one panel, that is like another; and this continual
+change so increases its apparent size by confusing the eye, that, though
+presenting no bold features, or striking masses of any kind, there are
+few things in Italy more impressive than the vision of it overhead, as
+the gondola glides from beneath the Bridge of Sighs. And lastly (unless
+we are to blame these buildings for some pieces of very childish
+perspective), they are magnificently honest, as well as perfect. I do
+not remember even any gilding upon them; all is pure marble, and of the
+finest kind.[5]
+
+And therefore, in finally leaving the Ducal Palace,[6] let us take with
+us one more lesson, the last which we shall receive from the Stones of
+Venice, except in the form of a warning.
+
+§ XXXIX. The school of architecture which we have just been examining
+is, as we have seen above, redeemed from severe condemnation by its
+careful and noble use of inlaid marbles as a means of color. From that
+time forward, this art has been unknown, or despised; the frescoes of
+the swift and daring Venetian painters long contended with the inlaid
+marbles, outvying them with color, indeed more glorious than theirs, but
+fugitive as the hues of woods in autumn; and, at last, as the art itself
+of painting in this mighty manner failed from among men,[7] the modern
+decorative system established itself, which united the meaninglessness
+of the veined marble with the evanescence of the fresco, and completed
+the harmony by falsehood.
+
+§ XL. Since first, in the second chapter of the "Seven Lamps," I
+endeavored to show the culpableness, as well as the baseness, of our
+common modes of decoration by painted imitation of various woods or
+marbles, the subject has been discussed in various architectural works,
+and is evidently becoming one of daily increasing interest. When it is
+considered how many persons there are whose means of livelihood consist
+altogether in these spurious arts, and how difficult it is, even for the
+most candid, to admit a conviction contrary both to their interests and
+to their inveterate habits of practice and thought, it is rather a
+matter of wonder, that the cause of Truth should have found even a few
+maintainers, than that it should have encountered a host of adversaries.
+It has, however, been defended repeatedly by architects themselves, and
+so successfully, that I believe, so far as the desirableness of this or
+that method of ornamentation is to be measured by the fact of its simple
+honesty or dishonesty, there is little need to add anything to what has
+been already urged upon the subject. But there are some points connected
+with the practice of imitating marble, which I have been unable to touch
+upon until now, and by the consideration of which we may be enabled to
+see something of the _policy_ of honesty in this matter, without in the
+least abandoning the higher ground of principle.
+
+§ XLI. Consider, then, first, what marble seems to have been made for.
+Over the greater part of the surface of the world, we find that a rock
+has been providentially distributed, in a manner particularly pointing
+it out as intended for the service of man. Not altogether a common rock,
+it is yet rare enough to command a certain degree of interest and
+attention wherever it is found; but not so rare as to preclude its use
+for any purpose to which it is fitted. It is exactly of the consistence
+which is best adapted for sculpture: that is to say, neither hard nor
+brittle, nor flaky nor splintery, but uniform, and delicately, yet not
+ignobly, soft,--exactly soft enough to allow the sculptor to work it
+without force, and trace on it the finest lines of finished form; and
+yet so hard as never to betray the touch or moulder away beneath the
+steel; and so admirably crystallized, and of such permanent elements,
+that no rains dissolve it, no time changes it, no atmosphere decomposes
+it: once shaped, it is shaped for ever, unless subjected to actual
+violence or attrition. This rock, then, is prepared by Nature for the
+sculptor and architect, just as paper is prepared by the manufacturer
+for the artist, with as great--nay, with greater--care, and more perfect
+adaptation of the material to the requirements. And of this marble
+paper, some is white and some colored; but more is colored than white,
+because the white is evidently meant for sculpture, and the colored for
+the covering of large surfaces.
+
+§ XLII. Now, if we would take Nature at her word, and use this precious
+paper which she has taken so much care to provide for us (it is a long
+process, the making of that paper; the pulp of it needing the subtlest
+possible solution, and the pressing of it--for it is all
+hot-pressed--having to be done under the saw, or under something at
+least as heavy); if, I say, we use it as Nature would have us, consider
+what advantages would follow. The colors of marble are mingled for us
+just as if on a prepared palette. They are of all shades and hues
+(except bad ones), some being united and even, some broken, mixed, and
+interrupted, in order to supply, as far as possible, the want of the
+painter's power of breaking and mingling the color with the brush. But
+there is more in the colors than this delicacy of adaptation. There is
+history in them. By the manner in which they are arranged in every piece
+of marble, they record the means by which that marble has been produced,
+and the successive changes through which it has passed. And in all their
+veins and zones, and flame-like stainings, or broken and disconnected
+lines, they write various legends, never untrue, of the former political
+state of the mountain kingdom to which they belonged, of its infirmities
+and fortitudes, convulsions and consolidations, from the beginning of
+time.
+
+Now, if we were never in the habit of seeing anything but real marbles,
+this language of theirs would soon begin to be understood; that is to
+say, even the least observant of us would recognize such and such stones
+as forming a peculiar class, and would begin to inquire where they came
+from, and, at last, take some feeble interest in the main question, Why
+they were only to be found in that or the other place, and how they
+came to make a part of this mountain, and not of that? And in a little
+while, it would not be possible to stand for a moment at a shop door,
+leaning against the pillars of it, without remembering or questioning of
+something well worth the memory or the inquiry, touching the hills of
+Italy, or Greece, or Africa, or Spain; and we should be led on from
+knowledge to knowledge, until even the unsculptured walls of our streets
+became to us volumes as precious as those of our libraries.
+
+§ XLIII. But the moment we admit imitation of marble, this source of
+knowledge is destroyed. None of us can be at the pains to go through the
+work of verification. If we knew that every colored stone we saw was
+natural, certain questions, conclusions, interests, would force
+themselves upon us without any effort of our own; but we have none of us
+time to stop in the midst of our daily business, to touch and pore over,
+and decide with painful minuteness of investigation, whether such and
+such a pillar be stucco or stone. And the whole field of this knowledge,
+which Nature intended us to possess when we were children, is hopelessly
+shut out from us. Worse than shut out, for the mass of coarse imitations
+confuses our knowledge acquired from other sources; and our memory of
+the marbles we have perhaps once or twice carefully examined, is
+disturbed and distorted by the inaccuracy of the imitations which are
+brought before us continually.
+
+§ XLIV. But it will be said, that it is too expensive to employ real
+marbles in ordinary cases. It may be so: yet not always more expensive
+than the fitting windows with enormous plate glass, and decorating them
+with elaborate stucco mouldings and other useless sources of expenditure
+in modern building; nay, not always in the end more expensive than the
+frequent repainting of the dingy pillars, which a little water dashed
+against them would refresh from day to day, if they were of true stone.
+But, granting that it be so, in that very costliness, checking their
+common use in certain localities, is part of the interest of marbles,
+considered as history. Where they are not found, Nature has supplied
+other materials,--clay for brick, or forest for timber,--in the working
+of which she intends other characters of the human mind to be developed,
+and by the proper use of which certain local advantages will assuredly
+be attained, while the delightfulness and meaning of the precious
+marbles will be felt more forcibly in the districts where they occur, or
+on the occasions when they may be procured.
+
+§ XLV. It can hardly be necessary to add, that, as the imitation of
+marbles interferes with and checks the knowledge of geography and
+geology, so the imitation of wood interferes with that of botany; and
+that our acquaintance with the nature, uses, and manner of growth of the
+timber trees of our own and of foreign countries, would probably, in the
+majority of cases, become accurate and extensive, without any labor or
+sacrifice of time, were not all inquiry checked, and all observation
+betrayed, by the wretched labors of the "Grainer."
+
+§ XLVI. But this is not all. As the practice of imitation retards
+knowledge, so also it retards art.
+
+There is not a meaner occupation for the human mind than the imitation
+of the stains and striæ of marble and wood. When engaged in any easy and
+simple mechanical occupation, there is still some liberty for the mind
+to leave the literal work; and the clash of the loom or the activity of
+the fingers will not always prevent the thoughts from some happy
+expatiation in their own domains. But the grainer must think of what he
+is doing; and veritable attention and care, and occasionally
+considerable skill, are consumed in the doing of a more absolute nothing
+than I can name in any other department of painful idleness. I know not
+anything so humiliating as to see a human being, with arms and limbs
+complete, and apparently a head, and assuredly a soul, yet into the
+hands of which when you have put a brush and pallet, it cannot do
+anything with them but imitate a piece of wood. It cannot color, it has
+no ideas of color; it cannot draw, it has no ideas of form; it cannot
+caricature, it has no ideas of humor. It is incapable of anything beyond
+knots. All its achievement, the entire result of the daily application
+of its imagination and immortality, is to be such a piece of texture as
+the sun and dew are sucking up out of the muddy ground, and weaving
+together, far more finely, in millions of millions of growing branches,
+over every rood of waste woodland and shady hill.
+
+§ XLVII. But what is to be done, the reader asks, with men who are
+capable of nothing else than this? Nay, they may be capable of
+everything else, for all we know, and what we are to do with them I will
+try to say in the next chapter; but meanwhile one word more touching the
+higher principles of action in this matter, from which we have descended
+to those of expediency. I trust that some day the language of Types will
+be more read and understood by us than it has been for centuries; and
+when this language, a better one than either Greek or Latin, is again
+recognized amongst us, we shall find, or remember, that as the other
+visible elements of the universe--its air, its water, and its flame--set
+forth, in their pure energies, the life-giving, purifying, and
+sanctifying influences of the Deity upon His creatures, so the earth, in
+its purity, sets forth His eternity and His TRUTH. I have dwelt above on
+the historical language of stones; let us not forget this, which is
+their theological language; and, as we would not wantonly pollute the
+fresh waters when they issue forth in their clear glory from the rock,
+nor stay the mountain winds into pestilential stagnancy, nor mock the
+sunbeams with artificial and ineffective light; so let us not by our own
+base and barren falsehoods, replace the crystalline strength and burning
+color of the earth from which we were born, and to which we must return;
+the earth which, like our own bodies, though dust in its degradation, is
+full of splendor when God's hand gathers its atoms; and which was for
+ever sanctified by Him, as the symbol no less of His love than of His
+truth, when He bade the high priest bear the names of the Children of
+Israel on the clear stones of the Breastplate of Judgment.
+
+
+FOOTNOTES:
+
+  [1] There is a curious instance of this in the modern imitations of
+    the Gothic capitals of the Casa d' Oro, employed in its
+    restorations. The old capitals look like clusters of leaves, the
+    modern ones like kneaded masses of dough with holes in them.
+
+  [2] Not that even these men were able to wear it altogether without
+    harm, as we shall see in the next chapter.
+
+  [3] Appendix 4, "Date of Palaces of Byzantine Renaissance."
+
+  [4] In the various works which Mr. Prout has written on light and
+    shade, no principle will be found insisted on more strongly than
+    this carrying of the dark into the light, and _vice versa_. It is
+    curious to find the untaught instinct of a merely picturesque artist
+    in the nineteenth century, fixing itself so intensely on a principle
+    which regulated the entire sacred composition of the thirteenth. I
+    say "untaught" instinct, for Mr. Prout was, throughout his life, the
+    discoverer of his own principles; fortunately so, considering what
+    principles were taught in his time, but unfortunately in the
+    abstract, for there were gifts in him, which, had there been any
+    wholesome influences to cherish them, might have made him one of the
+    greatest men of his age. He was great, under all adverse
+    circumstances, but the mere wreck of what he might have been, if,
+    after the rough training noticed in my pamphlet on Pre-Raphaelitism,
+    as having fitted him for his great function in the world, he had met
+    with a teacher who could have appreciated his powers, and directed
+    them.
+
+  [5] There may, however, be a kind of dishonesty even in the use of
+    marble, if it is attempted to make the marble look like something
+    else. See the final or Venetian Index under head "Scalzi."
+
+  [6] Appendix 5, "Renaissance Side of Ducal Palace."
+
+  [7] We have, as far as I _know_, at present among us, only one
+    painter, G. F. Watts, who is capable of design in color on a large
+    scale. He stands alone among our artists of the old school, in his
+    perception of the value of breadth in distant masses, and in the
+    vigor of invention by which such breadth must be sustained; and his
+    power of expression and depth of thought are not less remarkable
+    than his bold conception of color effect. Very probably some of the
+    Pre-Raphaelites have the gift also; I am nearly certain that Rosetti
+    has it, and I think also Millais; but the experiment has yet to be
+    tried. I wish it could be made in Mr. Hope's church in Margaret
+    Street.
+
+
+
+
+CHAPTER II.
+
+ROMAN RENAISSANCE.
+
+
+§ I. Of all the buildings in Venice, later in date than the final
+additions to the Ducal Palace, the noblest is, beyond all question, that
+which, having been condemned by its proprietor, not many years ago, to
+be pulled down and sold for the value of its materials, was rescued by
+the Austrian government, and appropriated--the government officers
+having no other use for it--to the business of the Post-Office; though
+still known to the gondolier by its ancient name, the Casa Grimani. It
+is composed of three stories of the Corinthian order, at once simple,
+delicate, and sublime; but on so colossal a scale, that the
+three-storied palaces on its right and left only reach to the cornice
+which marks the level of its first floor. Yet it is not at first
+perceived to be so vast; and it is only when some expedient is employed
+to hide it from the eye, that by the sudden dwarfing of the whole reach
+of the Grand Canal, which it commands, we become aware that it is to the
+majesty of the Casa Grimani that the Rialto itself, and the whole group
+of neighboring buildings, owe the greater part of their impressiveness.
+Nor is the finish of its details less notable than the grandeur of their
+scale. There is not an erring line, nor a mistaken proportion,
+throughout its noble front; and the exceeding fineness of the chiselling
+gives an appearance of lightness to the vast blocks of stone out of
+whose perfect union that front is composed. The decoration is sparing,
+but delicate: the first story only simpler than the rest, in that it has
+pilasters instead of shafts, but all with Corinthian capitals, rich in
+leafage, and fruited delicately; the rest of the walls flat and smooth,
+and the mouldings sharp and shallow, so that the bold shafts look like
+crystals of beryl running through a rock of quartz.
+
+§ II. This palace is the principal type at Venice, and one of the best
+in Europe, of the central architecture of the Renaissance schools; that
+carefully studied and perfectly executed architecture to which those
+schools owe their principal claims to our respect, and which became the
+model of most of the important works subsequently produced by civilized
+nations. I have called it the Roman Renaissance, because it is founded,
+both in its principles of superimposition, and in the style of its
+ornament, upon the architecture of classic Rome at its best period. The
+revival of Latin literature both led to its adoption, and directed its
+form; and the most important example of it which exists is the modern
+Roman basilica of St. Peter's. It had, at its Renaissance or new birth,
+no resemblance either to Greek, Gothic, or Byzantine forms, except in
+retaining the use of the round arch, vault, and dome; in the treatment
+of all details, it was exclusively Latin; the last links of connexion
+with mediæval tradition having been broken by its builders in their
+enthusiasm for classical art, and the forms of true Greek or Athenian
+architecture being still unknown to them. The study of these noble Greek
+forms has induced various modifications of the Renaissance in our own
+times; but the conditions which are found most applicable to the uses of
+modern life are still Roman, and the entire style may most fitly be
+expressed by the term "Roman Renaissance."
+
+§ III. It is this style, in its purity and fullest form,--represented by
+such buildings as the Casa Grimani at Venice (built by San Micheli), the
+Town Hall at Vicenza (by Palladio), St. Peter's at Rome (by Michael
+Angelo), St. Paul's and Whitehall in London (by Wren and Inigo
+Jones),--which is the true antagonist of the Gothic school. The
+intermediate, or corrupt conditions of it, though multiplied over
+Europe, are no longer admired by architects, or made the subjects of
+their study; but the finished work of this central school is still, in
+most cases, the model set before the student of the nineteenth century,
+as opposed to those Gothic, Romanesque, or Byzantine forms which have
+long been considered barbarous, and are so still by most of the leading
+men of the day. That they are, on the contrary, most noble and
+beautiful, and that the antagonistic Renaissance is, in the main,
+unworthy and unadmirable, whatever perfection of a certain kind it may
+possess, it was my principal purpose to show, when I first undertook the
+labor of this work. It has been attempted already to put before the
+reader the various elements which unite in the Nature of Gothic, and to
+enable him thus to judge, not merely of the beauty of the forms which
+that system has produced already, but of its future applicability to the
+wants of mankind, and endless power over their hearts. I would now
+endeavor, in like manner, to set before the reader the Nature of
+Renaissance, and thus to enable him to compare the two styles under the
+same light, and with the same enlarged view of their relations to the
+intellect, and capacities for the service, of man.
+
+§ IV. It will not be necessary for me to enter at length into any
+examination of its external form. It uses, whether for its roofs of
+aperture or roofs proper, the low gable or circular arch: but it differs
+from Romanesque work in attaching great importance to the horizontal
+lintel or architrave _above_ the arch; transferring the energy of the
+principal shafts to the supporting of this horizontal beam, and thus
+rendering the arch a subordinate, if not altogether a superfluous,
+feature. The type of this arrangement has been given already at _c_,
+Fig. XXXVI., p. 145, Vol. I.: and I might insist at length upon the
+absurdity of a construction in which the shorter shaft, which has the
+real weight of wall to carry, is split into two by the taller one, which
+has nothing to carry at all,--that taller one being strengthened,
+nevertheless, as if the whole weight of the building bore upon it; and
+on the ungracefulness, never conquered in any Palladian work, of the two
+half-capitals glued, as it were, against the slippery round sides of the
+central shaft. But it is not the form of this architecture against which
+I would plead. Its defects are shared by many of the noblest forms of
+earlier building, and might have been entirely atoned for by excellence
+of spirit. But it is the moral nature of it which is corrupt, and which
+it must, therefore, be our principal business to examine and expose.
+
+§ V. The moral, or immoral, elements which unite to form the spirit of
+Central Renaissance architecture are, I believe, in the main,
+two,--Pride and Infidelity; but the pride resolves itself into three
+main branches,--Pride of Science, Pride of State, and Pride of System:
+and thus we have four separate mental conditions which must be examined
+successively.
+
+§ VI. 1. PRIDE OF SCIENCE. It would have been more charitable, but more
+confusing, to have added another element to our list, namely the _Love_
+of Science; but the love is included in the pride, and is usually so
+very subordinate an element that it does not deserve equality of
+nomenclature. But, whether pursued in pride or in affection (how far by
+either we shall see presently), the first notable characteristic of the
+Renaissance central school is its introduction of accurate knowledge
+into all its work, so far as it possesses such knowledge; and its
+evident conviction, that such science is necessary to the excellence of
+the work, and is the first thing to be expressed therein. So that all
+the forms introduced, even in its minor ornament, are studied with the
+utmost care; the anatomy of all animal structure is thoroughly
+understood and elaborately expressed, and the whole of the execution
+skilful and practised in the highest degree. Perspective, linear and
+aerial, perfect drawing and accurate light and shade in painting, and
+true anatomy in all representations of the human form, drawn or
+sculptured, are the first requirements in all the work of this school.
+
+§ VII. Now, first considering all this in the most charitable light, as
+pursued from a real love of truth, and not from vanity, it would, of
+course, have been all excellent and admirable, had it been regarded as
+the aid of art, and not as its essence. But the grand mistake of the
+Renaissance schools lay in supposing that science and art are the same
+things, and that to advance in the one was necessarily to perfect the
+other. Whereas they are, in reality, things not only different, but so
+opposed, that to advance in the one is, in ninety-nine cases out of the
+hundred, to retrograde in the other. This is the point to which I would
+at present especially bespeak the reader's attention.
+
+§ VIII. Science and art are commonly distinguished by the nature of
+their actions; the one as knowing, the other as changing, producing, or
+creating. But there is a still more important distinction in the nature
+of the things they deal with. Science deals exclusively with things as
+they are in themselves; and art exclusively with things as they affect
+the human senses and human soul.[8] Her work is to portray the
+appearance of things, and to deepen the natural impressions which they
+produce upon living creatures. The work of science is to substitute
+facts for appearances, and demonstrations for impressions. Both,
+observe, are equally concerned with truth; the one with truth of aspect,
+the other with truth of essence. Art does not represent things falsely,
+but truly as they appear to mankind. Science studies the relations of
+things to each other: but art studies only their relations to man; and
+it requires of everything which is submitted to it imperatively this,
+and only this,--what that thing is to the human eyes and human heart,
+what it has to say to men, and what it can become to them: a field of
+question just as much vaster than that of science, as the soul is larger
+than the material creation.
+
+§ IX. Take a single instance. Science informs us that the sun is
+ninety-five millions of miles distant from, and 111 times broader than,
+the earth; that we and all the planets revolve round it; and that it
+revolves on its own axis in 25 days, 14 hours and 4 minutes. With all
+this, art has nothing whatsoever to do. It has no care to know anything
+of this kind. But the things which it does care to know, are these: that
+in the heavens God hath set a tabernacle for the sun, "which is as a
+bridegroom coming out of his chamber, and rejoiceth as a strong man to
+run a race. His going forth is from the end of the heaven, and his
+circuit unto the ends of it, and there is nothing hid from the heat
+thereof."
+
+§ X. This, then, being the kind of truth with which art is exclusively
+concerned, how is such truth as this to be ascertained and accumulated?
+Evidently, and only, by perception and feeling. Never either by
+reasoning, or report. Nothing must come between Nature and the artist's
+sight; nothing between God and the artist's soul. Neither calculation
+nor hearsay,--be it the most subtle of calculations, or the wisest of
+sayings,--may be allowed to come between the universe, and the witness
+which art bears to its visible nature. The whole value of that witness
+depends on its being _eye_-witness; the whole genuineness,
+acceptableness, and dominion of it depend on the personal assurance of
+the man who utters it. All its victory depends on the veracity of the
+one preceding word, "Vidi."
+
+The whole function of the artist in the world is to be a seeing and
+feeling creature; to be an instrument of such tenderness and
+sensitiveness, that no shadow, no hue, no line, no instantaneous and
+evanescent expression of the visible things around him, nor any of the
+emotions which they are capable of conveying to the spirit which has
+been given him, shall either be left unrecorded, or fade from the book
+of record. It is not his business either to think, to judge, to argue,
+or to know. His place is neither in the closet, nor on the bench, nor at
+the bar, nor in the library. They are for other men and other work. He
+may think, in a by-way; reason, now and then, when he has nothing better
+to do; know, such fragments of knowledge as he can gather without
+stooping, or reach without pains; but none of these things are to be his
+care. The work of his life is to be twofold only: to see, to feel.
+
+§ XI. Nay, but, the reader perhaps pleads with me, one of the great uses
+of knowledge is to open the eyes; to make things perceivable which,
+never would have been seen, unless first they had been known.
+
+Not so. This could only be said or believed by those who do not know
+what the perceptive faculty of a great artist is, in comparison with
+that of other men. There is no great painter, no great workman in any
+art, but he sees more with the glance of a moment than he could learn by
+the labor of a thousand hours. God has made every man fit for his work;
+He has given to the man whom he means for a student, the reflective,
+logical, sequential faculties; and to the man whom He means for an
+artist, the perceptive, sensitive, retentive faculties. And neither of
+these men, so far from being able to do the other's work, can even
+comprehend the way in which it is done. The student has no understanding
+of the vision, nor the painter of the process; but chiefly the student
+has no idea of the colossal grasp of the true painter's vision and
+sensibility.
+
+The labor of the whole Geological Society, for the last fifty years, has
+but now arrived at the ascertainment of those truths respecting mountain
+form which Turner saw and expressed with a few strokes of a camel's hair
+pencil fifty years ago, when he was a boy. The knowledge of all the laws
+of the planetary system, and of all the curves of the motion of
+projectiles, would never enable the man of science to draw a waterfall
+or a wave; and all the members of Surgeons' Hall helping each other
+could not at this moment see, or represent, the natural movement of a
+human body in vigorous action, as a poor dyer's son did two hundred
+years ago.[9]
+
+§ XII. But surely, it is still insisted, granting this peculiar faculty
+to the painter, he will still see more as he knows more, and the more
+knowledge he obtains, therefore, the better. No; not even so. It is
+indeed true, that, here and there, a piece of knowledge will enable the
+eye to detect a truth which might otherwise have escaped it; as, for
+instance, in watching a sunrise, the knowledge of the true nature of the
+orb may lead the painter to feel more profoundly, and express more
+fully, the distance between the bars of cloud that cross it, and the
+sphere of flame that lifts itself slowly beyond them into the infinite
+heaven. But, for one visible truth to which knowledge thus opens the
+eyes, it seals them to a thousand: that is to say, if the knowledge
+occur to the mind so as to occupy its powers of contemplation at the
+moment when the sight work is to be done, the mind retires inward, fixes
+itself upon the known fact, and forgets the passing visible ones; and a
+_moment_ of such forgetfulness loses more to the painter than a day's
+thought can gain. This is no new or strange assertion. Every person
+accustomed to careful reflection of any kind, knows that its natural
+operation is to close his eyes to the external world. While he is
+thinking deeply, he neither sees nor feels, even though naturally he may
+possess strong powers of sight and emotion. He who, having journeyed all
+day beside the Leman Lake, asked of his companions, at evening, where it
+was,[10] probably was not wanting in sensibility; but he was generally a
+thinker, not a perceiver. And this instance is only an extreme one of
+the effect which, in all cases, knowledge, becoming a subject of
+reflection, produces upon the sensitive faculties. It must be but poor
+and lifeless knowledge, if it has no tendency to force itself forward,
+and become ground for reflection, in despite of the succession of
+external objects. It will not obey their succession. The first that
+comes gives it food enough for its day's work; it is its habit, its
+duty, to cast the rest aside, and fasten upon that. The first thing that
+a thinking and knowing man sees in the course of the day, he will not
+easily quit. It is not his way to quit anything without getting to the
+bottom of it, if possible. But the artist is bound to receive all things
+on the broad, white, lucid field of his soul, not to grasp at one. For
+instance, as the knowing and thinking man watches the sunrise, he sees
+something in the color of a ray, or the change of a cloud, that is new
+to him; and this he follows out forthwith into a labyrinth of optical
+and pneumatical laws, perceiving no more clouds nor rays all the
+morning. But the painter must catch all the rays, all the colors that
+come, and see them all truly, all in their real relations and
+succession; therefore, everything that occupies room in his mind he must
+cast aside for the time, as completely as may be. The thoughtful man is
+gone far away to seek; but the perceiving man must sit still, and open
+his heart to receive. The thoughtful man is knitting and sharpening
+himself into a two-edged sword, wherewith to pierce. The perceiving man
+is stretching himself into a four-cornered sheet wherewith to catch. And
+all the breadth to which he can expand himself, and all the white
+emptiness into which he can blanch himself, will not be enough to
+receive what God has to give him.
+
+§ XIII. What, then, it will be indignantly asked, is an utterly ignorant
+and unthinking man likely to make the best artist? No, not so neither.
+Knowledge is good for him so long as he can keep it utterly, servilely,
+subordinate to his own divine work, and trample it under his feet, and
+out of his way, the moment it is likely to entangle him.
+
+And in this respect, observe, there is an enormous difference between
+knowledge and education. An artist need not be a _learned_ man, in all
+probability it will be a disadvantage to him to become so; but he ought,
+if possible, always to be an _educated_ man: that is, one who has
+understanding of his own uses and duties in the world, and therefore of
+the general nature of the things done and existing in the world; and who
+has so trained himself, or been trained, as to turn to the best and most
+courteous account whatever faculties or knowledge he has. The mind of an
+educated man is greater than the knowledge it possesses; it is like the
+vault of heaven, encompassing the earth which lives and flourishes
+beneath it: but the mind of an educated and learned man is like a
+caoutchouc band, with an everlasting spirit of contraction in it,
+fastening together papers which it cannot open, and keeps others from
+opening.
+
+Half our artists are ruined for want of education, and by the possession
+of knowledge; the best that I have known have been educated, and
+illiterate. The ideal of an artist, however, is not that he should be
+illiterate, but well read in the best books, and thoroughly high bred,
+both in heart and in bearing. In a word, he should be fit for the best
+society, _and should keep out of it_.[11]
+
+§ XIV. There are, indeed, some kinds of knowledge with which an artist
+ought to be thoroughly furnished; those, for instance, which enable him
+to express himself; for this knowledge relieves instead of encumbering
+his mind, and permits it to attend to its purposes instead of wearying
+itself about means. The whole mystery of manipulation and manufacture
+should be familiar to the painter from a child. He should know the
+chemistry of all colors and materials whatsoever, and should prepare all
+his colors himself, in a little laboratory of his own. Limiting his
+chemistry to this one object, the amount of practical science necessary
+for it, and such accidental discoveries as might fall in his way in the
+course of his work, of better colors or better methods of preparing
+them, would be an infinite refreshment to his mind; a minor subject of
+interest to which it might turn when jaded with comfortless labor, or
+exhausted with feverish invention, and yet which would never interfere
+with its higher functions, when it chose to address itself to them. Even
+a considerable amount of manual labor, sturdy color-grinding and
+canvas-stretching, would be advantageous; though this kind of work ought
+to be in great part done by pupils. For it is one of the conditions of
+perfect knowledge in these matters, that every great master should have
+a certain number of pupils, to whom he is to impart all the knowledge of
+materials and means which he himself possesses, as soon as possible; so
+that, at any rate, by the time they are fifteen years old, they may know
+all that he knows himself in this kind; that is to say, all that the
+world of artists know, and his own discoveries besides, and so never be
+troubled about methods any more. Not that the knowledge even of his own
+particular methods is to be of purpose confined to himself and his
+pupils, but that necessarily it must be so in some degree; for only
+those who see him at work daily can understand his small and
+multitudinous ways of practice. These cannot verbally be explained to
+everybody, nor is it needful that they should, only let them be
+concealed from nobody who cares to see them; in which case, of course,
+his attendant scholars will know them best. But all that can be made
+public in matters of this kind should be so with all speed, every artist
+throwing his discovery into the common stock, and the whole body of
+artists taking such pains in this department of science as that there
+shall be no unsettled questions about any known material or method: that
+it shall be an entirely ascertained and indisputable matter which is the
+best white, and which the best brown; which the strongest canvas, and
+safest varnish; and which the shortest and most perfect way of doing
+everything known up to that time: and if any one discovers a better, he
+is to make it public forthwith. All of them taking care to embarrass
+themselves with no theories or reasons for anything, but to work
+empirically only: it not being in any wise their business to know
+whether light moves in rays or in waves; or whether the blue rays of the
+spectrum move slower or faster than the rest; but simply to know how
+many minutes and seconds such and such a powder must be calcined, to
+give the brightest blue.
+
+§ XV. Now it is perhaps the most exquisite absurdity of the whole
+Renaissance system, that while it has encumbered the artist with every
+species of knowledge that is of no use to him, this one precious and
+necessary knowledge it has utterly lost. There is not, I believe, at
+this moment, a single question which could be put respecting pigments
+and methods, on which the body of living artists would agree in their
+answers. The lives of artists are passed in fruitless experiments;
+fruitless, because undirected by experience and uncommunicated in their
+results. Every man has methods of his own, which he knows to be
+insufficient, and yet jealously conceals from his fellow-workmen: every
+colorman has materials of his own, to which it is rare that the artist
+can trust: and in the very front of the majestic advance of chemical
+science, the empirical science of the artist has been annihilated, and
+the days which should have led us to higher perfection are passed in
+guessing at, or in mourning over, lost processes; while the so-called
+Dark ages, possessing no more knowledge of chemistry than a village
+herbalist does now, discovered, established, and put into daily practice
+such methods of operation as have made their work, at this day, the
+despair of all who look upon it.
+
+§ XVI. And yet even this, to the painter, the safest of sciences, and in
+some degree necessary, has its temptations, and capabilities of abuse.
+For the simplest means are always enough for a great man; and when once
+he has obtained a few ordinary colors, which he is sure will stand, and
+a white surface that will not darken nor moulder, nor rend, he is master
+of the world, and of his fellow-men. And, indeed, as if in these times
+we were bent on furnishing examples of every species of opposite error,
+while we have suffered the traditions to escape us of the simple methods
+of doing simple things, which are enough for all the arts, and to all
+the ages, we have set ourselves to discover fantastic modes of doing
+fantastic things,--new mixtures and manipulations of metal, and
+porcelain, and leather, and paper, and every conceivable condition of
+false substance and cheap work, to our own infinitely multiplied
+confusion,--blinding ourselves daily more and more to the great,
+changeless, and inevitable truth, that there is but one goodness in art;
+and that is one which the chemist cannot prepare, nor the merchant
+cheapen, for it comes only of a rare human hand, and rare human soul.
+
+§ XVII. Within its due limits, however, here is one branch of science
+which the artist may pursue; and, within limits still more strict,
+another also, namely, the science of the appearances of things as they
+have been ascertained and registered by his fellow-men. For no day
+passes but some visible fact is pointed out to us by others, which,
+without their help, we should not have noticed; and the accumulation and
+generalization of visible facts have formed, in the succession of ages,
+the sciences of light and shade, and perspective, linear and aerial: so
+that the artist is now at once put in possession of certain truths
+respecting the appearances of things, which, so pointed out to him, any
+man may in a few days understand and acknowledge; but which, without
+aid, he could not probably discover in his lifetime. I say, probably
+could not, because the time which the history of art shows us to have
+been actually occupied in the discovery and systematization of such
+truth, is no measure of the time _necessary_ for such discovery. The
+lengthened period which elapsed between the earliest and the perfect
+developement of the science of light (if I may so call it) was not
+occupied in the actual effort to ascertain its laws, but in _acquiring
+the disposition to make that effort_. It did not take five centuries to
+find out the appearance of natural objects; but it took five centuries
+to make people care about representing them. An artist of the twelfth
+century did not desire to represent nature. His work was symbolical and
+ornamental. So long as it was intelligible and lovely, he had no care to
+make it like nature. As, for instance, when an old painter represented
+the glory round a saint's head by a burnished plate of pure gold, he had
+no intention of imitating an effect of light. He meant to tell the
+spectator that the figure so decorated was a saint, and to produce
+splendor of effect by the golden circle. It was no matter to him what
+light was like. So soon as it entered into his intention to represent
+the appearance of light, he was not long in discovering the natural
+facts necessary for his purpose.
+
+§ XVIII. But, this being fully allowed, it is still true that the
+accumulation of facts now known respecting visible phenomena, is greater
+than any man could hope to gather for himself, and that it is well for
+him to be made acquainted with them; provided always, that he receive
+them only at their true value, and do not suffer himself to be misled by
+them. I say, at their true value; that is, an exceedingly small one. All
+the information which men can receive from the accumulated experience of
+others, is of no use but to enable them more quickly and accurately to
+see for themselves. It will in no wise take the place of this personal
+sight. Nothing can be done well in art, except by vision. Scientific
+principles and experiences are helps to the eye, as a microscope is; and
+they are of exactly as much use _without_ the eye. No science of
+perspective, or of anything else, will enable us to draw the simplest
+natural line accurately, unless we see it and feel it. Science is soon
+at her wits' end. All the professors of perspective in Europe, could
+not, by perspective, draw the line of curve of a sea beach; nay, could
+not outline one pool of the quiet water left among the sand. The eye and
+hand can do it, nothing else. All the rules of aerial perspective that
+ever were written, will not tell me how sharply the pines on the
+hill-top are drawn at this moment on the sky. I shall know if I see
+them, and love them; not till then. I may study the laws of atmospheric
+gradation for fourscore years and ten, and I shall not be able to draw
+so much as a brick-kiln through its own smoke, unless I look at it; and
+that in an entirely humble and unscientific manner, ready to see all
+that the smoke, my master, is ready to show me, and expecting to see
+nothing more.
+
+§ XIX. So that all the knowledge a man has must be held cheap, and
+neither trusted nor respected, the moment he comes face to face with
+Nature. If it help him, well; if not, but, on the contrary, thrust
+itself upon him in an impertinent and contradictory temper, and venture
+to set itself in the slightest degree in opposition to, or comparison
+with, his sight, let it be disgraced forthwith. And the slave is less
+likely to take too much upon herself, if she has not been bought for a
+high price. All the knowledge an artist needs, will, in these days, come
+to him almost without his seeking; if he has far to look for it, he may
+be sure he does not want it. Prout became Prout, without knowing a
+single rule of perspective to the end of his days; and all the
+perspective in the Encyclopædia will never produce us another Prout.
+
+§ XX. And observe, also, knowledge is not only very often unnecessary,
+but it is often _untrustworthy_. It is inaccurate, and betrays us where
+the eye would have been true to us. Let us take the single instance of
+the knowledge of aerial perspective, of which the moderns are so proud,
+and see how it betrays us in various ways. First by the conceit of it,
+which often prevents our enjoying work in which higher and better things
+were thought of than effects of mist. The other day I showed a line
+impression of Albert Durer's "St. Hubert" to a modern engraver, who had
+never seen it nor any other of Albert Durer's works. He looked at it for
+a minute contemptuously, then turned away: "Ah, I see that man did not
+know much about aerial perspective!" All the glorious work and thought
+of the mighty master, all the redundant landscape, the living
+vegetation, the magnificent truth of line, were dead letters to him,
+because he happened to have been taught one particular piece of
+knowledge which Durer despised.
+
+§ XXI. But not only in the conceit of it, but in the inaccuracy of it,
+this science betrays us. Aerial perspective, as given by the modern
+artist, is, in nine cases out of ten, a gross and ridiculous
+exaggeration, as is demonstrable in a moment. The effect of air in
+altering the hue and depth of color is of course great in the exact
+proportion of the volume of air between the observer and the object. It
+is not violent within the first few yards, and then diminished
+gradually, but it is equal for each foot of interposing air. Now in a
+clear day, and clear climate, such as that generally presupposed in a
+work of fine color, objects are completely visible at a distance of ten
+miles; visible in light and shade, with gradations between the two.
+Take, then, the faintest possible hue of shadow, or of any color, and
+the most violent and positive possible, and set them side by side. The
+interval between them is greater than the real difference (for objects
+may often be seen clearly much farther than ten miles, I have seen Mont
+Blanc at 120) caused by the ten miles of intervening air between any
+given hue of the nearest, and most distant, objects; but let us assume
+it, in courtesy to the masters of aerial perspective, to be the real
+difference. Then roughly estimating a mile at less than it really is,
+also in courtesy to them, or at 5000 feet, we have this difference
+between tints produced by 50,000 feet of air. Then, ten feet of air
+will produce the 5000th part of this difference. Let the reader take the
+two extreme tints, and carefully gradate the one into the other. Let him
+divide this gradated shadow or color into 5000 successive parts; and the
+difference in depth between one of these parts and the next is the exact
+amount of aerial perspective between one object, and another, ten feet
+behind it, on a clear day.
+
+§ XXII. Now, in Millais' "Huguenot," the figures were standing about
+three feet from the wall behind them; and the wise world of critics,
+which could find no other fault with the picture, professed to have its
+eyes hurt by the want of an aerial perspective, which, had it been
+accurately given (as, indeed, I believe it was), would have amounted to
+the 10/3-5000th, or less than the 15,000th part of the depth of any
+given color. It would be interesting to see a picture painted by the
+critics, upon this scientific principle. The aerial perspective usually
+represented is entirely conventional and ridiculous; a mere struggle on
+the part of the pretendedly well-informed, but really ignorant, artist,
+to express distances by mist which he cannot by drawing.
+
+It is curious that the critical world is just as much offended by the
+true _presence_ of aerial perspective, over distances of fifty miles,
+and with definite purpose of representing mist, in the works of Turner,
+as by the true _absence_ of aerial perspective, over distances of three
+feet, and in clear weather, in those of Millais.
+
+§ XXIII. "Well but," still answers the reader, "this kind of error may
+here and there be occasioned by too much respect for undigested
+knowledge; but, on the whole, the gain is greater than the loss, and the
+fact is, that a picture of the Renaissance period, or by a modern
+master, does indeed represent nature more faithfully than one wrought in
+the ignorance of old times." No, not one whit; for the most part less
+faithfully. Indeed, the outside of nature is more truly drawn; the
+material commonplace, which can be systematized, catalogued, and taught
+to all pains-taking mankind,--forms of ribs and scapulæ,[12] of eyebrows
+and lips, and curls of hair. Whatever can be measured and handled,
+dissected and demonstrated,--in a word, whatever is of the body
+only,--that the schools of knowledge do resolutely and courageously
+possess themselves of, and portray. But whatever is immeasurable,
+intangible, indivisible, and of the spirit, that the schools of
+knowledge do as certainly lose, and blot out of their sight, that is to
+say, all that is worth art's possessing or recording at all; for
+whatever can be arrested, measured, and systematized, we can contemplate
+as much as we will in nature herself. But what we want art to do for us
+is to stay what is fleeting, and to enlighten what is incomprehensible,
+to incorporate the things that have no measure, and immortalize the
+things that have no duration. The dimly seen, momentary glance, the
+flitting shadow of faint emotion, the imperfect lines of fading thought,
+and all that by and through such things as these is recorded on the
+features of man, and all that in man's person and actions, and in the
+great natural world, is infinite and wonderful; having in it that spirit
+and power which man may witness, but not weigh; conceive, but not
+comprehend; love, but not limit; and imagine, but not define;--this, the
+beginning and the end of the aim of all noble art, we have, in the
+ancient art, by perception; and we have _not_, in the newer art, by
+knowledge. Giotto gives it us, Orcagna gives it us. Angelico, Memmi,
+Pisano, it matters not who,--all simple and unlearned men, in their
+measure and manner,--give it us; and the learned men that followed them
+give it us not, and we, in our supreme learning, own ourselves at this
+day farther from it than ever.
+
+§ XXIV. "Nay," but it is still answered, "this is because we have not
+yet brought our knowledge into right use, but have been seeking to
+accumulate it, rather than to apply it wisely to the ends of art. Let us
+now do this, and we may achieve all that was done by that elder ignorant
+art, and infinitely more." No, not so; for as soon as we try to put our
+knowledge to good use, we shall find that we have much more than we can
+use, and that what more we have is an encumbrance. All our errors in
+this respect arise from a gross misconception as to the true nature of
+knowledge itself. We talk of learned and ignorant men, as if there were
+a certain quantity of knowledge, which to possess was to be learned, and
+which not to possess was to be ignorant; instead of considering that
+knowledge is infinite, and that the man most learned in human estimation
+is just as far from knowing anything as he ought to know it, as the
+unlettered peasant. Men are merely on a lower or higher stage of an
+eminence, whose summit is God's throne, infinitely above all; and there
+is just as much reason for the wisest as for the simplest man being
+discontented with his position, as respects the real quantity of
+knowledge he possesses. And, for both of them, the only true reasons for
+contentment with the sum of knowledge they possess are these: that it is
+the kind of knowledge they need for their duty and happiness in life;
+that all they have is tested and certain, so far as it is in their
+power; that all they have is well in order, and within reach when they
+need it; that it has not cost too much time in the getting; that none of
+it, once got, has been lost; and that there is not too much to be easily
+taken care of.
+
+§ XXV. Consider these requirements a little, and the evils that result
+in our education and polity from neglecting them. Knowledge is mental
+food, and is exactly to the spirit what food is to the body (except that
+the spirit needs several sorts of food, of which knowledge is only one),
+and it is liable to the same kind of misuses. It may be mixed and
+disguised by art, till it becomes unwholesome; it may be refined,
+sweetened, and made palatable, until it has lost all its power of
+nourishment; and, even of its best kind, it may be eaten to surfeiting,
+and minister to disease and death.
+
+§ XXVI. Therefore, with respect to knowledge, we are to reason and act
+exactly as with respect to food. We no more live to know, than we live
+to eat. We live to contemplate, enjoy, act, adore; and we may know all
+that is to be known in this world, and what Satan knows in the other,
+without being able to do any of these. We are to ask, therefore, first,
+is the knowledge we would have fit food for us, good and simple, not
+artificial and decorated? and secondly, how much of it will enable us
+best for our work; and will leave our hearts light, and our eyes clear?
+For no more than that is to be eaten without the old Eve-sin.
+
+§ XXVII. Observe, also, the difference between tasting knowledge, and
+hoarding it. In this respect it is also like food; since, in some
+measure, the knowledge of all men is laid up in granaries, for future
+use; much of it is at any given moment dormant, not fed upon or enjoyed,
+but in store. And by all it is to be remembered, that knowledge in this
+form may be kept without air till it rots, or in such unthreshed
+disorder that it is of no use; and that, however good or orderly, it is
+still only in being tasted that it becomes of use; and that men may
+easily starve in their own granaries, men of science, perhaps, most of
+all, for they are likely to seek accumulation of their store, rather
+than nourishment from it. Yet let it not be thought that I would
+undervalue them. The good and great among them are like Joseph, to whom
+all nations sought to buy corn; or like the sower going forth to sow
+beside all waters, sending forth thither the feet of the ox and the ass:
+only let us remember that this is not all men's work. We are not
+intended to be all keepers of granaries, nor all to be measured by the
+filling of a storehouse; but many, nay, most of us, are to receive day
+by day our daily bread, and shall be as well nourished and as fit for
+our labor, and often, also, fit for nobler and more divine labor, in
+feeding from the barrel of meal that does not waste, and from the cruse
+of oil that does not fail, than if our barns were filled with plenty,
+and our presses bursting out with new wine.
+
+§ XXVIII. It is for each man to find his own measure in this matter; in
+great part, also, for others to find it for him, while he is yet a
+youth. And the desperate evil of the whole Renaissance system is, that
+all idea of measure is therein forgotten, that knowledge is thought the
+one and the only good, and it is never inquired whether men are vivified
+by it or paralyzed. Let us leave figures. The reader may not believe the
+analogy I have been pressing so far; but let him consider the subject in
+itself, let him examine the effect of knowledge in his own heart, and
+see whether the trees of knowledge and of life are one now, any more
+than in Paradise. He must feel that the real animating power of
+knowledge is only in the moment of its being first received, when it
+fills us with wonder and joy; a joy for which, observe, the previous
+ignorance is just as necessary as the present knowledge. That man is
+always happy who is in the presence of something which he cannot know to
+the full, which he is always going on to know. This is the necessary
+condition of a finite creature with divinely rooted and divinely
+directed intelligence; this, therefore, its happy state,--but observe, a
+state, not of triumph or joy in what it knows, but of joy rather in the
+continual discovery of new ignorance, continual self-abasement,
+continual astonishment. Once thoroughly our own, the knowledge ceases to
+give us pleasure. It may be practically useful to us, it may be good for
+others, or good for usury to obtain more; but, in itself, once let it be
+thoroughly familiar, and it is dead. The wonder is gone from it, and all
+the fine color which it had when first we drew it up out of the infinite
+sea. And what does it matter how much or how little of it we have laid
+aside, when our only enjoyment is still in the casting of that deep sea
+line? What does it matter? Nay, in one respect, it matters much, and not
+to our advantage. For one effect of knowledge is to deaden the force of
+the imagination and the original energy of the whole man: under the
+weight of his knowledge he cannot move so lightly as in the days of his
+simplicity. The pack-horse is furnished for the journey, the war-horse
+is armed for war; but the freedom of the field and the lightness of the
+limb are lost for both. Knowledge is, at best, the pilgrim's burden or
+the soldier's panoply, often a weariness to them both: and the
+Renaissance knowledge is like the Renaissance armor of plate, binding
+and cramping the human form; while all good knowledge is like the
+crusader's chain mail, which throws itself into folds with the body, yet
+it is rarely so forged as that the clasps and rivets do not gall us. All
+men feel this, though they do not think of it, nor reason out its
+consequences. They look back to the days of childhood as of greatest
+happiness, because those were the days of greatest wonder, greatest
+simplicity, and most vigorous imagination. And the whole difference
+between a man of genius and other men, it has been said a thousand
+times, and most truly, is that the first remains in great part a child,
+seeing with the large eyes of children, in perpetual wonder, not
+conscious of much knowledge,--conscious, rather, of infinite ignorance,
+and yet infinite power; a fountain of eternal admiration, delight, and
+creative force within him meeting the ocean of visible and governable
+things around him.
+
+That is what we have to make men, so far as we may. All are to be men of
+genius in their degree,--rivulets or rivers, it does not matter, so that
+the souls be clear and pure; not dead walls encompassing dead heaps of
+things known and numbered, but running waters in the sweet wilderness of
+things unnumbered and unknown, conscious only of the living banks, on
+which they partly refresh and partly reflect the flowers, and so pass
+on.
+
+§ XXIX. Let each man answer for himself how far his knowledge has made
+him this, or how far it is loaded upon him as the pyramid is upon the
+tomb. Let him consider, also, how much of it has cost him labor and time
+that might have been spent in healthy, happy action, beneficial to all
+mankind; how many living souls may have been left uncomforted and
+unhelped by him, while his own eyes were failing by the midnight lamp;
+how many warm sympathies have died within him as he measured lines or
+counted letters; how many draughts of ocean air, and steps on
+mountain-turf, and openings of the highest heaven he has lost for his
+knowledge; how much of that knowledge, so dearly bought, is now
+forgotten or despised, leaving only the capacity of wonder less within
+him, and, as it happens in a thousand instances, perhaps even also the
+capacity of devotion. And let him,--if, after thus dealing with his own
+heart, he can say that his knowledge has indeed been fruitful to
+him,--yet consider how many there are who have been forced by the
+inevitable laws of modern education into toil utterly repugnant to their
+natures, and that in the extreme, until the whole strength of the young
+soul was sapped away; and then pronounce with fearfulness how far, and
+in how many senses, it may indeed be true that the wisdom of this world
+is foolishness with God.
+
+§ XXX. Now all this possibility of evil, observe, attaches to knowledge
+pursued for the noblest ends, if it be pursued imprudently. I have
+assumed, in speaking of its effect both on men generally and on the
+artist especially, that it was sought in the true love of it, and with
+all honesty and directness of purpose. But this is granting far too much
+in its favor. Of knowledge in general, and without qualification, it is
+said by the Apostle that "it puffeth up;" and the father of all modern
+science, writing directly in its praise, yet asserts this danger even in
+more absolute terms, calling it a "venomousness" in the very nature of
+knowledge itself.
+
+§ XXXI. There is, indeed, much difference in this respect between the
+tendencies of different branches of knowledge; it being a sure rule that
+exactly in proportion as they are inferior, nugatory, or limited in
+scope, their power of feeding pride is greater. Thus philology, logic,
+rhetoric, and the other sciences of the schools, being for the most part
+ridiculous and trifling, have so pestilent an effect upon those who are
+devoted to them, that their students cannot conceive of any higher
+sciences than these, but fancy that all education ends in the knowledge
+of words: but the true and great sciences, more especially natural
+history, make men gentle and modest in proportion to the largeness of
+their apprehension, and just perception of the infiniteness of the
+things they can never know. And this, it seems to me, is the principal
+lesson we are intended to be caught by the book of Job; for there God
+has thrown open to us the heart of a man most just and holy, and
+apparently perfect in all things possible to human nature except
+humility. For this he is tried: and we are shown that no suffering, no
+self-examination, however honest, however stern, no searching out of the
+heart by its own bitterness, is enough to convince man of his
+nothingness before God; but that the sight of God's creation will do it.
+For, when the Deity himself has willed to end the temptation, and to
+accomplish in Job that for which it was sent, He does not vouchsafe to
+reason with him, still less does He overwhelm him with terror, or
+confound him by laying open before his eyes the book of his iniquities.
+He opens before him only the arch of the dayspring, and the fountains of
+the deep; and amidst the covert of the reeds, and on the heaving waves,
+He bids him watch the kings of the children of pride,--"Behold now
+Behemoth, which I made with thee:" And the work is done.
+
+§ XXXII. Thus, if, I repeat, there is any one lesson in the whole book
+which stands forth more definitely than another, it is this of the holy
+and humbling influence of natural science on the human heart. And yet,
+even here, it is not the science, but the perception, to which the good
+is owing; and the natural sciences may become as harmful as any others,
+when they lose themselves in classification and catalogue-making. Still,
+the principal danger is with the sciences of words and methods; and it
+was exactly into those sciences that the whole energy of men during the
+Renaissance period was thrown. They discovered suddenly that the world
+for ten centuries had been living in an ungrammatical manner, and they
+made it forthwith the end of human existence to be grammatical. And it
+mattered thenceforth nothing what was said, or what was done, so only
+that it was said with scholarship, and done with system. Falsehood in a
+Ciceronian dialect had no opposers; truth in patois no listeners. A
+Roman phrase was thought worth any number of Gothic facts. The sciences
+ceased at once to be anything more than different kinds of
+grammars,--grammar of language, grammar of logic, grammar of ethics,
+grammar of art; and the tongue, wit, and invention of the human race
+were supposed to have found their utmost and most divine mission in
+syntax and syllogism, perspective and five orders.
+
+Of such knowledge as this, nothing but pride could come; and, therefore,
+I have called the first mental characteristic of the Renaissance
+schools, the "pride" of science. If they had reached any science worth
+the name, they might have loved it; but of the paltry knowledge they
+possessed, they could only be proud. There was not anything in it
+capable of being loved. Anatomy, indeed, then first made a subject of
+accurate study, is a true science, but not so attractive as to enlist
+the affections strongly on its side: and therefore, like its meaner
+sisters, it became merely a ground for pride; and the one main purpose
+of the Renaissance artists, in all their work, was to show how much they
+knew.
+
+§ XXXIII. There were, of course, noble exceptions; but chiefly belonging
+to the earliest periods of the Renaissance, when its teaching had not
+yet produced its full effect. Raphael, Leonardo, and Michael Angelo were
+all trained in the old school; they all had masters who knew the true
+ends of art, and had reached them; masters nearly as great as they were
+themselves, but imbued with the old religious and earnest spirit, which
+their disciples receiving from them, and drinking at the same time
+deeply from all the fountains of knowledge opened in their day, became
+the world's wonders. Then the dull wondering world believed that their
+greatness rose out of their new knowledge, instead of out of that
+ancient religious root, in which to abide was life, from which to be
+severed was annihilation. And from that day to this, they have tried to
+produce Michael Angelos and Leonardos by teaching the barren sciences,
+and still have mourned and marvelled that no more Michael Angelos came;
+not perceiving that those great Fathers were only able to receive such
+nourishment because they were rooted on the rock of all ages, and that
+our scientific teaching, nowadays, is nothing more nor less than the
+assiduous watering of trees whose stems are cut through. Nay, I have
+even granted too much in saying that those great men were able to
+receive pure nourishment from the sciences; for my own conviction is,
+and I know it to be shared by most of those who love Raphael
+truly,--that he painted best when he knew least. Michael Angelo was
+betrayed, again and again, into such vain and offensive exhibition of
+his anatomical knowledge as, to this day, renders his higher powers
+indiscernible by the greater part of men; and Leonardo fretted his life
+away in engineering, so that there is hardly a picture left to bear his
+name. But, with respect to all who followed, there can be no question
+that the science they possessed was utterly harmful; serving merely to
+draw away their hearts at once from the purposes of art and the power of
+nature, and to make, out of the canvas and marble, nothing more than
+materials for the exhibition of petty dexterity and useless knowledge.
+
+§ XXXIV. It is sometimes amusing to watch the naïve and childish way in
+which this vanity is shown. For instance, when perspective was first
+invented, the world thought it a mighty discovery, and the greatest men
+it had in it were as proud of knowing that retiring lines converge, as
+if all the wisdom of Solomon had been compressed into a vanishing point.
+And, accordingly, it became nearly impossible for any one to paint a
+Nativity, but he must turn the stable and manger into a Corinthian
+arcade, in order to show his knowledge of perspective; and half the best
+architecture of the time, instead of being adorned with historical
+sculpture, as of old, was set forth with bas-relief of minor corridors
+and galleries, thrown into perspective.
+
+Now that perspective can be taught to any schoolboy in a week, we can
+smile at this vanity. But the fact is, that all pride in knowledge is
+precisely as ridiculous, whatever its kind, or whatever its degree.
+There is, indeed, nothing of which man has any right to be proud; but
+the very last thing of which, with any show of reason, he can make his
+boast is his knowledge, except only that infinitely small portion of it
+which he has discovered for himself. For what is there to be more proud
+of in receiving a piece of knowledge from another person, than in
+receiving a piece of money? Beggars should not be proud, whatever kind
+of alms they receive. Knowledge is like current coin. A man may have
+some right to be proud of possessing it, if he has worked for the gold
+of it, and assayed it, and stamped it, so that it may be received of
+all men as true; or earned it fairly, being already assayed: but if he
+has done none of these things, but only had it thrown in his face by a
+passer-by, what cause has he to be proud? And though, in this mendicant
+fashion, he had heaped together the wealth of Croesus, would pride any
+more, for this, become him, as, in some sort, it becomes the man who has
+labored for his fortune, however small? So, if a man tells me the sun is
+larger than the earth, have I any cause for pride in knowing it? or, if
+any multitude of men tell me any number of things, heaping all their
+wealth of knowledge upon me, have I any reason to be proud under the
+heap? And is not nearly all the knowledge of which we boast in these
+days cast upon us in this dishonorable way; worked for by other men,
+proved by them, and then forced upon us, even against our wills, and
+beaten into us in our youth, before we have the wit even to know if it
+be good or not? (Mark the distinction between knowledge and thought.)
+Truly a noble possession to be proud of! Be assured, there is no part of
+the furniture of a man's mind which he has a right to exult in, but that
+which he has hewn and fashioned for himself. He who has built himself a
+hut on a desert heath, and carved his bed, and table, and chair out of
+the nearest forest, may have some right to take pride in the appliances
+of his narrow chamber, as assuredly he will have joy in them. But the
+man who has had a palace built, and adorned, and furnished for him, may,
+indeed, have many advantages above the other, but he has no reason to be
+proud of his upholsterer's skill; and it is ten to one if he has half
+the joy in his couches of ivory that the other will have in his pallet
+of pine.
+
+§ XXXV. And observe how we feel this, in the kind of respect we pay to
+such knowledge as we are indeed capable of estimating the value of. When
+it is our own, and new to us, we cannot judge of it; but let it be
+another's also, and long familiar to us, and see what value we set on
+it. Consider how we regard a schoolboy, fresh from his term's labor. If
+he begin to display his newly acquired small knowledge to us, and plume
+himself thereupon, how soon do we silence him with contempt! But it is
+not so if the schoolboy begins to feel or see anything. In the strivings
+of his soul within him he is our equal; in his power of sight and
+thought he stands separate from us, and may be a greater than we. We are
+ready to hear him forthwith. "You saw that? you felt that? No matter for
+your being a child; let us hear."
+
+§ XXXVI. Consider that every generation of men stands in this relation
+to its successors. It is as the schoolboy: the knowledge of which it is
+proudest will be as the alphabet to those who follow. It had better make
+no noise about its knowledge; a time will come when its utmost, in that
+kind, will be food for scorn. Poor fools! was that all they knew? and
+behold how proud they were! But what we see and feel will never be
+mocked at. All men will be thankful to us for telling them that.
+"Indeed!" they will say, "they felt that in their day? saw that? Would
+God we may be like them, before we go to the home where sight and
+thought are not!"
+
+This unhappy and childish pride in knowledge, then, was the first
+constituent element of the Renaissance mind, and it was enough, of
+itself, to have cast it into swift decline: but it was aided by another
+form of pride, which was above called the Pride of State; and which we
+have next to examine.
+
+§ XXXVII. II. PRIDE OF STATE. It was noticed in the second volume of
+"Modern Painters," p. 122, that the principle which had most power in
+retarding the modern school of portraiture was its constant expression
+of individual vanity and pride. And the reader cannot fail to have
+observed that one of the readiest and commonest ways in which the
+painter ministers to this vanity, is by introducing the pedestal or
+shaft of a column, or some fragment, however simple, of Renaissance
+architecture, in the background of the portrait. And this is not merely
+because such architecture is bolder or grander than, in general, that of
+the apartments of a private house. No other architecture would produce
+the same effect in the same degree. The richest Gothic, the most massive
+Norman, would not produce the same sense of exaltation as the simple
+and meagre lines of the Renaissance.
+
+§ XXXVIII. And if we think over this matter a little, we shall soon feel
+that in those meagre lines there is indeed an expression of aristocracy
+in its worst characters; coldness, perfectness of training, incapability
+of emotion, want of sympathy with the weakness of lower men, blank,
+hopeless, haughty self-sufficiency. All these characters are written in
+the Renaissance architecture as plainly as if they were graven on it in
+words. For, observe, all other architectures have something in them that
+common men can enjoy; some concession to the simplicities of humanity,
+some daily bread for the hunger of the multitude. Quaint fancy, rich
+ornament, bright color, something that shows a sympathy with men of
+ordinary minds and hearts; and this wrought out, at least in the Gothic,
+with a rudeness showing that the workman did not mind exposing his own
+ignorance if he could please others. But the Renaissance is exactly the
+contrary of all this. It is rigid, cold, inhuman; incapable of glowing,
+of stooping, of conceding for an instant. Whatever excellence it has is
+refined, high-trained, and deeply erudite; a kind which the architect
+well knows no common mind can taste. He proclaims it to us aloud. "You
+cannot feel my work unless you study Vitruvius. I will give you no gay
+color, no pleasant sculpture, nothing to make you happy; for I am a
+learned man. All the pleasure you can have in anything I do is in its
+proud breeding, its rigid formalism, its perfect finish, its cold
+tranquillity. I do not work for the vulgar, only for the men of the
+academy and the court."
+
+§ XXXIX. And the instinct of the world felt this in a moment. In the new
+precision and accurate law of the classical forms, they perceived
+something peculiarly adapted to the setting forth of state in an
+appalling manner: Princes delighted in it, and courtiers. The Gothic was
+good for God's worship, but this was good for man's worship. The Gothic
+had fellowship with all hearts, and was universal, like nature: it could
+frame a temple for the prayer of nations, or shrink into the poor man's
+winding stair. But here was an architecture that would not shrink, that
+had in it no submission, no mercy. The proud princes and lords rejoiced
+in it. It was full of insult to the poor in its every line. It would not
+be built of the materials at the poor man's hand; it would not roof
+itself with thatch or shingle, and black oak beams; it would not wall
+itself with rough stone or brick; it would not pierce itself with small
+windows where they were needed; it would not niche itself, wherever
+there was room for it, in the street corners. It would be of hewn stone;
+it would have its windows and its doors, and its stairs and its pillars,
+in lordly order, and of stately size; it would have its wings and its
+corridors, and its halls and its gardens, as if all the earth were its
+own. And the rugged cottages of the mountaineers, and the fantastic
+streets of the laboring burgher were to be thrust out of its way, as of
+a lower species.
+
+§ XL. It is to be noted also, that it ministered as much to luxury as to
+pride. Not to luxury of the eye, that is a holy luxury; Nature ministers
+to that in her painted meadows, and sculptured forests, and gilded
+heavens; the Gothic builder ministered to that in his twisted traceries,
+and deep-wrought foliage, and burning casements. The dead Renaissance
+drew back into its earthliness, out of all that was warm and heavenly;
+back into its pride, out of all that was simple and kind; back into its
+stateliness, out of all that was impulsive, reverent, and gay. But it
+understood the luxury of the body; the terraced and scented and grottoed
+garden, with its trickling fountains and slumbrous shades; the spacious
+hall and lengthened corridor for the summer heat; the well-closed
+windows, and perfect fittings and furniture, for defence against the
+cold; and the soft picture, and frescoed wall and roof, covered with the
+last lasciviousness of Paganism;--this is understood and possessed to
+the full, and still possesses. This is the kind of domestic architecture
+on which we pride ourselves, even to this day, as an infinite and
+honorable advance from the rough habits of our ancestors; from the time
+when the king's floor was strewn with rushes, and the tapestries swayed
+before the searching wind in the baron's hall.
+
+§ XLI. Let us hear two stories of those rougher times.
+
+At the debate of King Edwin with his courtiers and priests, whether he
+ought to receive the Gospel preached to him by Paulinus, one of his
+nobles spoke as follows:
+
+"The present life, O king! weighed with the time that is unknown, seems
+to me like this. When you are sitting at a feast with your earls and
+thanes in winter time, and the fire is lighted, and the hall is warmed,
+and it rains and snows, and the storm is loud without, there comes a
+sparrow, and flies through the house. It comes in at one door and goes
+out at the other. While it is within, it is not touched by the winter's
+storm; but it is but for the twinkling of an eye, for from winter it
+comes and to winter it returns. So also this life of man endureth for a
+little space; what goes before or what follows after, we know not.
+Wherefore, if this new lore bring anything more certain, it is fit that
+we should follow it."[13]
+
+That could not have happened in a Renaissance building. The bird could
+not have dashed in from the cold into the heat, and from the heat back
+again into the storm. It would have had to come up a flight of marble
+stairs, and through seven or eight antechambers; and so, if it had ever
+made its way into the presence chamber, out again through loggias and
+corridors innumerable. And the truth which the bird brought with it,
+fresh from heaven, has, in like manner, to make its way to the
+Renaissance mind through many antechambers, hardly, and as a despised
+thing, if at all.
+
+§ XLII. Hear another story of those early times.
+
+The king of Jerusalem, Godfrey of Bouillon, at the siege of Asshur, or
+Arsur, gave audience to some emirs from Samaria and Naplous. They found
+him seated on the ground on a sack of straw. They expressing surprise,
+Godfrey answered them: "May not the earth, out of which we came, and
+which is to be our dwelling after death, serve us for a seat during
+life?"
+
+It is long since such a throne has been set in the reception chambers
+of Christendom, or such an answer heard from the lips of a king.
+
+Thus the Renaissance spirit became base both in its abstinence and its
+indulgence. Base in its abstinence; curtailing the bright and playful
+wealth of form and thought, which filled the architecture of the earlier
+ages with sources of delight for their hardy spirit, pure, simple, and
+yet rich as the fretwork of flowers and moss, watered by some strong and
+stainless mountain stream: and base in its indulgence; as it granted to
+the body what it withdrew from the heart, and exhausted, in smoothing
+the pavement for the painless feet, and softening the pillow for the
+sluggish brain, the powers of art which once had hewn rough ladders into
+the clouds of heaven, and set up the stones by which they rested for
+houses of God.
+
+§ XLIII. And just in proportion as this courtly sensuality lowered the
+real nobleness of the men whom birth or fortune raised above their
+fellows, rose their estimate of their own dignity, together with the
+insolence and unkindness of its expression, and the grossness of the
+flattery with which it was fed. Pride is indeed the first and the last
+among the sins of men, and there is no age of the world in which it has
+not been unveiled in the power and prosperity of the wicked. But there
+was never in any form of slavery, or of feudal supremacy, a
+forgetfulness so total of the common majesty of the human soul, and of
+the brotherly kindness due from man to man, as in the aristocratic
+follies in the Renaissance. I have not space to follow out this most
+interesting and extensive subject; but here is a single and very curious
+example of the kind of flattery with which architectural teaching was
+mingled when addressed to the men of rank of the day.
+
+§ XLIV. In St. Mark's library there is a very curious Latin manuscript
+of the twenty-five books of Averulinus, a Florentine architect, upon the
+principles of his art. The book was written in or about 1460, and
+translated into Latin, and richly illuminated for Corvinus, king of
+Hungary, about 1483. I extract from the third book the following passage
+on the nature of stones. "As there are three genera of men,--that is to
+say, nobles, men of the middle classes, and rustics,--so it appears that
+there are of stones. For the marbles and common stones of which we have
+spoken above, set forth the rustics. The porphyries and alabasters, and
+the other harder stones of mingled quality, represent the middle
+classes, if we are to deal in comparisons: and by means of these the
+ancients adorned their temples with incrustations and ornaments in a
+magnificent manner. And after these come the chalcedonies and
+sardonyxes, &c., which are so transparent that there can be seen no spot
+in them.[14] Thus men endowed with nobility lead a life in which no spot
+can be found."
+
+Canute or Coeur de Lion (I name not Godfrey or St. Louis) would have
+dashed their sceptres against the lips of a man who should have dared to
+utter to them flattery such as this. But in the fifteenth century it was
+rendered and accepted as a matter of course, and the tempers which
+delighted in it necessarily took pleasure also in every vulgar or false
+means, of taking worldly superiority. And among such false means
+largeness of scale in the dwelling-house was of course one of the
+easiest and most direct. All persons, however senseless or dull, could
+appreciate size: it required some exertion of intelligence to enter into
+the spirit of the quaint carving of the Gothic times, but none to
+perceive that one heap of stones was higher than another.[15] And
+therefore, while in the execution and manner of work the Renaissance
+builders zealously vindicated for themselves the attribute of cold and
+superior learning, they appealed for such approbation as they needed
+from the multitude, to the lowest possible standard of taste; and while
+the older workman lavished his labor on the minute niche and narrow
+casement, on the doorways no higher than the head, and the contracted
+angles of the turreted chamber, the Renaissance builder spared such cost
+and toil in his detail, that he might spend it in bringing larger stones
+from a distance; and restricted himself to rustication and five orders,
+that he might load the ground with colossal piers, and raise an
+ambitious barrenness of architecture, as inanimate as it was gigantic,
+above the feasts and follies of the powerful or the rich. The Titanic
+insanity extended itself also into ecclesiastical design: the principal
+church in Italy was built with little idea of any other admirableness
+than that which was to result from its being huge; and the religious
+impressions of those who enter it are to this day supposed to be
+dependent, in a great degree, on their discovering that they cannot span
+the thumbs of the statues which sustain the vessels for holy water.
+
+§ XLV. It is easy to understand how an architecture which thus appealed
+not less to the lowest instincts of dulness than to the subtlest pride
+of learning, rapidly found acceptance with a large body of mankind; and
+how the spacious pomp of the new manner of design came to be eagerly
+adopted by the luxurious aristocracies, not only of Venice, but of the
+other countries of Christendom, now gradually gathering themselves into
+that insolent and festering isolation, against which the cry of the poor
+sounded hourly in more ominous unison, bursting at last into thunder
+(mark where,--first among the planted walks and plashing fountains of
+the palace wherein the Renaissance luxury attained its utmost height in
+Europe, Versailles); that cry, mingling so much piteousness with its
+wrath and indignation, "Our soul is filled with the scornful reproof of
+the wealthy, and with the despitefulness of the proud."
+
+§ XLVI. But of all the evidence bearing upon this subject presented by
+the various arts of the fifteenth century, none is so interesting or so
+conclusive as that deduced from its tombs. For, exactly in proportion as
+the pride of life became more insolent, the fear of death became more
+servile; and the difference in the manner in which the men of early and
+later days adorned the sepulchre, confesses a still greater difference
+in their manner of regarding death. To those he came as the comforter
+and the friend, rest in his right hand, hope in his left; to these as
+the humiliator, the spoiler, and the avenger. And, therefore, we find
+the early tombs at once simple and lovely in adornment, severe and
+solemn in their expression; confessing the power, and accepting the
+peace, of death, openly and joyfully; and in all their symbols marking
+that the hope of resurrection lay only in Christ's righteousness; signed
+always with this simple utterance of the dead, "I will lay me down in
+peace, and take my rest; for it is thou, Lord, only that makest me dwell
+in safety." But the tombs of the later ages are a ghastly struggle of
+mean pride and miserable terror: the one mustering the statues of the
+Virtues about the tomb, disguising the sarcophagus with delicate
+sculpture, polishing the false periods of the elaborate epitaph, and
+filling with strained animation the features of the portrait statue; and
+the other summoning underneath, out of the niche or from behind the
+curtain, the frowning skull, or scythed skeleton, or some other more
+terrible image of the enemy in whose defiance the whiteness of the
+sepulchre had been set to shine above the whiteness of the ashes.
+
+§ XLVII. This change in the feeling with which sepulchral monuments were
+designed, from the eleventh to the eighteenth centuries, has been common
+to the whole of Europe. But, as Venice is in other respects the centre
+of the Renaissance system, so also she exhibits this change in the
+manner of the sepulchral monument under circumstances peculiarly
+calculated to teach us its true character. For the severe guard which,
+in earlier times, she put upon every tendency to personal pomp and
+ambition, renders the tombs of her ancient monarchs as remarkable for
+modesty and simplicity as for their religious feeling; so that, in this
+respect, they are separated by a considerable interval from the more
+costly monuments erected at the same periods to the kings or nobles of
+other European states. In later times, on the other hand, as the piety
+of the Venetians diminished, their pride overleaped all limits, and the
+tombs which in recent epochs, were erected for men who had lived only to
+impoverish or disgrace the state, were as much more magnificent than
+those contemporaneously erected for the nobles of Europe, as the
+monuments for the great Doges had been humbler. When, in addition to
+this, we reflect that the art of sculpture, considered as expressive of
+emotion, was at a low ebb in Venice in the twelfth century, and that in
+the seventeenth she took the lead in Italy in luxurious work, we shall
+at once see the chain of examples through which the change of feeling is
+expressed, must present more remarkable extremes here than it can in any
+other city; extremes so startling that their impressiveness cannot be
+diminished, while their intelligibility is greatly increased, by the
+large number of intermediate types which have fortunately been
+preserved.
+
+It would, however, too much weary the general reader if, without
+illustrations, I were to endeavor to lead him step by step through the
+aisles of St. John and Paul; and I shall therefore confine myself to a
+slight notice of those features in sepulchral architecture generally
+which are especially illustrative of the matter at present in hand, and
+point out the order in which, if possible, the traveller should visit
+the tombs in Venice, so as to be most deeply impressed with the true
+character of the lessons they convey.
+
+§ XLVIII. I have not such an acquaintance with the modes of entombment
+or memorial in the earliest ages of Christianity as would justify me in
+making any general statement respecting them: but it seems to me that
+the perfect type of a Christian tomb was not developed until toward the
+thirteenth century, sooner or later according to the civilization of
+each country; that perfect type consisting in the raised and perfectly
+visible sarcophagus of stone, bearing upon it a recumbent figure, and
+the whole covered by a canopy. Before that type was entirely developed,
+and in the more ordinary tombs contemporary with it, we find the simple
+sarcophagus, often with only a rough block of stone for its lid,
+sometimes with a low-gabled lid like a cottage roof, derived from
+Egyptian forms, and bearing, either on the sides or the lid, at least a
+sculpture of the cross, and sometimes the name of the deceased, and date
+of erection of the tomb. In more elaborate examples rich
+figure-sculpture is gradually introduced; and in the perfect period the
+sarcophagus, even when it does not bear any recumbent figure, has
+generally a rich sculpture on its sides representing an angel presenting
+the dead, in person and dress as he lived, to Christ or to the Madonna,
+with lateral figures, sometimes of saints, sometimes--as in the tombs of
+the Dukes of Burgundy at Dijon--of mourners; but in Venice almost always
+representing the Annunciation, the angel being placed at one angle of
+the sarcophagus, and the Madonna at the other. The canopy, in a very
+simple foursquare form, or as an arch over a recess, is added above the
+sarcophagus, long before the life-size recumbent figure appears resting
+upon it. By the time that the sculptors had acquired skill enough to
+give much expression to this figure, the canopy attains an exquisite
+symmetry and richness; and, in the most elaborate examples, is
+surmounted by a statue, generally small, representing the dead person in
+the full strength and pride of life, while the recumbent figure shows
+him as he lay in death. And, at this point, the perfect type of the
+Gothic tomb is reached.
+
+§ XLIX. Of the simple sarcophagus tomb there are many exquisite examples
+both at Venice and Verona; the most interesting in Venice are those
+which are set in the recesses of the rude brick front of the Church of
+St. John and Paul, ornamented only, for the most part, with two crosses
+set in circles, and the legend with the name of the dead, and an "Orate
+pro anima" in another circle in the centre. And in this we may note one
+great proof of superiority in Italian over English tombs; the latter
+being often enriched with quatrefoils, small shafts, and arches, and
+other ordinary architectural decorations, which destroy their
+seriousness and solemnity, render them little more than ornamental, and
+have no religious meaning whatever; while the Italian sarcophagi are
+kept massive, smooth, and gloomy,--heavy-lidded dungeons of stone, like
+rock-tombs,--but bearing on their surface, sculptured with tender and
+narrow lines, the emblem of the cross, not presumptuously nor proudly,
+but dimly graven upon their granite, like the hope which the human heart
+holds, but hardly perceives in its heaviness.
+
+§ L. Among the tombs in front of the Church of St. John and Paul there
+is one which is peculiarly illustrative of the simplicity of these
+earlier ages. It is on the left of the entrance, a massy sarcophagus
+with low horns as of an altar, placed in a rude recess of the outside
+wall, shattered and worn, and here and there entangled among wild grass
+and weeds. Yet it is the tomb of two Doges, Jacopo and Lorenzo Tiepolo,
+by one of whom nearly the whole ground was given for the erection of the
+noble church in front of which his unprotected tomb is wasting away. The
+sarcophagus bears an inscription in the centre, describing the acts of
+the Doges, of which the letters show that it was added a considerable
+period after the erection of the tomb: the original legend is still left
+in other letters on its base, to this effect,
+
+  "Lord James, died 1251. Lord Laurence, died 1288."
+
+At the two corners of the sarcophagus are two angels bearing censers;
+and on its lid two birds, with crosses like crests upon their heads. For
+the sake of the traveller in Venice the reader will, I think, pardon me
+the momentary irrelevancy of telling the meaning of these symbols.
+
+§ LI. The foundation of the church of St. John and Paul was laid by the
+Dominicans about 1234, under the immediate protection of the Senate and
+the Doge Giacomo Tiepolo, accorded to them in consequence of a
+miraculous vision appearing to the Doge; of which the following account
+is given in popular tradition:
+
+"In the year 1226, the Doge Giacomo Tiepolo dreamed a dream; and in his
+dream he saw the little oratory of the Dominicans, and, behold, the
+ground all around it (now occupied by the church) was covered with
+roses of the color of vermilion, and the air was filled with their
+fragrance. And in the midst of the roses, there were seen flying to and
+fro a crowd of white doves, with golden crosses upon their heads. And
+while the Doge looked, and wondered, behold, two angels descended from
+heaven with golden censers, and passing through the oratory, and forth
+among the flowers, they filled the place with the smoke of their
+incense. Then the Doge heard suddenly a clear and loud voice which
+proclaimed, 'This is the place that I have chosen for my preachers;' and
+having heard it, straightway he awoke and went to the Senate, and
+declared to them the vision. Then the Senate decreed that forty paces of
+ground should be given to enlarge the monastery; and the Doge Tiepolo
+himself made a still larger grant afterwards."
+
+There is nothing miraculous in the occurrence of such a dream as this to
+the devout Doge; and the fact, of which there is no doubt, that the
+greater part of the land on which the church stands was given by him, is
+partly a confirmation of the story. But, whether the sculptures on the
+tomb were records of the vision, or the vision a monkish invention from
+the sculptures on the tomb, the reader will not, I believe, look upon
+its doves and crosses, or rudely carved angels, any more with disdain;
+knowing how, in one way or another, they were connected with a point of
+deep religious belief.
+
+§ LII. Towards the beginning of the fourteenth century, in Venice, the
+recumbent figure begins to appear on the sarcophagus, the first dated
+example being also one of the most beautiful; the statue of the prophet
+Simeon, sculptured upon the tomb which was to receive his relics in the
+church dedicated to him under the name of San Simeone Grande. So soon as
+the figure appears, the sarcophagus becomes much more richly sculptured,
+but always with definite religious purpose. It is usually divided into
+two panels, which are filled with small bas-reliefs of the acts or
+martyrdom of the patron saints of the deceased: between them, in the
+centre, Christ, or the Virgin and Child, are richly enthroned, under a
+curtained canopy; and the two figures representing the Annunciation are
+almost always at the angles; the promise of the Birth of Christ being
+taken as at once the ground and the type of the promise of eternal life
+to all men.
+
+§ LIII. These figures are always in Venice most rudely chiselled; the
+progress of figure sculpture being there comparatively tardy. At Verona,
+where the great Pisan school had strong influence, the monumental
+sculpture is immeasurably finer; and, so early as about the year
+1335,[16] the consummate form of the Gothic tomb occurs in the monument
+of Can Grande della Scala at Verona. It is set over the portal of the
+chapel anciently belonging to the family. The sarcophagus is sculptured
+with shallow bas-reliefs, representing (which is rare in the tombs with
+which I am acquainted in Italy, unless they are those of saints) the
+principal achievements of the warrior's life, especially the siege of
+Vicenza and battle of Placenza; these sculptures, however, form little
+more than a chased and roughened groundwork for the fully relieved
+statues representing the Annunciation, projecting boldly from the front
+of the sarcophagus. Above, the Lord of Verona is laid in his long robe
+of civil dignity, wearing the simple bonnet, consisting merely of a
+fillet bound round the brow, knotted and falling on the shoulder. He is
+laid as asleep; his arms crossed upon his body, and his sword by his
+side. Above him, a bold arched canopy is sustained by two projecting
+shafts, and on the pinnacle of its roof is the statue of the knight on
+his war-horse; his helmet, dragon-winged and crested with the dog's
+head, tossed back behind his shoulders, and the broad and blazoned
+drapery floating back from his horse's breast,--so truly drawn by the
+old workman from the life, that it seems to wave in the wind, and the
+knight's spear to shake, and his marble horse to be evermore quickening
+its pace, and starting into heavier and hastier charge, as the silver
+clouds float past behind it in the sky.
+
+§ LIV. Now observe, in this tomb, as much concession is made to the
+pride of man as may ever consist with honor, discretion, or dignity. I
+do not enter into any question respecting the character of Can Grande,
+though there can be little doubt that he was one of the best among the
+nobles of his time; but that is not to our purpose. It is not the
+question whether his wars were just, or his greatness honorably
+achieved; but whether, supposing them to have been so, these facts are
+well and gracefully told upon his tomb. And I believe there can be no
+hesitation in the admission of its perfect feeling and truth. Though
+beautiful, the tomb is so little conspicuous or intrusive, that it
+serves only to decorate the portal of the little chapel, and is hardly
+regarded by the traveller as he enters. When it is examined, the history
+of the acts of the dead is found subdued into dim and minute ornament
+upon his coffin; and the principal aim of the monument is to direct the
+thoughts to his image as he lies in death, and to the expression of his
+hope of resurrection; while, seen as by the memory far away, diminished
+in the brightness of the sky, there is set the likeness of his armed
+youth, stately, as it stood of old, in the front of battle, and meet to
+be thus recorded for us, that we may now be able to remember the dignity
+of the frame, of which those who once looked upon it hardly remembered
+that it was dust.
+
+§ LV. This, I repeat, is as much as may ever be granted, but this ought
+always to be granted, to the honor and the affection of men. The tomb
+which stands beside that of Can Grande, nearest it in the little field
+of sleep, already shows the traces of erring ambition. It is the tomb of
+Mastino the Second, in whose reign began the decline of his family. It
+is altogether exquisite as a work of art; and the evidence of a less
+wise or noble feeling in its design is found only in this, that the
+image of a virtue, Fortitude, as belonging to the dead, is placed on the
+extremity of the sarcophagus, opposite to the Crucifixion. But for this
+slight circumstance, of which the significance will only be appreciated
+as we examine the series of later monuments, the composition of this
+monument of Can Mastino would have been as perfect as its decoration is
+refined. It consists, like that of Can Grande, of the raised
+sarcophagus, bearing the recumbent statue, protected by a noble
+foursquare canopy, sculptured with ancient Scripture history. On one
+side of the sarcophagus is Christ enthroned, with Can Mastino kneeling
+before Him; on the other, Christ is represented in the mystical form,
+half-rising from the tomb, meant, I believe, to be at once typical of
+His passion and resurrection. The lateral panels are occupied by statues
+of saints. At one extremity of the sarcophagus is the Crucifixion; at
+the other, a noble statue of Fortitude, with a lion's skin thrown over
+her shoulders, its head forming a shield upon her breast, her flowing
+hair bound with a narrow fillet, and a three-edged sword in her
+gauntleted right hand, drawn back sternly behind her thigh, while, in
+her left, she bears high the shield of the Scalas.
+
+§ LVI. Close to this monument is another, the stateliest and most
+sumptuous of the three; it first arrests the eye of the stranger, and
+long detains it,--a many-pinnacled pile surrounded by niches with
+statues of the warrior saints.
+
+It is beautiful, for it still belongs to the noble time, the latter part
+of the fourteenth century; but its work is coarser than that of the
+other, and its pride may well prepare us to learn that it was built for
+himself, in his own lifetime, by the man whose statue crowns it, Can
+Signorio della Scala. Now observe, for this is infinitely significant.
+Can Mastino II. was feeble and wicked, and began the ruin of his house;
+his sarcophagus is the first which bears upon it the image of a virtue,
+but he lays claim only to Fortitude. Can Signorio was twice a
+fratricide, the last time when he lay upon his death-bed: _his_ tomb
+bears upon its gables the images of six virtues,--Faith, Hope, Charity,
+Prudence, and (I believe) Justice and Fortitude.
+
+§ LVII. Let us now return to Venice, where, in the second chapel
+counting from right to left, at the west end of the Church of the Frari,
+there is a very early fourteenth, or perhaps late thirteenth, century
+tomb, another exquisite example of the perfect Gothic form. It is a
+knight's; but there is no inscription upon it, and his name is unknown.
+It consists of a sarcophagus, supported on bold brackets against the
+chapel wall, bearing the recumbent figure, protected by a simple canopy
+in the form of a pointed arch, pinnacled by the knight's crest; beneath
+which the shadowy space is painted dark blue, and strewn with stars. The
+statue itself is rudely carved; but its lines, as seen from the intended
+distance, are both tender and masterly. The knight is laid in his mail,
+only the hands and face being bare. The hauberk and helmet are of
+chain-mail, the armor for the limbs of jointed steel; a tunic, fitting
+close to the breast, and marking the noble swell of it by two narrow
+embroidered lines, is worn over the mail; his dagger is at his right
+side; his long cross-belted sword, not seen by the spectator from below,
+at his left. His feet rest on a hound (the hound being his crest), which
+looks up towards its master. In general, in tombs of this kind, the face
+of the statue is slightly turned towards the spectator; in this
+monument, on the contrary, it is turned away from him, towards the depth
+of the arch: for there, just above the warrior's breast, is carved a
+small image of St. Joseph bearing the infant Christ, who looks down upon
+the resting figure; and to this image its countenance is turned. The
+appearance of the entire tomb is as if the warrior had seen the vision
+of Christ in his dying moments, and had fallen back peacefully upon his
+pillow, with his eyes still turned to it, and his hands clasped in
+prayer.
+
+§ LVIII. On the opposite side of this chapel is another very lovely
+tomb, to Duccio degli Alberti, a Florentine ambassador at Venice;
+noticeable chiefly as being the first in Venice on which any images of
+the Virtues appear. We shall return to it presently, but some account
+must first be given of the more important among the other tombs in
+Venice belonging to the perfect period. Of these, by far the most
+interesting, though not the most elaborate, is that of the great Doge
+Francesco Dandolo, whose ashes, it might have been thought, were
+honorable enough to have been permitted to rest undisturbed in the
+chapter-house of the Frari, where they were first laid. But, as if there
+were not room enough, nor waste houses enough in the desolate city to
+receive a few convent papers, the monks, wanting an "archivio," have
+separated the tomb into three pieces: the canopy, a simple arch
+sustained on brackets, still remains on the blank walls of the
+desecrated chamber; the sarcophagus has been transported to a kind of
+museum of antiquities, established in what was once the cloister of
+Santa Maria della Salute; and the painting which filled the lunette
+behind it is hung far out of sight, at one end of the sacristy of the
+same church. The sarcophagus is completely charged with bas-reliefs: at
+its two extremities are the types of St. Mark and St. John; in front, a
+noble sculpture of the death of the Virgin; at the angles, angels
+holding vases. The whole space is occupied by the sculpture; there are
+no spiral shafts or panelled divisions; only a basic plinth below, and
+crowning plinth above, the sculpture being raised from a deep concave
+field between the two, but, in order to give piquancy and
+picturesqueness to the mass of figures, two small trees are introduced
+at the head and foot of the Madonna's couch, an oak and a stone pine.
+
+§ LIX. It was said above,[17] in speaking of the frequent disputes of
+the Venetians with the Pontifical power, which in their early days they
+had so strenuously supported, that "the humiliation of Francesco Dandolo
+blotted out the shame of Barbarossa." It is indeed well that the two
+events should be remembered together. By the help of the Venetians,
+Alexander III. was enabled, in the twelfth century, to put his foot upon
+the neck of the emperor Barbarossa, quoting the words of the Psalm,
+"Thou shalt tread upon the lion and the adder." A hundred and fifty
+years later, the Venetian ambassador, Francesco Dandolo, unable to
+obtain even an audience from the Pope, Clement V., to whom he had been
+sent to pray for a removal of the sentence of excommunication pronounced
+against the republic, concealed himself (according to the common
+tradition) beneath the Pontiff's dining-table; and thence coming out as
+he sat down to meat, embraced his feet, and obtained, by tearful
+entreaties, the removal of the terrible sentence.
+
+I say, "according to the common tradition;" for there are some doubts
+cast upon the story by its supplement. Most of the Venetian historians
+assert that Francesco Dandolo's surname of "Dog" was given him first on
+this occasion, in insult, by the cardinals; and that the Venetians, in
+remembrance of the grace which his humiliation had won for them, made it
+a title of honor to him and to his race. It has, however, been
+proved[18] that the surname was borne by the ancestors of Francesco
+Dandolo long before; and the falsity of this seal of the legend renders
+also its circumstances doubtful. But the main fact of grievous
+humiliation having been undergone, admits of no dispute; the existence
+of such a tradition at all is in itself a proof of its truth; it was not
+one likely to be either invented or received without foundation: and it
+will be well, therefore, that the reader should remember, in connection
+with the treatment of Barbarossa at the door of the Church of St.
+Mark's, that in the Vatican, one hundred and fifty years later, a
+Venetian noble, a future Doge, submitted to a degradation, of which the
+current report among his people was, that he had crept on his hands and
+knees from beneath the Pontiff's table to his feet, and had been spurned
+as a "dog" by the cardinals present.
+
+§ LX. There are two principal conclusions to be drawn from this: the
+obvious one respecting the insolence of the Papal dominion in the
+thirteenth century; the second, that there were probably most deep piety
+and humility in the character of the man who could submit to this
+insolence for the sake of a benefit to his country. Probably no motive
+would have been strong enough to obtain such a sacrifice from most men,
+however unselfish; but it was, without doubt, made easier to Dandolo by
+his profound reverence for the Pontifical office; a reverence which,
+however _we_ may now esteem those who claimed it, could not but have
+been felt by nearly all good and faithful men at the time of which we
+are speaking. This is the main point which I wish the reader to remember
+as we look at his tomb, this, and the result of it,--that, some years
+afterwards, when he was seated on the throne which his piety had saved,
+"there were sixty princes' ambassadors in Venice at the same time,
+requesting the judgment of the Senate on matters of various concernment,
+_so great was the fame of the uncorrupted justice of the Fathers_."[19]
+
+Observe, there are no virtues on this tomb. Nothing but religious
+history or symbols; the Death of the Virgin in front, and the types of
+St. Mark and St. John at the extremities.
+
+§ LXI. Of the tomb of the Doge Andrea Dandolo, in St. Mark's, I have
+spoken before. It is one of the first in Venice which presents, in a
+canopy, the Pisan idea of angels withdrawing curtains, as of a couch, to
+look down upon the dead. The sarcophagus is richly decorated with
+flower-work; the usual figures of the Annunciation are at the sides; an
+enthroned Madonna in the centre; and two bas-reliefs, one of the
+martyrdom of the Doge's patron saint, St. Andrew, occupy the
+intermediate spaces. All these tombs have been richly colored; the hair
+of the angels has here been gilded, their wings bedropped with silver,
+and their garments covered with the most exquisite arabesques. This
+tomb, and that of St. Isidore in another chapel of St. Mark's, which was
+begun by this very Doge, Andrea Dandolo, and completed after his death
+in 1354, are both nearly alike in their treatment, and are, on the
+whole, the best existing examples of Venetian monumental sculpture.
+
+§ LXII. Of much ruder workmanship, though still most precious, and
+singularly interesting from its quaintness, is a sarcophagus in the
+northernmost chapel, beside the choir of St. John and Paul, charged with
+two bas-reliefs and many figures, but which bears no inscription. It
+has, however, a shield with three dolphins on its brackets; and as at
+the feet of the Madonna in its centre there is a small kneeling figure
+of a Doge, we know it to be the tomb of the Doge Giovanni Dolfino, who
+came to the throne in 1356.
+
+He was chosen Doge while, as provveditore, he was in Treviso, defending
+the city against the King of Hungary. The Venetians sent to the
+besiegers, praying that their newly elected Doge might be permitted to
+pass the Hungarian lines. Their request was refused, the Hungarians
+exulting that they held the Doge of Venice prisoner in Treviso. But
+Dolfino, with a body of two hundred horse, cut his way through their
+lines by night, and reached Mestre (Malghera) in safety, where he was
+met by the Senate. His bravery could not avert the misfortunes which
+were accumulating on the republic. The Hungarian war was ignominiously
+terminated by the surrender of Dalmatia: the Doge's heart was broken,
+his eyesight failed him, and he died of the plague four years after he
+had ascended the throne.
+
+§ LXIII. It is perhaps on this account, perhaps in consequence of later
+injuries, that the tomb has neither effigy nor inscription: that it has
+been subjected to some violence is evident from the dentil which once
+crowned its leaf-cornice being now broken away, showing the whole front.
+But, fortunately, the sculpture of the sarcophagus itself is little
+injured.
+
+There are two saints, male and female, at its angles, each in a little
+niche; a Christ, enthroned in the centre, the Doge and Dogaressa
+kneeling at his feet; in the two intermediate panels, on one side the
+Epiphany, on the other the Death of the Virgin; the whole supported, as
+well as crowned, by an elaborate leaf-plinth. The figures under the
+niches are rudely cut, and of little interest. Not so the central group.
+Instead of a niche, the Christ is seated under a square tent, or
+tabernacle, formed by curtains running on rods; the idea, of course, as
+usual, borrowed from the Pisan one, but here ingeniously applied. The
+curtains are opened in front, showing those at the back of the tent,
+behind the seated figure; the perspective of the two retiring sides
+being very tolerably suggested. Two angels, of half the size of the
+seated figure, thrust back the near curtains, and look up reverently to
+the Christ; while again, at their feet, about one third of _their_ size,
+and half-sheltered, as it seems, by their garments, are the two kneeling
+figures of the Doge and Dogaressa, though so small and carefully cut,
+full of life. The Christ raising one hand as to bless, and holding a
+book upright and open on the knees, does not look either towards them or
+to the angels, but forward; and there is a very noticeable effort to
+represent Divine abstraction in the countenance: the idea of the three
+magnitudes of spiritual being,--the God, the Angel, and the Man,--is
+also to be observed, aided as it is by the complete subjection of the
+angelic power to the Divine; for the angels are in attitudes of the most
+lowly watchfulness of the face of Christ, and appear unconscious of the
+presence of the human beings who are nestled in the folds of their
+garments.
+
+§ LXIV. With this interesting but modest tomb of one of the kings of
+Venice, it is desirable to compare that of one of her senators, of
+exactly the same date, which is raised against the western wall of the
+Frari, at the end of the north aisle. It bears the following remarkable
+inscription:
+
+ "ANNO MCCCLX. prima die Julii Sepultura . Domini . Simonii Dandolo .
+   amador . de . Justisia . e . desiroso . de . acrese . el . ben .
+   chomum."
+
+The "Amador de Justitia" has perhaps some reference to Simon Dandolo's
+having been one of the Giunta who condemned the Doge Faliero. The
+sarcophagus is decorated merely by the Annunciation group, and an
+enthroned Madonna with a curtain behind her throne, sustained by four
+tiny angels, who look over it as they hold it up; but the workmanship of
+the figures is more than usually beautiful.
+
+§ LXV. Seven years later, a very noble monument was placed on the north
+side of the choir of St. John and Paul, to the Doge Marco Cornaro,
+chiefly, with respect to our present subject, noticeable for the absence
+of religious imagery from the sarcophagus, which is decorated with
+roses only; three very beautiful statues of the Madonna and two saints
+are, however, set in the canopy above. Opposite this tomb, though about
+fifteen years later in date, is the richest monument of the Gothic
+period in Venice; that of the Doge Michele Morosini, who died in 1382.
+It consists of a highly florid canopy,--an arch crowned by a gable, with
+pinnacles at the flanks, boldly crocketed, and with a huge finial at the
+top representing St. Michael,--a medallion of Christ set in the gable;
+under the arch, a mosaic, representing the Madonna presenting the Doge
+to Christ upon the cross; beneath, as usual, the sarcophagus, with a
+most noble recumbent figure of the Doge, his face meagre and severe, and
+sharp in its lines, but exquisite in the form of its small and princely
+features. The sarcophagus is adorned with elaborate wrinkled leafage,
+projecting in front of it into seven brackets, from which the statues
+are broken away; but by which, for there can be no doubt that these last
+statues represented the theological and cardinal Virtues, we must for a
+moment pause.
+
+§ LXVI. It was noticed above, that the tomb of the Florentine
+ambassador, Duccio, was the first in Venice which presented images of
+the Virtues. Its small lateral statues of Justice and Temperance are
+exquisitely beautiful, and were, I have no doubt, executed by a
+Florentine sculptor; the whole range of artistical power and religious
+feeling being, in Florence, full half a century in advance of that of
+Venice. But this is the first truly Venetian tomb which has the Virtues;
+and it becomes of importance, therefore, to know what was the character
+of Morosini.
+
+The reader must recollect, that I dated the commencement of the fall of
+Venice from the death of Carlo Zeno, considering that no state could be
+held as in decline, which numbered such a man amongst its citizens.
+Carlo Zeno was a candidate for the Ducal bonnet together with Michael
+Morosini; and Morosini was chosen. It might be anticipated, therefore,
+that there was something more than usually admirable or illustrious in
+his character. Yet it is difficult to arrive at a just estimate of it,
+as the reader will at once understand by comparing the following
+statements:
+
+   § LXVI. 1. "To him (Andrea Contarini) succeeded Morosini, at the age
+   of seventy-four years; a most learned and prudent man, who also
+   reformed several laws."--_Sansovino_, Vite de' Principi.
+
+   2. "It was generally believed that, if his reign had been longer, he
+   would have dignified the state by many noble laws and institutes; but
+   by so much as his reign was full of hope, by as much was it short in
+   duration, for he died when he had been at the head of the republic
+   but four months."--_Sabellico_, lib. viii.
+
+   3. "He was allowed but a short time to enjoy this high dignity, which
+   he had so well deserved by his rare virtues, for God called him to
+   Himself on the 15th of October."--_Muratori_, Annali de' Italia.
+
+   4. "Two candidates presented themselves; one was Zeno, the other that
+   Michael Morosini who, during the war, had tripled his fortune by his
+   speculations. The suffrages of the electors fell upon him, and he was
+   proclaimed Doge on the 10th of June."--_Daru_, Histoire de Venise,
+   lib. x.
+
+   5. "The choice of the electors was directed to Michele Morosini, a
+   noble of illustrious birth, derived from a stock which, coeval with
+   the republic itself, had produced the conqueror of Tyre, given a
+   queen to Hungary, and more than one Doge to Venice. The brilliancy of
+   this descent was tarnished in the present chief representative of the
+   family by the most base and grovelling avarice; for at that moment,
+   in the recent war, at which all other Venetians were devoting their
+   whole fortunes to the service of the state, Morosini sought in the
+   distresses of his country an opening for his own private enrichment,
+   and employed his ducats, not in the assistance of the national wants,
+   but in speculating upon houses which were brought to market at a
+   price far beneath their real value, and which, upon the return of
+   peace, insured the purchaser a fourfold profit. 'What matters the
+   fall of Venice to me, so as I fall not together with her?' was his
+   selfish and sordid reply to some one who expressed surprise at the
+   transaction."--_Sketches of Venetian History_. Murray, 1831.
+
+§ LXVIII. The writer of the unpretending little history from which the
+last quotation is taken has not given his authority for this statement,
+and I could not find it, but believed, from the general accuracy of the
+book, that some authority might exist better than Daru's. Under these
+circumstances, wishing if possible to ascertain the truth, and to clear
+the character of this great Doge from the accusation, if it proved
+groundless, I wrote to the Count Carlo Morosini, his descendant, and one
+of the few remaining representatives of the ancient noblesse of Venice;
+one, also, by whom his great ancestral name is revered, and in whom it
+is exalted. His answer appears to me altogether conclusive as to the
+utter fallacy of the reports of Daru and the English history. I have
+placed his letter in the close of this volume (Appendix 6), in order
+that the reader may himself be the judge upon this point; and I should
+not have alluded to Daru's report, except for the purpose of
+contradicting it, but that it still appears to me impossible that any
+modern historian should have gratuitously invented the whole story, and
+that, therefore, there must have been a trace in the documents which
+Daru himself possessed, of some scandal of this kind raised by
+Morosini's enemies, perhaps at the very time of the disputed election
+with Carlo Zeno. The occurrence of the Virtues upon his tomb, for the
+first time in Venetian monumental work, and so richly and conspicuously
+placed, may partly have been in public contradiction of such a floating
+rumor. But the face of the statue is a more explicit contradiction
+still; it is resolute, thoughtful, serene, and full of beauty; and we
+must, therefore, for once, allow the somewhat boastful introduction of
+the Virtues to have been perfectly just: though the whole tomb is most
+notable, as furnishing not only the exact intermediate condition in
+style between the pure Gothic and its final Renaissance corruption, but,
+at the same time, the exactly intermediate condition of _feeling_
+between the pure calmness of early Christianity, and the boastful pomp
+of the Renaissance faithlessness; for here we have still the religious
+humility remaining in the mosaic of the canopy, which shows the Doge
+kneeling before the cross, while yet this tendency to self-trust is
+shown in the surrounding of the coffin by the Virtues.
+
+§ LXIX. The next tomb by the side of which they appear is that of Jacopo
+Cavalli, in the same chapel of St. John and Paul which contains the tomb
+of the Doge Delfin. It is peculiarly rich in religious imagery, adorned
+by boldly cut types of the four evangelists, and of two saints, while,
+on projecting brackets in front of it, stood three statues of Faith,
+Hope, and Charity, now lost, but drawn in Zanotto's work. It is all rich
+in detail, and its sculptor has been proud of it, thus recording his
+name below the epitaph:
+
+  "QST OPERA DINTALGIO E FATTO IN PIERA,
+   UNVENICIAN LAFE CHANOME POLO,
+   NATO DI JACHOMEL CHATAIAPIERA."
+
+   This work of sculpture is done in stone;
+   A Venetian did it, named Paul,
+   Son of Jachomel the stone-cutter.
+
+Jacopo Cavalli died in 1384. He was a bold and active Veronese soldier,
+did the state much service, was therefore ennobled by it, and became the
+founder of the house of the Cavalli; but I find no especial reason for
+the images of the Virtues, especially that of Charity, appearing at his
+tomb, unless it be this: that at the siege of Feltre, in the war against
+Leopold of Austria, he refused to assault the city, because the senate
+would not grant his soldiers the pillage of the town. The feet of the
+recumbent figure, which is in full armor, rest on a dog, and its head on
+two lions; and these animals (neither of which form any part of the
+knight's bearings) are said by Zanotto to be intended to symbolize his
+bravery and fidelity. If, however, the lions are meant to set forth
+courage, it is a pity they should have been represented as howling.
+
+§ LXX. We must next pause for an instant beside the tomb of Michael
+Steno, now in the northern aisle of St. John and Paul, having been
+removed there from the destroyed church of the Servi: first, to note its
+remarkable return to the early simplicity, the sarcophagus being
+decorated only with two crosses in quatrefoils, though it is of the
+fifteenth century, Steno dying in 1413; and, in the second place, to
+observe the peculiarity of the epitaph, which eulogises Steno as having
+been "amator justitie, pacis, et ubertatis," "a lover of justice, peace,
+and plenty." In the epitaphs of this period, the virtues which are made
+most account of in public men are those which were most useful to their
+country. We have already seen one example in the epitaph on Simon
+Dandolo; and similar expressions occur constantly in laudatory mentions
+of their later Doges by the Venetian writers. Thus Sansovino of Marco
+Cornaro, "Era savio huomo, eloquente, e amava molto la pace e l'
+abbondanza della citta;" and of Tomaso Mocenigo, "Huomo oltre modo
+desideroso della pace."
+
+Of the tomb of this last-named Doge mention has before been made. Here,
+as in Morosini's, the images of the Virtues have no ironical power,
+although their great conspicuousness marks the increase of the boastful
+feeling in the treatment of monuments. For the rest, this tomb is the
+last in Venice which can be considered as belonging to the Gothic
+period. Its mouldings are already rudely classical, and it has
+meaningless figures in Roman armor at the angles; but its tabernacle
+above is still Gothic, and the recumbent figure is very beautiful. It
+was carved by two Florentine sculptors in 1423.
+
+§ LXXI. Tomaso Mocenigo was succeeded by the renowned Doge, Francesco
+Foscari, under whom, it will be remembered, the last additions were made
+to the Gothic Ducal Palace; additions which, in form only, not in
+spirit, corresponded to the older portions; since, during his reign, the
+transition took place which permits us no longer to consider the
+Venetian architecture as Gothic at all. He died in 1457, and his tomb is
+the first important example of Renaissance art.
+
+Not, however, a good characteristic example. It is remarkable chiefly as
+introducing all the faults of the Renaissance at an early period, when
+its merits, such as they are, were yet undeveloped. Its claim to be
+rated as a classical composition is altogether destroyed by the remnants
+of Gothic feeling which cling to it here and there in their last forms
+of degradation; and of which, now that we find them thus corrupted, the
+sooner we are rid the better. Thus the sarcophagus is supported by a
+species of trefoil arches; the bases of the shafts have still their
+spurs; and the whole tomb is covered by a pediment, with crockets and a
+pinnacle. We shall find that the perfect Renaissance is at least pure in
+its insipidity, and subtle in its vice; but this monument is remarkable
+as showing the refuse of one style encumbering the embryo of another,
+and all principles of life entangled either in the swaddling clothes or
+the shroud.
+
+§ LXXII. With respect to our present purpose, however, it is a monument
+of enormous importance. We have to trace, be it remembered, the pride of
+state in its gradual intrusion upon the sepulchre; and the consequent
+and correlative vanishing of the expressions of religious feeling and
+heavenly hope, together with the more and more arrogant setting forth of
+the virtues of the dead. Now this tomb is the largest and most costly we
+have yet seen; but its means of religious expression are limited to a
+single statue of Christ, small and used merely as a pinnacle at the top.
+The rest of the composition is as curious as it is vulgar. The conceit,
+so often noticed as having been borrowed from the Pisan school, of
+angels withdrawing the curtains of the couch to look down upon the dead,
+was brought forward with increasing prominence by every succeeding
+sculptor; but, as we draw nearer to the Renaissance period, we find that
+the _angels_ become of less importance, and the _curtains_ of more. With
+the Pisans, the curtains are introduced as a motive for the angels; with
+the Renaissance sculptors, the angels are introduced merely as a motive
+for the curtains, which become every day more huge and elaborate. In the
+monument of Mocenigo, they have already expanded into a tent, with a
+pole in the centre of it: and in that of Foscari, for the first time,
+the _angels are absent altogether_; while the curtains are arranged in
+the form of an enormous French tent-bed, and are sustained at the flanks
+by two diminutive figures in Roman armor; substituted for the angels,
+merely that the sculptor might _show his knowledge_ of classical
+costume. And now observe how often a fault in feeling induces also a
+fault in style. In the old tombs, the angels used to stand on or by the
+side of the sarcophagus; but their places are here to be occupied by the
+Virtues, and therefore, to sustain the diminutive Roman figures at the
+necessary height, each has a whole Corinthian pillar to himself, a
+pillar whose shaft is eleven feet high, and some three or four feet
+round: and because this was not high enough, it is put on a pedestal
+four feet and a half high; and has a spurred base besides of its own, a
+tall capital, then a huge bracket above the capital, and then another
+pedestal above the bracket, and on the top of all the diminutive figure
+who has charge of the curtains.
+
+§ LXXIII. Under the canopy, thus arranged, is placed the sarcophagus
+with its recumbent figure. The statues of the Virgin and the saints have
+disappeared from it. In their stead, its panels are filled with
+half-length figures of Faith, Hope, and Charity; while Temperance and
+Fortitude are at the Doge's feet, Justice and Prudence at his head,
+figures now the size of life, yet nevertheless recognizable only by
+their attributes: for, except that Hope raises her eyes, there is no
+difference in the character or expression of any of their faces,--they
+are nothing more than handsome Venetian women, in rather full and
+courtly dresses, and tolerably well thrown into postures for effect from
+below. Fortitude could not of course be placed in a graceful one without
+some sacrifice of her character, but that was of no consequence in the
+eyes of the sculptors of this period, so she leans back languidly, and
+nearly overthrows her own column; while Temperance, and Justice opposite
+to her, as neither the left hand of the one nor the right hand of the
+other could be seen from below, have been _left with one hand each_.
+
+§ LXXIV. Still these figures, coarse and feelingless as they are, have
+been worked with care, because the principal effect of the tomb depends
+on them. But the effigy of the Doge, of which nothing but the side is
+visible, has been utterly neglected; and the ingenuity of the sculptor
+is not so great, at the best, as that he can afford to be slovenly.
+There is, indeed, nothing in the history of Foscari which would lead us
+to expect anything particularly noble in his face; but I trust,
+nevertheless, it has been misrepresented by this despicable carver; for
+no words are strong enough to express the baseness of the portraiture. A
+huge, gross, bony clown's face, with the peculiar sodden and sensual
+cunning in it which is seen so often in the countenances of the worst
+Romanist priest; a face part of iron and part of clay, with the
+immobility of the one, and the foulness of the other, double chinned,
+blunt-mouthed, bony-cheeked, with its brows drawn down into meagre lines
+and wrinkles over the eyelids; the face of a man incapable either of joy
+or sorrow, unless such as may be caused by the indulgence of passion, or
+the mortification of pride. Even had he been such a one, a noble workman
+would not have written it so legibly on his tomb; and I believe it to be
+the image of the carver's own mind that is there hewn in the marble, not
+that of the Doge Foscari. For the same mind is visible enough
+throughout, the traces of it mingled with those of the evil taste of the
+whole time and people. There is not anything so small but it is shown in
+some portion of its treatment; for instance, in the placing of the
+shields at the back of the great curtain. In earlier times, the shield,
+as we have seen, was represented as merely suspended against the tomb by
+a thong, or if sustained in any other manner, still its form was simple
+and undisguised. Men in those days used their shields in war, and
+therefore there was no need to add dignity to their form by external
+ornament. That which, through day after day of mortal danger, had borne
+back from them the waves of battle, could neither be degraded by
+simplicity, nor exalted by decoration. By its rude leathern thong it
+seemed to be fastened to their tombs, and the shield of the mighty was
+not cast away, though capable of defending its master no more.
+
+§ LXXV. It was otherwise in the fifteenth and sixteenth centuries. The
+changed system of warfare was rapidly doing away with the practical
+service of the shield; and the chiefs who directed the battle from a
+distance, or who passed the greater part of their lives in the
+council-chamber, soon came to regard the shield as nothing more than a
+field for their armorial bearings. It then became a principal object of
+their Pride of State to increase the conspicuousness of these marks of
+family distinction by surrounding them with various and fantastic
+ornament, generally scroll or flower work, which of course deprived the
+shield of all appearance of being intended for a soldier's use. Thus the
+shield of the Foscari is introduced in two ways. On the sarcophagus,
+the bearings are three times repeated, enclosed in circular disks, which
+are sustained each by a couple of naked infants. Above the canopy, two
+shields of the usual form are set in the centre of circles filled by a
+radiating ornament of shell flutings, which give them the effect of
+ventilators; and their circumference is farther adorned by gilt rays,
+undulating to represent a glory.
+
+§ LXXVI. We now approach that period of the early Renaissance which was
+noticed in the preceding chapter as being at first a very visible
+improvement on the corrupted Gothic. The tombs executed during the
+period of the Byzantine Renaissance exhibit, in the first place, a
+consummate skill in handling the chisel, perfect science of drawing and
+anatomy, high appreciation of good classical models, and a grace of
+composition and delicacy of ornament derived, I believe, principally
+from the great Florentine sculptors. But, together with this science,
+they exhibit also, for a short time, some return to the early religious
+feeling, forming a school of sculpture which corresponds to that of the
+school of the Bellini in painting; and the only wonder is that there
+should not have been more workmen in the fifteenth century doing in
+marble what Perugino, Francia, and Bellini did on canvas. There are,
+indeed, some few, as I have just said, in whom the good and pure temper
+shows itself: but the sculptor was necessarily led sooner than the
+painter to an exclusive study of classical models, utterly adverse to
+the Christian imagination; and he was also deprived of the great
+purifying and sacred element of color, besides having much more of
+merely mechanical and therefore degrading labor to go through in the
+realization of his thought. Hence I do not know any example in sculpture
+at this period, at least in Venice, which has not conspicuous faults
+(not faults of imperfection, as in early sculpture, but of purpose and
+sentiment), staining such beauties as it may possess; and the whole
+school soon falls away, and merges into vain pomp and meagre metaphor.
+
+§ LXXVII. The most celebrated monument of this period is that to the
+Doge Andrea Vendramin, in the Church of St. John and Paul, sculptured
+about 1480, and before alluded to in the first chapter of the first
+volume. It has attracted public admiration, partly by its costliness,
+partly by the delicacy and precision of its chiselling; being otherwise
+a very base and unworthy example of the school, and showing neither
+invention nor feeling. It has the Virtues, as usual, dressed like
+heathen goddesses, and totally devoid of expression, though graceful and
+well studied merely as female figures. The rest of its sculpture is all
+of the same kind; perfect in workmanship, and devoid of thought. Its
+dragons are covered with marvellous scales, but have no terror nor sting
+in them; its birds are perfect in plumage, but have no song in them; its
+children lovely of limb, but have no childishness in them.
+
+§ LXXVIII. Of far other workmanship are the tombs of Pietro and Giovanni
+Mocenigo, in St. John and Paul, and of Pietro Bernardo in the Frari; in
+all which the details are as full of exquisite fancy, as they are
+perfect in execution; and in the two former, and several others of
+similar feeling, the old religious symbols return; the Madonna is again
+seen enthroned under the canopy, and the sarcophagus is decorated with
+legends of the saints. But the fatal errors of sentiment are,
+nevertheless, always traceable. In the first place, the sculptor is
+always seen to be intent upon the exhibition of his skill, more than on
+producing any effect on the spectator's mind; elaborate backgrounds of
+landscape, with tricks of perspective, imitations of trees, clouds, and
+water, and various other unnecessary adjuncts, merely to show how marble
+could be subdued; together with useless under-cutting, and over-finish
+in subordinate parts, continually exhibiting the same cold vanity and
+unexcited precision of mechanism. In the second place, the figures have
+all the peculiar tendency to posture-making, which, exhibiting itself
+first painfully in Perugino, rapidly destroyed the veracity of
+composition in all art. By posture-making I mean, in general, that
+action of figures which results from the painter's considering, in the
+first place, not how, under the circumstances, they would actually have
+walked, or stood, or looked, but how they may most gracefully and
+harmoniously walk or stand. In the hands of a great man, posture, like
+everything else, becomes noble, even when over-studied, as with Michael
+Angelo, who was, perhaps, more than any other, the cause of the
+mischief; but, with inferior men, this habit of composing attitudes ends
+necessarily in utter lifelessness and abortion. Giotto was, perhaps, of
+all painters, the most free from the infection of the poison, always
+conceiving an incident naturally, and drawing it unaffectedly; and the
+absence of posture-making in the works of the Pre-Raphaelites, as
+opposed to the Attitudinarianism of the modern school, has been both one
+of their principal virtues, and of the principal causes of outcry
+against them.
+
+§ LXXIX. But the most significant change in the treatment of these
+tombs, with respect to our immediate object, is in the form of the
+sarcophagus. It was above noted, that, exactly in proportion to the
+degree of the pride of life expressed in any monument, would be also the
+fear of death; and therefore, as these tombs increase in splendor, in
+size, and beauty of workmanship, we perceive a gradual desire to _take
+away from the definite character of the sarcophagus_. In the earliest
+times, as we have seen, it was a gloomy mass of stone; gradually it
+became charged with religious sculpture; but never with the slightest
+desire to disguise its form, until towards the middle of the fifteenth
+century. It then becomes enriched with flower-work and hidden by the
+Virtues; and, finally, losing its foursquare form, it is modelled on
+graceful types of ancient vases, made as little like a coffin as
+possible, and refined away in various elegancies, till it becomes, at
+last, a mere pedestal or stage for the portrait statue. This statue, in
+the meantime, has been gradually coming back to life, through a curious
+series of transitions. The Vendramin monument is one of the last which
+shows, or pretends to show, the recumbent figure laid in death. A few
+years later, this idea became disagreeable to polite minds; and, lo! the
+figures which before had been laid at rest upon the tomb pillow, raised
+themselves on their elbows, and began to look round them. The soul of
+the sixteenth century dared not contemplate its body in death.
+
+§ LXXX. The reader cannot but remember many instances of this form of
+monument, England being peculiarly rich in examples of them; although,
+with her, tomb sculpture, after the fourteenth century, is altogether
+imitative, and in no degree indicative of the temper of the people. It
+was from Italy that the authority for the change was derived; and in
+Italy only, therefore, that it is truly correspondent to the change in
+the national mind. There are many monuments in Venice of this
+semi-animate type, most of them carefully sculptured, and some very
+admirable as portraits, and for the casting of the drapery, especially
+those in the Church of San Salvador; but I shall only direct the reader
+to one, that of Jacopo Pesaro, Bishop of Paphos, in the Church of the
+Frari; notable not only as a very skilful piece of sculpture, but for
+the epitaph, singularly characteristic of the period, and confirmatory
+of all that I have alleged against it:
+
+ "James Pesaro, Bishop of Paphos, who conquered the Turks in war,
+   himself in peace, transported from a noble family among the Venetians
+   to a nobler among the angels, laid here, expects the noblest crown,
+   which the just Judge shall give to him in that day. He lived the
+   years of Plato. He died 24th March, 1547."[20]
+
+The mingled classicism and carnal pride of this epitaph surely need no
+comment. The crown is expected as a right from the justice of the judge,
+and the nobility of the Venetian family is only a little lower than that
+of the angels. The quaint childishness of the "Vixit annos Platonicos"
+is also very notable.
+
+§ LXXXI. The statue, however, did not long remain in this partially
+recumbent attitude. Even the expression of peace became painful to the
+frivolous and thoughtless Italians, and they required the portraiture to
+be rendered in a manner that should induce no memory of death. The
+statue rose up, and presented itself in front of the tomb, like an actor
+upon a stage, surrounded now not merely, or not at all, by the Virtues,
+but by allegorical figures of Fame and Victory, by genii and muses, by
+personifications of humbled kingdoms and adoring nations, and by every
+circumstance of pomp, and symbol of adulation, that flattery could
+suggest, or insolence could claim.
+
+§ LXXXII. As of the intermediate monumental type, so also of this, the
+last and most gross, there are unfortunately many examples in our own
+country; but the most wonderful, by far, are still at Venice. I shall,
+however, particularize only two; the first, that of the Doge John
+Pesaro, in the Frari. It is to be observed that we have passed over a
+considerable interval of time; we are now in the latter half of the
+seventeenth century; the progress of corruption has in the meantime been
+incessant, and sculpture has here lost its taste and learning as well as
+its feeling. The monument is a huge accumulation of theatrical scenery
+in marble: four colossal negro caryatides, grinning and horrible, with
+faces of black marble and white eyes, sustain the first story of it;
+above this, two monsters, long-necked, half dog and half dragon, sustain
+an ornamental sarcophagus, on the top of which the full-length statue of
+the Doge in robes of state stands forward with its arms expanded, like
+an actor courting applause, under a huge canopy of metal, like the roof
+of a bed, painted crimson and gold; on each side of him are sitting
+figures of genii, and unintelligible personifications gesticulating in
+Roman armor; below, between the negro caryatides, are two ghastly
+figures in bronze, half corpse, half skeleton, carrying tablets on which
+is written the eulogium: but in large letters graven in gold, the
+following words are the first and last that strike the eye; the first
+two phrases, one on each side, on tablets in the lower story, the last
+under the portrait statue above:
+
+  VIXIT ANNOS LXX.            DEVIXIT ANNO MDCLIX.
+             "HIC REVIXIT ANNO MDCLXIX."
+
+We have here, at last, the horrible images of death in violent contrast
+with the defiant monument, which pretends to bring the resurrection
+down to earth, "Hic revixit;" and it seems impossible for false taste
+and base feeling to sink lower. Yet even this monument is surpassed by
+one in St. John and Paul.
+
+§ LXXXIII. But before we pass to this, the last with which I shall
+burden the reader's attention, let us for a moment, and that we may feel
+the contrast more forcibly, return to a tomb of the early times.
+
+In a dark niche in the outer wall of the outer corridor of St.
+Mark's--not even in the church, observe, but in the atrium or porch of
+it, and on the north side of the church,--is a solid sarcophagus of
+white marble, raised only about two feet from the ground on four stunted
+square pillars. Its lid is a mere slab of stone; on its extremities are
+sculptured two crosses; in front of it are two rows of rude figures, the
+uppermost representing Christ with the Apostles: the lower row is of six
+figures only, alternately male and female, holding up their hands in the
+usual attitude of benediction; the sixth is smaller than the rest, and
+the midmost of the other five has a glory round its head. I cannot tell
+the meaning of these figures, but between them are suspended censers
+attached to crosses; a most beautiful symbolic expression of Christ's
+mediatorial function. The whole is surrounded by a rude wreath of vine
+leaves, proceeding out of the foot of a cross.
+
+On the bar of marble which separates the two rows of figures are
+inscribed these words:
+
+  "Here lies the Lord Marin Morosini, Duke."
+
+It is the tomb of the Doge Marino Morosini, who reigned from 1249 to
+1252.
+
+§ LXXXIV. From before this rude and solemn sepulchre let us pass to the
+southern aisle of the church of St. John and Paul; and there, towering
+from the pavement to the vaulting of the church, behold a mass of
+marble, sixty or seventy feet in height, of mingled yellow and white,
+the yellow carved into the form of an enormous curtain, with ropes,
+fringes, and tassels, sustained by cherubs; in front of which, in the
+now usual stage attitudes, advance the statues of the Doge Bertuccio
+Valier, his son the Doge Silvester Falier, and his son's wife,
+Elizabeth. The statues of the Doges, though mean and Polonius-like, are
+partly redeemed by the Ducal robes; but that of the Dogaressa is a
+consummation of grossness, vanity, and ugliness,--the figure of a large
+and wrinkled woman, with elaborate curls in stiff projection round her
+face, covered from her shoulders to her feet with ruffs, furs, lace,
+jewels, and embroidery. Beneath and around are scattered Virtues,
+Victories, Fames, genii,--the entire company of the monumental stage
+assembled, as before a drop scene,--executed by various sculptors, and
+deserving attentive study as exhibiting every condition of false taste
+and feeble conception. The Victory in the centre is peculiarly
+interesting; the lion by which she is accompanied, springing on a
+dragon, has been intended to look terrible, but the incapable sculptor
+could not conceive any form of dreadfulness, could not even make the
+lion look angry. It looks only lachrymose; and its lifted forepaws,
+there being no spring nor motion in its body, give it the appearance of
+a dog begging. The inscriptions under the two principal statues are as
+follows:
+
+      "Bertucius Valier, Duke,
+   Great in wisdom and eloquence,
+  Greater in his Hellespontic victory,
+    Greatest in the Prince his son.
+       Died in the year 1658."
+
+         "Elisabeth Quirina,
+       The wife of Silvester,
+    Distinguished by Roman virtue,
+         By Venetian piety,
+       And by the Ducal crown,
+            Died 1708."
+
+The writers of this age were generally anxious to make the world aware
+that they understood the degrees of comparison, and a large number of
+epitaphs are principally constructed with this object (compare, in the
+Latin, that of the Bishop of Paphos, given above): but the latter of
+these epitaphs is also interesting from its mention, in an age now
+altogether given up to the pursuit of worldly honor, of that "Venetian
+piety" which once truly distinguished the city from all others; and of
+which some form and shadow, remaining still, served to point an epitaph,
+and to feed more cunningly and speciously the pride which could not be
+satiated with the sumptuousness of the sepulchre.
+
+§ LXXXV. Thus far, then, of the second element of the Renaissance spirit,
+the Pride of State; nor need we go farther to learn the reason of the
+fall of Venice. She was already likened in her thoughts, and was
+therefore to be likened in her ruin, to the Virgin of Babylon. The Pride
+of State and the Pride of Knowledge were no new passions: the sentence
+against them had gone forth from everlasting. "Thou saidst, I shall be a
+lady for ever; so that thou didst not lay these things to thine heart ...
+_Thy wisdom and thy knowledge, it hath perverted thee_; and thou hast
+said in thine heart, I am, and none else beside me. Therefore shall evil
+come upon thee ...; thy merchants from thy youth, they shall wander every
+one to his quarter; none shall save thee."[21]
+
+§ LXXXVI. III. PRIDE OF SYSTEM. I might have illustrated these evil
+principles from a thousand other sources, but I have not time to pursue
+the subject farther, and must pass to the third element above named, the
+Pride of System. It need not detain us so long as either of the others,
+for it is at once more palpable and less dangerous. The manner in which
+the pride of the fifteenth century corrupted the sources of knowledge,
+and diminished the majesty, while it multiplied the trappings, of state,
+is in general little observed; but the reader is probably already well
+and sufficiently aware of the curious tendency to formulization and
+system which, under the name of philosophy, encumbered the minds of the
+Renaissance schoolmen. As it was above stated, grammar became the first
+of sciences; and whatever subject had to be treated, the first aim of
+the philosopher was to subject its principles to a code of laws, in the
+observation of which the merit of the speaker, thinker, or worker, in
+or on that subject, was thereafter to consist; so that the whole mind of
+the world was occupied by the exclusive study of Restraints. The sound
+of the forging of fetters was heard from sea to sea. The doctors of all
+the arts and sciences set themselves daily to the invention of new
+varieties of cages and manacles; they themselves wore, instead of gowns,
+a chain mail, whose purpose was not so much to avert the weapon of the
+adversary as to restrain the motions of the wearer; and all the acts,
+thoughts, and workings of mankind,--poetry, painting, architecture, and
+philosophy,--were reduced by them merely to so many different forms of
+fetter-dance.
+
+§ LXXXVII. Now, I am very sure that no reader who has given any
+attention to the former portions of this work, or the tendency of what
+else I have written, more especially the last chapter of the "Seven
+Lamps," will suppose me to underrate the importance, or dispute the
+authority, of law. It has been necessary for me to allege these again
+and again, nor can they ever be too often or too energetically alleged,
+against the vast masses of men who now disturb or retard the advance of
+civilization; heady and high-minded, despisers of discipline, and
+refusers of correction. But law, so far as it can be reduced to form and
+system, and is not written upon the heart,--as it is, in a Divine
+loyalty, upon the hearts of the great hierarchies who serve and wait
+about the throne of the Eternal Lawgiver,--this lower and formally
+expressible law has, I say, two objects. It is either for the definition
+and restraint of sin, or the guidance of simplicity; it either explains,
+forbids, and punishes wickedness, or it guides the movements and actions
+both of lifeless things and of the more simple and untaught among
+responsible agents. And so long, therefore, as sin and foolishness are
+in the world, so long it will be necessary for men to submit themselves
+painfully to this lower law, in proportion to their need of being
+corrected, and to the degree of childishness or simplicity by which they
+approach more nearly to the condition of the unthinking and inanimate
+things which are governed by law altogether; yet yielding, in the manner
+of their submission to it, a singular lesson to the pride of
+man,--being obedient more perfectly in proportion to their
+greatness.[22] But, so far as men become good and wise, and rise above
+the state of children, so far they become emancipated from this written
+law, and invested with the perfect freedom which consists in the fulness
+and joyfulness of compliance with a higher and unwritten law; a law so
+universal, so subtle, so glorious, that nothing but the heart can keep
+it.
+
+§ LXXXVIII. Now pride opposes itself to the observance of this Divine
+law in two opposite ways: either by brute resistance, which is the way
+of the rabble and its leaders, denying or defying law altogether; or by
+formal compliance, which is the way of the Pharisee, exalting himself
+while he pretends to obedience, and making void the infinite and
+spiritual commandment by the finite and lettered commandment. And it is
+easy to know which law we are obeying: for any law which we magnify and
+keep through pride, is always the law of the letter; but that which we
+love and keep through humility, is the law of the Spirit: And the letter
+killeth, but the Spirit giveth life.
+
+§ LXXXIX. In the appliance of this universal principle to what we have
+at present in hand, it is to be noted, that all written or writable law
+respecting the arts is for the childish and ignorant: that in the
+beginning of teaching, it is possible to say that this or that must or
+must not be done; and laws of color and shade may be taught, as laws of
+harmony are to the young scholar in music. But the moment a man begins
+to be anything deserving the name of an artist, all this teachable law
+has become a matter of course with him; and if, thenceforth, he boast
+himself anywise in the law, or pretend that he lives and works by it, it
+is a sure sign that he is merely tithing cummin, and that there is no
+true art nor religion in him. For the true artist has that inspiration
+in him which is above all law, or rather, which is continually working
+out such magnificent and perfect obedience to supreme law, as can in no
+wise be rendered by line and rule. There are more laws perceived and
+fulfilled in the single stroke of a great workman, than could be written
+in a volume. His science is inexpressibly subtle, directly taught him by
+his Maker, not in any wise communicable or imitable.[23] Neither can any
+written or definitely observable laws enable us to do any great thing.
+It is possible, by measuring and administering quantities of color, to
+paint a room wall so that it shall not hurt the eye; but there are no
+laws by observing which we can become Titians. It is possible so to
+measure and administer syllables, as to construct harmonious verse; but
+there are no laws by which we can write Iliads. Out of the poem or the
+picture, once produced, men may elicit laws by the volume, and study
+them with advantage, to the better understanding of the existing poem or
+picture; but no more write or paint another, than by discovering laws of
+vegetation they can make a tree to grow. And therefore, wheresoever we
+find the system and formality of rules much dwelt upon, and spoken of as
+anything else than a help for children, there we may be sure that noble
+art is not even understood, far less reached. And thus it was with all
+the common and public mind in the fifteenth and sixteenth centuries. The
+greater men, indeed, broke through the thorn hedges; and, though much
+time was lost by the learned among them in writing Latin verses and
+anagrams, and arranging the framework of quaint sonnets and dexterous
+syllogisms, still they tore their way through the sapless thicket by
+force of intellect or of piety; for it was not possible that, either in
+literature or in painting, rules could be received by any strong mind,
+so as materially to interfere with its originality: and the crabbed
+discipline and exact scholarship became an advantage to the men who
+could pass through and despise them; so that in spite of the rules of
+the drama we had Shakspeare, and in spite of the rules of art we had
+Tintoret,--both of them, to this day, doing perpetual violence to the
+vulgar scholarship and dim-eyed proprieties of the multitude.
+
+§ XC. But in architecture it was not so; for that was the art of the
+multitude, and was affected by all their errors; and the great men who
+entered its field, like Michael Angelo, found expression for all the
+best part of their minds in sculpture, and made the architecture merely
+its shell. So the simpletons and sophists had their way with it: and the
+reader can have no conception of the inanities and puerilities of the
+writers, who, with the help of Vitruvius, re-established its "five
+orders," determined the proportions of each, and gave the various
+recipes for sublimity and beauty, which have been thenceforward followed
+to this day, but which may, I believe, in this age of perfect machinery,
+be followed out still farther. If, indeed, there are only five perfect
+forms of columns and architraves, and there be a fixed proportion to
+each, it is certainly possible, with a little ingenuity, so to regulate
+a stonecutting machine, as that it shall furnish pillars and friezes to
+the size ordered, of any of the five orders, on the most perfect Greek
+models, in any quantity; an epitome, also, of Vitruvius, may be made so
+simple, as to enable any bricklayer to set them up at their proper
+distances, and we may dispense with our architects altogether.
+
+§ XCI. But if this be not so, and there be any truth in the faint
+persuasion which still lurks in men's minds that architecture _is_ an
+art, and that it requires some gleam of intellect to practise it, then
+let the whole system of the orders and their proportions be cast out and
+trampled down as the most vain, barbarous, and paltry deception that was
+ever stamped on human prejudice; and let us understand this plain truth,
+common to all work of man, that, if it be good work, it is not a copy,
+nor anything done by rule, but a freshly and divinely imagined thing.
+Five orders! There is not a side chapel in any Gothic cathedral but it
+has fifty orders, the worst of them better than the best of the Greek
+ones, and all new; and a single inventive human soul could create a
+thousand orders in an hour.[24] And this would have been discovered even
+in the worst times, but that, as I said, the greatest men of the age
+found expression for their invention in the other arts, and the best of
+those who devoted themselves to architecture were in great part occupied
+in adapting the construction of buildings to new necessities, such as
+those developed by the invention of gunpowder (introducing a totally new
+and most interesting science of fortification, which directed the
+ingenuity of Sanmicheli and many others from its proper channel), and
+found interest of a meaner kind in the difficulties of reconciling the
+obsolete architectural laws they had consented to revive, and the forms
+of Roman architecture which they agreed to copy, with the requirements
+of the daily life of the sixteenth century.
+
+§ XCII. These, then, were the three principal directions in which the
+Renaissance pride manifested itself, and its impulses were rendered
+still more fatal by the entrance of another element, inevitably
+associated with pride. For, as it is written, "He that trusteth in his
+own heart is a fool," so also it is written, "The fool hath said in his
+heart, There is no God;" and the self-adulation which influenced not
+less the learning of the age than its luxury, led gradually to the
+forgetfulness of all things but self, and to an infidelity only the more
+fatal because it still retained the form and language of faith.
+
+§ XCIII. IV. INFIDELITY. In noticing the more prominent forms in which
+this faithlessness manifested itself, it is necessary to distinguish
+justly between that which was the consequence of respect for Paganism,
+and that which followed from the corruption of Catholicism. For as the
+Roman architecture is not to be made answerable for the primal
+corruption of the Gothic, so neither is the Roman philosophy to be made
+answerable for the primal corruption of Christianity. Year after year,
+as the history of the life of Christ sank back into the depths of time,
+and became obscured by the misty atmosphere of the history of the
+world,--as intermediate actions and incidents multiplied in number, and
+countless changes in men's modes of life, and tones of thought, rendered
+it more difficult for them to imagine the facts of distant time,--it
+became daily, almost hourly, a greater effort for the faithful heart to
+apprehend the entire veracity and vitality of the story of its Redeemer;
+and more easy for the thoughtless and remiss to deceive themselves as to
+the true character of the belief they had been taught to profess. And
+this must have been the case, had the pastors of the Church never failed
+in their watchfulness, and the Church itself never erred in its practice
+or doctrine. But when every year that removed the truths of the Gospel
+into deeper distance, added to them also some false or foolish
+tradition; when wilful distortion was added to natural obscurity, and
+the dimness of memory was disguised by the fruitfulness of fiction;
+when, moreover, the enormous temporal power granted to the clergy
+attracted into their ranks multitudes of men who, but for such
+temptation, would not have pretended to the Christian name, so that
+grievous wolves entered in among them, not sparing the flock; and when,
+by the machinations of such men, and the remissness of others, the form
+and administrations of Church doctrine and discipline had become little
+more than a means of aggrandizing the power of the priesthood, it was
+impossible any longer for men of thoughtfulness or piety to remain in an
+unquestioning serenity of faith. The Church had become so mingled with
+the world that its witness could no longer be received; and the
+professing members of it, who were placed in circumstances such as to
+enable them to become aware of its corruptions, and whom their interest
+or their simplicity did not bribe or beguile into silence, gradually
+separated themselves into two vast multitudes of adverse energy, one
+tending to Reformation, and the other to Infidelity.
+
+§ XCIV. Of these, the last stood, as it were, apart, to watch the course
+of the struggle between Romanism and Protestantism; a struggle which,
+however necessary, was attended with infinite calamity to the Church.
+For, in the first place, the Protestant movement was, in reality, not
+_reformation_ but _reanimation_. It poured new life into the Church, but
+it did not form or define her anew. In some sort it rather broke down
+her hedges, so that all they who passed by might pluck off her grapes.
+The reformers speedily found that the enemy was never far behind the
+sower of good seed; that an evil spirit might enter the ranks of
+reformation as well as those of resistance; and that though the deadly
+blight might be checked amidst the wheat, there was no hope of ever
+ridding the wheat itself from the tares. New temptations were invented
+by Satan wherewith to oppose the revived strength of Christianity: as
+the Romanist, confiding in his human teachers, had ceased to try whether
+they were teachers sent from God, so the Protestant, confiding in the
+teaching of the Spirit, believed every spirit, and did not try the
+spirits whether they were of God. And a thousand enthusiasms and
+heresies speedily obscured the faith and divided the force of the
+Reformation.
+
+§ XCV. But the main evils rose out of the antagonism of the two great
+parties; primarily, in the mere fact of the existence of an antagonism.
+To the eyes of the unbeliever the Church of Christ, for the first time
+since its foundation, bore the aspect of a house divided against itself.
+Not that many forms of schism had not before arisen in it; but either
+they had been obscure and silent, hidden among the shadows of the Alps
+and the marshes of the Rhine; or they had been outbreaks of visible and
+unmistakable error, cast off by the Church, rootless, and speedily
+withering away, while, with much that was erring and criminal, she still
+retained within her the pillar and ground of the truth. But here was at
+last a schism in which truth and authority were at issue. The body that
+was cast off withered away no longer. It stretched out its boughs to the
+sea and its branches to the river, and it was the ancient trunk that
+gave signs of decrepitude. On one side stood the reanimated faith, in
+its right hand the book open, and its left hand lifted up to heaven,
+appealing for its proof to the Word of the Testimony and the power of
+the Holy Ghost. On the other stood, or seemed to stand, all beloved
+custom and believed tradition; all that for fifteen hundred years had
+been closest to the hearts of men, or most precious for their help.
+Long-trusted legend; long-reverenced power; long-practised discipline;
+faiths that had ruled the destiny, and sealed the departure, of souls
+that could not be told or numbered for multitude; prayers, that from the
+lips of the fathers to those of the children had distilled like sweet
+waterfalls, sounding through the silence of ages, breaking themselves
+into heavenly dew to return upon the pastures of the wilderness; hopes,
+that had set the face as a flint in the torture, and the sword as a
+flame in the battle, that had pointed the purposes and ministered the
+strength of life, brightened the last glances and shaped the last
+syllables of death; charities, that had bound together the brotherhoods
+of the mountain and the desert, and had woven chains of pitying or
+aspiring communion between this world and the unfathomable beneath and
+above; and, more than these, the spirits of all the innumerable,
+undoubting, dead, beckoning to the one way by which they had been
+content to follow the things that belonged unto their peace;--these all
+stood on the other side: and the choice must have been a bitter one,
+even at the best; but it was rendered tenfold more bitter by the
+natural, but most sinful animosity of the two divisions of the Church
+against each other.
+
+§ XCVI. On one side this animosity was, of course, inevitable. The
+Romanist party, though still including many Christian men, necessarily
+included, also, all the worst of those who called themselves Christians.
+In the fact of its refusing correction, it stood confessed as the Church
+of the unholy; and, while it still counted among its adherents many of
+the simple and believing,--men unacquainted with the corruption of the
+body to which they belonged, or incapable of accepting any form of
+doctrine but that which they had been taught from their youth,--it
+gathered together with them whatever was carnal and sensual in
+priesthood or in people, all the lovers of power in the one, and of ease
+in the other. And the rage of these men was, of course, unlimited
+against those who either disputed their authority, reprehended their
+manner of life, or cast suspicion upon the popular methods of lulling
+the conscience in the lifetime, or purchasing salvation on the
+death-bed.
+
+§ XCVII. Besides this, the reassertion and defence of various tenets
+which before had been little more than floating errors in the popular
+mind, but which, definitely attacked by Protestantism, it became
+necessary to fasten down with a band of iron and brass, gave a form at
+once more rigid, and less rational, to the whole body of Romanist
+Divinity. Multitudes of minds which in other ages might have brought
+honor and strength to the Church, preaching the more vital truths which
+it still retained, were now occupied in pleading for arraigned
+falsehoods, or magnifying disused frivolities; and it can hardly be
+doubted by any candid observer, that the nascent or latent errors which
+God pardoned in times of ignorance, became unpardonable when they were
+formally defined and defended; that fallacies which were forgiven to the
+enthusiasm of a multitude, were avenged upon the stubbornness of a
+Council; that, above all, the great invention of the age, which rendered
+God's word accessible to every man, left all sins against its light
+incapable of excuse or expiation; and that from the moment when Rome set
+herself in direct opposition to the Bible, the judgment was pronounced
+upon her, which made her the scorn and the prey of her own children, and
+cast her down from the throne where she had magnified herself against
+heaven, so low, that at last the unimaginable scene of the Bethlehem
+humiliation was mocked in the temples of Christianity. Judea had seen
+her God laid in the manger of the beasts of burden; it was for
+Christendom to stable the beasts of burden by the altar of her God.
+
+§ XCVIII. Nor, on the other hand, was the opposition of Protestantism to
+the Papacy less injurious to itself. That opposition was, for the most
+part, intemperate, undistinguishing, and incautious. It could indeed
+hardly be otherwise. Fresh bleeding from the sword of Rome, and still
+trembling at her anathema, the reformed churches were little likely to
+remember any of her benefits, or to regard any of her teaching. Forced
+by the Romanist contumely into habits of irreverence, by the Romanist
+fallacies into habits of disbelief, the self-trusting, rashly-reasoning
+spirit gained ground among them daily. Sect branched out of sect,
+presumption rose over presumption; the miracles of the early Church
+were denied and its martyrs forgotten, though their power and palm were
+claimed by the members of every persecuted sect; pride, malice, wrath,
+love of change, masked themselves under the thirst for truth, and
+mingled with the just resentment of deception, so that it became
+impossible even for the best and truest men to know the plague of their
+own hearts; while avarice and impiety openly transformed reformation
+into robbery, and reproof into sacrilege. Ignorance could as easily lead
+the foes of the Church, as lull her slumber; men who would once have
+been the unquestioning recipients, were now the shameless inventors of
+absurd or perilous superstitions; they who were of the temper that
+walketh in darkness, gained little by having discovered their guides to
+be blind; and the simplicity of the faith, ill understood and
+contumaciously alleged, became an excuse for the rejection of the
+highest arts and most tried wisdom of mankind: while the learned
+infidel, standing aloof, drew his own conclusions, both from the rancor
+of the antagonists, and from their errors; believed each in all that he
+alleged against the other; and smiled with superior humanity, as he
+watched the winds of the Alps drift the ashes of Jerome, and the dust of
+England drink the blood of King Charles.
+
+§ XCIX. Now all this evil was, of course, entirely independent of the
+renewal of the study of Pagan writers. But that renewal found the faith
+of Christendom already weakened and divided; and therefore it was itself
+productive of an effect tenfold greater than could have been apprehended
+from it at another time. It acted first, as before noticed, in leading
+the attention of all men to words instead of things; for it was
+discovered that the language of the middle ages had been corrupt, and
+the primal object of every scholar became now to purify his style. To
+this study of words, that of forms being added, both as of matters of
+the first importance, half the intellect of the age was at once absorbed
+in the base sciences of grammar, logic, and rhetoric; studies utterly
+unworthy of the serious labor of men, and necessarily rendering those
+employed upon them incapable of high thoughts or noble emotion. Of the
+debasing tendency of philology, no proof is needed beyond once reading
+a grammarian's notes on a great poet: logic is unnecessary for men who
+can reason; and about as useful to those who cannot, as a machine for
+forcing one foot in due succession before the other would be to a man
+who could not walk: while the study of rhetoric is exclusively one for
+men who desire to deceive or be deceived; he who has the truth at his
+heart need never fear the want of persuasion on his tongue, or, if he
+fear it, it is because the base rhetoric of dishonesty keeps the truth
+from being heard.
+
+§ C. The study of these sciences, therefore, naturally made men shallow
+and dishonest in general; but it had a peculiarly fatal effect with
+respect to religion, in the view which men took of the Bible. Christ's
+teaching was discovered not to be rhetorical, St. Paul's preaching not
+to be logical, and the Greek of the New Testament not to be grammatical.
+The stern truth, the profound pathos, the impatient period, leaping from
+point to point and leaving the intervals for the hearer to fill, the
+comparatively Hebraized and unelaborate idiom, had little in them of
+attraction for the students of phrase and syllogism; and the chief
+knowledge of the age became one of the chief stumbling-blocks to its
+religion.
+
+§ CI. But it was not the grammarian and logician alone who was thus
+retarded or perverted; in them there had been small loss. The men who
+could truly appreciate the higher excellences of the classics were
+carried away by a current of enthusiasm which withdrew them from every
+other study. Christianity was still professed as a matter of form, but
+neither the Bible nor the writings of the Fathers had time left for
+their perusal, still less heart left for their acceptance. The human
+mind is not capable of more than a certain amount of admiration or
+reverence, and that which was given to Horace was withdrawn from David.
+Religion is, of all subjects, that which will least endure a second
+place in the heart or thoughts, and a languid and occasional study of it
+was sure to lead to error or infidelity. On the other hand, what was
+heartily admired and unceasingly contemplated was soon brought nigh to
+being believed; and the systems of Pagan mythology began gradually to
+assume the places in the human mind from which the unwatched
+Christianity was wasting. Men did not indeed openly sacrifice to
+Jupiter, or build silver shrines for Diana, but the ideas of Paganism
+nevertheless became thoroughly vital and present with them at all times;
+and it did not matter in the least, as far as respected the power of
+true religion, whether the Pagan image was believed in or not, so long
+as it entirely occupied the thoughts. The scholar of the sixteenth
+century, if he saw the lightning shining from the east unto the west,
+thought forthwith of Jupiter, not of the coming of the Son of Man; if he
+saw the moon walking in brightness, he thought of Diana, not of the
+throne which was to be established for ever as a faithful witness in
+heaven; and though his heart was but secretly enticed, yet thus he
+denied the God that is above.[25]
+
+And, indeed, this double creed, of Christianity confessed and Paganism
+beloved, was worse than Paganism itself, inasmuch as it refused
+effective and practical belief altogether. It would have been better to
+have worshipped Diana and Jupiter at once, than to have gone on through
+the whole of life naming one God, imagining another, and dreading none.
+Better, a thousandfold, to have been "a Pagan suckled in some creed
+outworn," than to have stood by the great sea of Eternity and seen no
+God walking on its waves, no heavenly world on its horizon.
+
+§ CII. This fatal result of an enthusiasm for classical literature was
+hastened and heightened by the misdirection of the powers of art. The
+imagination of the age was actively set to realize these objects of
+Pagan belief; and all the most exalted faculties of man, which, up to
+that period, had been employed in the service of Faith, were now
+transferred to the service of Fiction. The invention which had formerly
+been both sanctified and strengthened by laboring under the command of
+settled intention, and on the ground of assured belief, had now the
+reins laid upon its neck by passion, and all ground of fact cut from
+beneath its feet; and the imagination which formerly had helped men to
+apprehend the truth, now tempted them to believe a falsehood. The
+faculties themselves wasted away in their own treason; one by one they
+fell in the potter's field; and the Raphael who seemed sent and inspired
+from heaven that he might paint Apostles and Prophets, sank at once into
+powerlessness at the feet of Apollo and the Muses.
+
+§ CIII. But this was not all. The habit of using the greatest gifts of
+imagination upon fictitious subjects, of course destroyed the honor and
+value of the same imagination used in the cause of truth. Exactly in the
+proportion in which Jupiters and Mercuries were embodied and believed,
+in that proportion Virgins and Angels were disembodied and disbelieved.
+The images summoned by art began gradually to assume one average value
+in the spectator's mind; and incidents from the Iliad and from the
+Exodus to come within the same degrees of credibility. And, farther,
+while the powers of the imagination were becoming daily more and more
+languid, because unsupported by faith, the manual skill and science of
+the artist were continually on the increase. When these had reached a
+certain point, they began to be the principal things considered in the
+picture, and its story or scene to be thought of only as a theme for
+their manifestation. Observe the difference. In old times, men used
+their powers of painting to show the objects of faith; in later times,
+they used the objects of faith that they might show their powers of
+painting. The distinction is enormous, the difference incalculable as
+irreconcilable. And thus, the more skilful the artist, the less his
+subject was regarded; and the hearts of men hardened as their handling
+softened, until they reached a point when sacred, profane, or sensual
+subjects were employed, with absolute indifference, for the display of
+color and execution; and gradually the mind of Europe congealed into
+that state of utter apathy,--inconceivable, unless it had been
+witnessed, and unpardonable, unless by us, who have been infected by
+it,--which permits us to place the Madonna and the Aphrodite side by
+side in our galleries, and to pass, with the same unmoved inquiry into
+the manner of their handling, from a Bacchanal to a Nativity.
+
+Now all this evil, observe, would have been merely the necessary and
+natural operation of an enthusiasm for the classics, and of a delight in
+the mere science of the artist, on the most virtuous mind. But this
+operation took place upon minds enervated by luxury, and which were
+tempted, at the very same period, to forgetfulness or denial of all
+religious principle by their own basest instincts. The faith which had
+been undermined by the genius of Pagans, was overthrown by the crimes of
+Christians; and the ruin which was begun by scholarship, was completed
+by sensuality. The characters of the heathen divinities were as suitable
+to the manners of the time as their forms were agreeable to its taste;
+and Paganism again became, in effect, the religion of Europe. That is to
+say, the civilized world is at this moment, collectively, just as Pagan
+as it was in the second century; a small body of believers being now, as
+they were then, representative of the Church of Christ in the midst of
+the faithless: but there is just this difference, and this very fatal
+one, between the second and nineteenth centuries, that the Pagans are
+nominally and fashionably Christians, and that there is every
+conceivable variety and shade of belief between the two; so that not
+only is it most difficult theoretically to mark the point where
+hesitating trust and failing practice change into definite infidelity,
+but it has become a point of politeness not to inquire too deeply into
+our neighbor's religious opinions; and, so that no one be offended by
+violent breach of external forms, to waive any close examination into
+the tenets of faith. The fact is, we distrust each other and ourselves
+so much, that we dare not press this matter; we know that if, on any
+occasion of general intercourse, we turn to our next neighbor, and put
+to him some searching or testing question, we shall, in nine cases out
+of ten, discover him to be only a Christian in his own way, and as far
+as he thinks proper, and that he doubts of many things which we
+ourselves do not believe strongly enough to hear doubted without danger.
+What is in reality cowardice and faithlessness, we call charity; and
+consider it the part of benevolence sometimes to forgive men's evil
+practice for the sake of their accurate faith, and sometimes to forgive
+their confessed heresy for the sake of their admirable practice. And
+under this shelter of charity, humility, and faintheartedness, the
+world, unquestioned by others or by itself, mingles with and overwhelms
+the small body of Christians, legislates for them, moralizes for them,
+reasons for them; and, though itself of course greatly and beneficently
+influenced by the association, and held much in check by its pretence to
+Christianity, yet undermines, in nearly the same degree, the sincerity
+and practical power of Christianity itself, until at last, in the very
+institutions of which the administration may be considered as the
+principal test of the genuineness of national religion, those devoted to
+education, the Pagan system is completely triumphant; and the entire
+body of the so-called Christian world has established a system of
+instruction for its youth, wherein neither the history of Christ's
+Church, nor the language of God's law, is considered a study of the
+smallest importance; wherein, of all subjects of human inquiry, his own
+religion is the one in which a youth's ignorance is most easily
+forgiven;[26] and in which it is held a light matter that he should be
+daily guilty of lying, or debauchery, or of blasphemy, so only that he
+write Latin verses accurately, and with speed.
+
+I believe that in few years more we shall wake from all these errors in
+astonishment, as from evil dreams; having been preserved, in the midst
+of their madness, by those hidden roots of active and earnest
+Christianity which God's grace has bound in the English nation with iron
+and brass. But in the Venetian, those roots themselves had withered;
+and, from the palace of their ancient religion, their pride cast them
+forth hopelessly to the pasture of the brute. From pride to infidelity,
+from infidelity to the unscrupulous and insatiable pursuit of pleasure,
+and from this to irremediable degradation, the transitions were swift,
+like the falling of a star. The great palaces of the haughtiest nobles
+of Venice were stayed, before they had risen far above their
+foundations, by the blast of a penal poverty; and the wild grass, on the
+unfinished fragments of their mighty shafts, waves at the tide-mark
+where the power of the godless people first heard the "Hitherto shalt
+thou come." And the regeneration in which they had so vainly
+trusted,--the new birth and clear dawning, as they thought it, of all
+art, all knowledge, and all hope,--became to them as that dawn which
+Ezekiel saw on the hills of Israel: "Behold the day; behold, it is come.
+The rod hath blossomed, pride hath budded, violence is risen up into a
+rod of wickedness. None of them shall remain, nor of their multitude;
+let not the buyer rejoice, nor the seller mourn, for wrath is upon all
+the multitude thereof."
+
+
+FOOTNOTES:
+
+  [8] Or, more briefly, science has to do with facts, art with
+    phenomena. To science, phenomena are of use only as they lead to
+    facts; and to art facts are of use only as they lead to phenomena. I
+    use the word "art" here with reference to the fine arts only, for
+    the lower arts of mechanical production I should reserve the word
+    "manufacture."
+
+  [9] Tintoret.
+
+  [10] St. Bernard.
+
+  [11] Society always has a destructive influence upon an artist:
+    first by its sympathy with his meanest powers; secondly, by its
+    chilling want of understanding of his greatest; and, thirdly, by its
+    vain occupation of his time and thoughts. Of course a painter of men
+    must be _among_ men; but it ought to be as a watcher, not as a
+    companion.
+
+  [12] I intended in this place to have introduced some special
+    consideration of the science of anatomy, which I believe to have
+    been in great part the cause of the decline of modern art; but I
+    have been anticipated by a writer better able to treat the subject.
+    I have only glanced at his book; and there is something in the
+    spirit of it which I do not like, and some parts of it are assuredly
+    wrong; but, respecting anatomy, it seems to me to settle the
+    question indisputably, more especially as being written by a master
+    of the science. I quote two passages, and must refer the reader to
+    the sequel.
+
+    "_The scientific men of forty centuries_ have failed to describe so
+    accurately, so beautifully, so artistically, as Homer did, the
+    organic elements constituting the emblems of youth and beauty, and
+    the waste and decay which these sustain by time and age. All these
+    Homer understood better, and has described more truthfully than the
+    scientific men of forty centuries....
+
+    "Before I approach this question, permit me to make a few remarks on
+    the pre-historic period of Greece; that era which seems to have
+    produced nearly all the great men.
+
+    "On looking attentively at the statues within my observation, I
+    cannot find the slightest foundation for the assertion that their
+    sculptors must have dissected the human frame and been well
+    acquainted with the human anatomy. They, like Homer, had discovered
+    Nature's secret, and bestowed their whole attention on the exterior.
+    The exterior they read profoundly, and studied deeply--the _living
+    exterior_ and the _dead_. Above all, they avoided displaying the
+    dead and dissected interior, through the exterior. They had
+    discovered that the interior presents hideous shapes, but not forms.
+    Men during the philosophic era of Greece saw all this, each reading
+    the antique to the best of his abilities. The man of genius
+    rediscovered the canon of the ancient masters, and wrought on its
+    principles. The greater number, as now, unequal to this step, merely
+    imitated and copied those who preceded them."--_Great Artists and
+    Great Anatomists_. By R. Knox, M.D. London, Van Voorst, 1852.
+
+    Respecting the value of literary knowledge in general as regards
+    art, the reader will also do well to meditate on the following
+    sentences from Hallam's "Literature of Europe;" remembering at the
+    same time what I have above said, that "the root of all great art in
+    Europe is struck in the thirteenth century," and that the great time
+    is from 1250 to 1350:
+
+    "In Germany the tenth century, Leibnitz declares, was a golden age
+    of learning compared with the thirteenth."
+
+    "The writers of the thirteenth century display an incredible
+    ignorance, not only of pure idiom, but of common grammatical rules."
+
+    The fourteenth century was "not superior to the thirteenth in
+    learning.... We may justly praise Richard of Bury for his zeal in
+    collecting books. But his erudition appears crude, his style
+    indifferent, and his thoughts superficial."
+
+    I doubt the superficialness of the _thoughts_: at all events, this
+    is not a character of the time, though it may be of the writer; for
+    this would affect art more even than literature.
+
+  [13] Churton's "Early English Church." London, 1840.
+
+  [14] "Quibus nulla macula inest quæ non cernatur. Ita viri nobilitate
+    præditi eam vitam peragant cui nulla nota possit inviri." The first
+    sentence is literally, "in which there is no spot that may not be
+    seen." But I imagine the writer meant it as I have put it in the
+    text, else his comparison does not hold.
+
+  [15] Observe, however, that the magnitude spoken of here and in the
+    following passages, is the finished and polished magnitude sought
+    for the sake of pomp: not the rough magnitude sought for the sake of
+    sublimity: respecting which see the "Seven Lamps," chap. iii. § 5,
+    6, and 8.
+
+  [16] Can Grande died in 1329: we can hardly allow more than five
+    years for the erection of his tomb.
+
+  [17] Vol. I. Chap. I.
+
+  [18] Sansovino, lib. xiii.
+
+  [19] Tentori, vi. 142, i. 157.
+
+  [20] "Jacobus Pisaurius Paphi Episcopus qui Turcos bello, se ipsum
+    pace vincebat, ex nobili inter Venetas, ad nobiliorem inter Angelos
+    familiam delatus, nobilissimam in illa die Coronam justo Judice
+    reddente, hic situs expectat Vixit annos Platonicos. Obijt MDXLVII.
+    IX. Kal. Aprilis."
+
+  [21] Isaiah xlvii. 7, 10, 11, 15.
+
+  [22] Compare "Seven Lamps," chap. vii. § 3.
+
+  [23] See the farther remarks on Inspiration, in the fourth chapter.
+
+  [24] That is to say, orders separated by such distinctions as the old
+    Greek ones: considered with reference to the bearing power of the
+    capital, all orders may be referred to two, as long ago stated; just
+    as trees may be referred to the two great classes, monocotyledonous
+    and dicotyledonous.
+
+  [25] Job xxi: 26-28; Psalm lxxxix. 37.
+
+  [26] I shall not forget the impression made upon me at Oxford, when,
+    going up for my degree, and mentioning to one of the authorities
+    that I had not had time enough to read the Epistles properly, I was
+    told, that "the Epistles were separate sciences, and I need not
+    trouble myself about them."
+
+    The reader will find some farther notes on this subject in Appendix
+    7, "Modern Education."
+
+
+
+
+CHAPTER III.
+
+GROTESQUE RENAISSANCE.
+
+
+§ I. In the close of the last chapter it was noted that the phases of
+transition in the moral temper of the falling Venetians, during their
+fall, were from pride to infidelity, and from infidelity to the
+unscrupulous _pursuit of pleasure_. During the last years of the
+existence of the state, the minds both of the nobility and the people
+seem to have been set simply upon the attainment of the means of
+self-indulgence. There was not strength enough in them to be proud, nor
+forethought enough to be ambitious. One by one the possessions of the
+state were abandoned to its enemies; one by one the channels of its
+trade were forsaken by its own languor, or occupied and closed against
+it by its more energetic rivals; and the time, the resources, and the
+thoughts of the nation were exclusively occupied in the invention of
+such fantastic and costly pleasures as might best amuse their apathy,
+lull their remorse, or disguise their ruin.
+
+§ II. The architecture raised at Venice during this period is amongst
+the worst and basest ever built by the hands of men, being especially
+distinguished by a spirit of brutal mockery and insolent jest, which,
+exhausting itself in deformed and monstrous sculpture, can sometimes be
+hardly otherwise defined than as the perpetuation in stone of the
+ribaldries of drunkenness. On such a period, and on such work, it is
+painful to dwell, and I had not originally intended to do so; but I
+found that the entire spirit of the Renaissance could not be
+comprehended unless it was followed to its consummation; and that there
+were many most interesting questions arising out of the study of this
+particular spirit of jesting, with reference to which I have called it
+the _Grotesque_ Renaissance. For it is not this period alone which is
+distinguished by such a spirit. There is jest--perpetual, careless, and
+not unfrequently obscene--in the most noble work of the Gothic periods;
+and it becomes, therefore, of the greatest possible importance to
+examine into the nature and essence of the Grotesque itself, and to
+ascertain in what respect it is that the jesting of art in its highest
+flight, differs from its jesting in its utmost degradation.
+
+§ III. The place where we may best commence our inquiry is one renowned
+in the history of Venice, the space of ground before the Church of Santa
+Maria Formosa; a spot which, after the Rialto and St. Mark's Place,
+ought to possess a peculiar interest in the mind of the traveller, in
+consequence of its connexion with the most touching and true legend of
+the Brides of Venice. That legend is related at length in every Venetian
+history, and, finally, has been told by the poet Rogers, in a way which
+renders it impossible for any one to tell it after him. I have only,
+therefore, to remind the reader that the capture of the brides took
+place in the cathedral church, St. Pietro di Castello; and that this of
+Santa Maria Formosa is connected with the tale, only because it was
+yearly visited with prayers by the Venetian maidens, on the anniversary
+of their ancestors' deliverance. For that deliverance, their thanks were
+to be rendered to the Virgin; and there was no church then dedicated to
+the Virgin, in Venice, except this.[27]
+
+Neither of the cathedral church, nor of this dedicated to St. Mary the
+Beautiful, is one stone left upon another. But, from that which has been
+raised on the site of the latter, we may receive a most important
+lesson, introductory to our immediate subject, if first we glance back
+to the traditional history of the church which has been destroyed.
+
+§ IV. No more honorable epithet than "traditional" can be attached to
+what is recorded concerning it, yet I should grieve to lose the legend
+of its first erection. The Bishop of Uderzo, driven by the Lombards from
+his Bishopric, as he was praying, beheld in a vision the Virgin Mother,
+who ordered him to found a church in her honor, in the place where he
+should see a white cloud rest. And when he went out, the white cloud
+went before him; and on the place where it rested he built a church, and
+it was called the Church of St. Mary the Beautiful, from the loveliness
+of the form in which she had appeared in the vision.[28]
+
+The first church stood only for about two centuries. It was rebuilt in
+864, and enriched with various relics some fifty years later; relics
+belonging principally to St. Nicodemus, and much lamented when they and
+the church were together destroyed by fire in 1105.
+
+It was then rebuilt in "magnifica forma," much resembling, according to
+Corner, the architecture of the chancel of St. Mark;[29] but the
+information which I find in various writers, as to the period at which
+it was reduced to its present condition, is both sparing and
+contradictory.
+
+§ V. Thus, by Corner, we are told that this church, resembling St.
+Mark's, "remained untouched for more than four centuries," until, in
+1689, it was thrown down by an earthquake, and restored by the piety of
+a rich merchant, Turrin Toroni, "in ornatissima forma;" and that, for
+the greater beauty of the renewed church, it had added to it two façades
+of marble. With this information that of the Padre dell' Oratoria
+agrees, only he gives the date of the earlier rebuilding of the church
+in 1175, and ascribes it to an architect of the name of Barbetta. But
+Quadri, in his usually accurate little guide, tells us that this
+Barbetta rebuilt the church in the fourteenth century; and that of the
+two façades, so much admired by Corner, one is of the sixteenth century,
+and its architect unknown; and the rest of the church is of the
+seventeenth, "in the style of Sansovino."
+
+§ VI. There is no occasion to examine, or endeavor to reconcile, these
+conflicting accounts. All that is necessary for the reader to know is,
+that every vestige of the church in which the ceremony took place was
+destroyed _at least_ as early as 1689; and that the ceremony itself,
+having been abolished in the close of the fourteenth century, is only to
+be conceived as taking place in that more ancient church, resembling St.
+Mark's, which, even according to Quadri, existed until that period. I
+would, therefore, endeavor to fix the reader's mind, for a moment, on
+the contrast between the former and latter aspect of this plot of
+ground; the former, when it had its Byzantine church, and its yearly
+procession of the Doge and the Brides; and the latter, when it has its
+Renaissance church "in the style of Sansovino," and its yearly honoring
+is done away.
+
+§ VII. And, first, let us consider for a little the significance and
+nobleness of that early custom of the Venetians, which brought about the
+attack and the rescue of the year 943: that there should be but one
+marriage day for the nobles of the whole nation,[30] so that all might
+rejoice together; and that the sympathy might be full, not only of the
+families who that year beheld the alliance of their children, and prayed
+for them in one crowd, weeping before the altar, but of all the families
+of the state, who saw, in the day which brought happiness to others, the
+anniversary of their own. Imagine the strong bond of brotherhood thus
+sanctified among them, and consider also the effect on the minds of the
+youth of the state; the greater deliberation and openness necessarily
+given to the contemplation of marriage, to which all the people were
+solemnly to bear testimony; the more lofty and unselfish tone which it
+would give to all their thoughts. It was the exact contrary of stolen
+marriage. It was marriage to which God and man were taken for witnesses,
+and every eye was invoked for its glance, and every tongue for its
+prayers.[31]
+
+§ VIII. Later historians have delighted themselves in dwelling on the
+pageantry of the marriage day itself, but I do not find that they have
+authority for the splendor of their descriptions. I cannot find a word
+in the older Chronicles about the jewels or dress of the brides, and I
+believe the ceremony to have been more quiet and homely than is usually
+supposed. The only sentence which gives color to the usual accounts of
+it is one of Sansovino's, in which he says that the magnificent dress of
+the brides in his day was founded "on ancient custom."[32] However this
+may have been, the circumstances of the rite were otherwise very simple.
+Each maiden brought her dowry with her in a small "cassetta," or chest;
+they went first to the cathedral, and waited for the youths, who having
+come, they heard mass together, and the bishop preached to them and
+blessed them: and so each bridegroom took his bride and her dowry and
+bore her home.
+
+§ IX. It seems that the alarm given by the attack of the pirates put an
+end to the custom of fixing one day for all marriages: but the main
+objects of the institution were still attained by the perfect publicity
+given to the marriages of all the noble families; the bridegroom
+standing in the Court of the Ducal Palace to receive congratulations on
+his betrothal, and the whole body of the nobility attending the
+nuptials, and rejoicing, "as at some personal good fortune; since, by
+the constitution of the state, they are for ever incorporated together,
+as if of one and the same family."[33] But the festival of the 2nd of
+February, after the year 943, seems to have been observed only in memory
+of the deliverance of the brides, and no longer set apart for public
+nuptials.
+
+§ X. There is much difficulty in reconciling the various accounts, or
+distinguishing the inaccurate ones, of the manner of keeping this
+memorable festival. I shall first give Sansovino's, which is the popular
+one, and then note the points of importance in the counter-statements.
+Sansovino says that the success of the pursuit of the pirates was owing
+to the ready help and hard fighting of the men of the district of Sta.
+Maria Formosa, for the most part trunkmakers; and that they, having been
+presented after the victory to the Doge and the Senate, were told to ask
+some favor for their reward. "The good men then said that they desired
+the Prince, with his wife and the Signory, to visit every year the
+church of their district, on the day of its feast. And the Prince asking
+them, 'Suppose it should rain?' they answered, 'We will give you hats to
+cover you; and if you are thirsty, we will give you to drink.' Whence is
+it that the Vicar, in the name of the people, presents to the Doge, on
+his visit, two flasks of malvoisie[34] and two oranges; and presents to
+him two gilded hats, bearing the arms of the Pope, of the Prince, and of
+the Vicar. And thus was instituted the Feast of the Maries, which was
+called noble and famous because the people from all round came together
+to behold it. And it was celebrated in this manner:...." The account
+which follows is somewhat prolix; but its substance is, briefly, that
+twelve maidens were elected, two for each division of the city; and that
+it was decided by lot which contrade, or quarters of the town, should
+provide them with dresses. This was done at enormous expense, one
+contrada contending with another, and even the jewels of the treasury of
+St. Mark being lent for the occasion to the "Maries," as the twelve
+damsels were called. They, being thus dressed with gold, and silver, and
+jewels, went in their galley to St. Mark's for the Doge, who joined them
+with the Signory, and went first to San Pietro di Castello to hear mass
+on St. Mark's day, the 31st of January, and to Santa Maria Formosa on
+the 2nd of February, the intermediate day being spent in passing in
+procession through the streets of the city; "and sometimes there arose
+quarrels about the places they should pass through, for every one wanted
+them to pass by his house."
+
+§ XI. Nearly the same account is given by Corner, who, however, does not
+say anything about the hats or the malvoisie. These, however, we find
+again in the Matricola de' Casseleri, which, of course, sets the
+services of the trunkmakers and the privileges obtained by them in the
+most brilliant light. The quaintness of the old Venetian is hardly to be
+rendered into English. "And you must know that the said trunkmakers were
+the men who were the cause of such victory, and of taking the galley,
+and of cutting all the Triestines to pieces, because, at that time, they
+were valiant men and well in order. The which victory was on the 2nd
+February, on the day of the Madonna of candles. And at the request and
+entreaties of the said trunkmakers, it was decreed that the Doge, every
+year, as long as Venice shall endure, should go on the eve of the said
+feast to vespers in the said church, with the Signory. And be it noted,
+that the vicar is obliged to give to the Doge two flasks of malvoisie,
+with two oranges besides. And so it is observed, and will be observed
+always." The reader must observe the continual confusion between St.
+Mark's day the 31st of January, and Candlemas the 2nd of February. The
+fact appears to be, that the marriage day in the old republic was St.
+Mark's day, and the recovery of the brides was the same day at evening;
+so that, as we are told by Sansovino, the commemorative festival began
+on that day, but it was continued to the day of the Purification, that
+especial thanks might be rendered to the Virgin; and, the visit to Sta.
+Maria Formosa being the most important ceremony of the whole festival,
+the old chroniclers, and even Sansovino, got confused, and asserted the
+victory itself to have taken place on the day appointed for that
+pilgrimage.
+
+§ XII. I doubt not that the reader who is acquainted with the beautiful
+lines of Rogers is as much grieved as I am at the interference of the
+"casket-makers" with the achievement which the poet ascribes to the
+bridegrooms alone; an interference quite as inopportune as that of old
+Le Balafré with the victory of his nephew, in the unsatisfactory
+conclusion of "Quentin Durward." I am afraid I cannot get the
+casket-makers quite out of the way; but it may gratify some of my
+readers to know that a chronicle of the year 1378, quoted by
+Galliciolli, denies the agency of the people of Sta. Maria Formosa
+altogether, in these terms: "Some say that the people of Sta. M. Formosa
+were those who recovered the _spoil_ ("predra;" I may notice, in
+passing, that most of the old chroniclers appear to consider the
+recovery of the _caskets_ rather more a subject of congratulation than
+that of the brides), and that, for their reward, they asked the Doge and
+Signory to visit Sta. M. Formosa; but _this is false_. The going to Sta.
+M. Formosa was because the thing had succeeded on that day, and because
+this was then the only church in Venice in honor of the Virgin." But
+here is again the mistake about the day itself; and besides if we get
+rid altogether of the trunkmakers, how are we to account for the
+ceremony of the oranges and hats, of which the accounts seem authentic?
+If, however, the reader likes to substitute "carpenters" or
+"house-builders" for casket-makers, he may do so with great reason (vide
+Galliciolli, lib. ii. § 1758); but I fear that one or the other body of
+tradesmen must be allowed to have had no small share in the honor of the
+victory.
+
+§ XIII. But whatever doubt attaches to the particular circumstances of
+its origin, there is none respecting the splendor of the festival
+itself, as it was celebrated for four centuries afterwards. We find that
+each contrada spent from 800 to 1000 zecchins in the dress of the
+"Maries" entrusted to it; but I cannot find among how many contrade the
+twelve Maries were divided; it is also to be supposed that most of the
+accounts given refer to the later periods of the celebration of the
+festival. In the beginning of the eleventh century, the good Doge Pietro
+Orseolo II. left in his will the third of his entire fortune "per la
+Festa della Marie;" and, in the fourteenth century, so many people came
+from the rest of Italy to see it, that special police regulations were
+made for it, and the Council of Ten were twice summoned before it took
+place.[35] The expense lavished upon it seems to have increased till the
+year 1379, when all the resources of the republic were required for the
+terrible war of Chiozza, and all festivity was for that time put an end
+to. The issue of the war left the Venetians with neither the power nor
+the disposition to restore the festival on its ancient scale, and they
+seem to have been ashamed to exhibit it in reduced splendor. It was
+entirely abolished.
+
+§ XIV. As if to do away even with its memory, every feature of the
+surrounding scene which was associated with that festival has been in
+succeeding ages destroyed. With one solitary exception,[36] there is not
+a house left in the whole Piazza of Santa Maria Formosa from whose
+windows the festa of the Maries has ever been seen: of the church in
+which they worshipped, not a stone is left, even the form of the ground
+and direction of the neighboring canals are changed; and there is now
+but one landmark to guide the steps of the traveller to the place where
+the white cloud rested, and the shrine was built to St. Mary the
+Beautiful. Yet the spot is still worth his pilgrimage, for he may
+receive a lesson upon it, though a painful one. Let him first fill his
+mind with the fair images of the ancient festival, and then seek that
+landmark the tower of the modern church, built upon the place where the
+daughters of Venice knelt yearly with her noblest lords; and let him
+look at the head that is carved on the base of the tower,[37] still
+dedicated to St. Mary the Beautiful.
+
+§ XV. A head,--huge, inhuman, and monstrous,--leering in bestial
+degradation, too foul to be either pictured or described, or to be
+beheld for more than an instant: yet let it be endured for that instant;
+for in that head is embodied the type of the evil spirit to which Venice
+was abandoned in the fourth period of her decline; and it is well that
+we should see and feel the full horror of it on this spot, and know what
+pestilence it was that came and breathed upon her beauty, until it
+melted away like the white cloud from the ancient fields of Santa Maria
+Formosa.
+
+§ XVI. This head is one of many hundreds which disgrace the latest
+buildings of the city, all more or less agreeing in their expression of
+sneering mockery, in most cases enhanced by thrusting out the tongue.
+Most of them occur upon the bridges, which were among the very last
+works undertaken by the republic, several, for instance, upon the Bridge
+of Sighs; and they are evidences of a delight in the contemplation of
+bestial vice, and the expression of low sarcasm, which is, I believe,
+the most hopeless state into which the human mind can fall. This spirit
+of idiotic mockery is, as I have said, the most striking characteristic
+of the last period of the Renaissance, which, in consequence of the
+character thus imparted to its sculpture, I have called grotesque; but
+it must be our immediate task, and it will be a most interesting one, to
+distinguish between this base grotesqueness, and that magnificent
+condition of fantastic imagination, which was above noticed as one of
+the chief elements of the Northern Gothic mind. Nor is this a question
+of interesting speculation merely: for the distinction between the true
+and false grotesque is one which the present tendencies of the English
+mind have rendered it practically important to ascertain; and that in a
+degree which, until he has made some progress in the consideration of
+the subject, the reader will hardly anticipate.
+
+§ XVII. But, first, I have to note one peculiarity in the late
+architecture of Venice, which will materially assist us in understanding
+the true nature of the spirit which is to be the subject of our inquiry;
+and this peculiarity, singularly enough, is first exemplified in the
+very façade of Santa Maria Formosa which is flanked by the grotesque
+head to which our attention has just been directed. This façade, whose
+architect is unknown, consists of a pediment, sustained on four
+Corinthian pilasters, and is, I believe, the earliest in Venice which
+appears _entirely destitute of every religious symbol, sculpture, or
+inscription_; unless the Cardinal's hat upon the shield in the centre of
+the impediment be considered a religious symbol. The entire façade is
+nothing else than a monument to the Admiral Vincenzo Cappello. Two
+tablets, one between each pair of flanking pillars, record his acts and
+honors; and, on the corresponding spaces upon the base of the church,
+are two circular trophies, composed of halberts, arrows, flags,
+tridents, helmets, and lances: sculptures which are just as valueless in
+a military as in an ecclesiastical point of view; for, being all copied
+from the forms of Roman arms and armor, they cannot even be referred to
+for information respecting the costume of the period. Over the door, as
+the chief ornament of the façade, exactly in the spot which in the
+"barbarous" St. Mark's is occupied by the figure of Christ, is the
+statue of Vincenzo Cappello, in Roman armor. He died in 1542; and we
+have, therefore, the latter part of the sixteenth century fixed as the
+period when, in Venice, churches were first built to the glory of man,
+instead of the glory of God.
+
+§ XVIII. Throughout the whole of Scripture history, nothing is more
+remarkable than the close connection of punishment with the sin of
+vain-glory. Every other sin is occasionally permitted to remain, for
+lengthened periods, without definite chastisement; but the forgetfulness
+of God, and the claim of honor by man, as belonging to himself, are
+visited at once, whether in Hezekiah, Nebuchadnezzar, or Herod, with the
+most tremendous punishment. We have already seen, that the first reason
+for the fall of Venice was the manifestation of such a spirit; and it is
+most singular to observe the definiteness with which it is here
+marked,--as if so appointed, that it might be impossible for future ages
+to miss the lesson. For, in the long inscriptions[38] which record the
+acts of Vincenzo Cappello, it might, at least, have been anticipated
+that some expressions would occur indicative of remaining pretence to
+religious feeling, or formal acknowledgement of Divine power. But there
+are none whatever. The name of God does not once occur; that of St. Mark
+is found only in the statement that Cappello was a procurator of the
+church: there is no word touching either on the faith or hope of the
+deceased; and the only sentence which alludes to supernatural powers at
+all, alludes to them under the heathen name of _fates_, in its
+explanation of what the Admiral Cappello _would_ have accomplished,
+"nisi fata Christianis adversa vetuissent."
+
+§ XIX. Having taken sufficient note of all the baseness of mind which
+these facts indicate in the people, we shall not be surprised to find
+immediate signs of dotage in the conception of their architecture. The
+churches raised throughout this period are so grossly debased, that even
+the Italian critics of the present day, who are partially awakened to
+the true state of art in Italy, though blind, as yet, to its true cause,
+exhaust their terms of reproach upon these last efforts of the
+Renaissance builders. The two churches of San Moisè and Santa Maria
+Zobenigo, which are among the most remarkable in Venice for their
+manifestation of insolent atheism, are characterized by Lazari, the one
+as "culmine d'ogni follia architettonica," the other as "orrido ammasso
+di pietra d'Istria," with added expressions of contempt, as just as it
+is unmitigated.
+
+§ XX. Now both these churches, which I should like the reader to visit
+in succession, if possible, after that of Sta. Maria Formosa, agree with
+that church, and with each other, in being totally destitute of
+religious symbols, and entirely dedicated to the honor of two Venetian
+families. In San Moisè, a bust of Vincenzo Fini is set on a tall narrow
+pyramid, above the central door, with this marvellous inscription:
+
+  "OMNE FASTIGIVM
+   VIRTVTE IMPLET
+   VINCENTIVS FINI."
+
+It is very difficult to translate this; for fastigium, besides its
+general sense, has a particular one in architecture, and refers to the
+part of the building occupied by the bust; but the main meaning of it is
+that "Vincenzo Fini fills all height with his virtue." The inscription
+goes on into farther praise, but this example is enough. Over the two
+lateral doors are two other laudatory inscriptions of younger members of
+the Fini family, the dates of death of the three heroes being 1660,
+1685, and 1726, marking thus the period of consummate degradation.
+
+[Illustration: Plate III.
+               NOBLE AND IGNOBLE GROTESQUE.]
+
+§ XXI. In like manner, the Church of Santa Maria Zobenigo is entirely
+dedicated to the Barbaro family; the only religious symbols with which
+it is invested being statues of angels blowing brazen trumpets, intended
+to express the spreading of the fame of the Barbaro family in heaven. At
+the top of the church is Venice crowned, between Justice and Temperance,
+Justice holding a pair of grocer's scales, of iron, swinging in the
+wind. There is a two-necked stone eagle (the Barbaro crest), with a
+copper crown, in the centre of the pediment. A huge statue of a Barbaro
+in armor, with a fantastic head-dress, over the central door; and four
+Barbaros in niches, two on each side of it, strutting statues, in the
+common stage postures of the period,--Jo. Maria Barbaro, sapiens
+ordinum; Marinus Barbaro, Senator (reading a speech in a Ciceronian
+attitude); Franc. Barbaro, legatus in classe (in armor, with high-heeled
+boots, and looking resolutely fierce); and Carolus Barbaro, sapiens
+ordinum: the decorations of the façade being completed by two trophies,
+consisting of drums, trumpets, flags and cannon; and six plans,
+sculptured in relief, of the towns of Zara, Candia, Padua, Rome, Corfu,
+and Spalatro.
+
+§ XXII. When the traveller has sufficiently considered the meaning of
+this façade, he ought to visit the Church of St. Eustachio, remarkable
+for the dramatic effect of the group of sculpture on its façade, and
+then the Church of the Ospedaletto (see Index, under head Ospedaletto);
+noticing, on his way, the heads on the foundations of the Palazzo Corner
+della Regina, and the Palazzo Pesaro, and any other heads carved on the
+modern bridges, closing with those on the Bridge of Sighs.
+
+He will then have obtained a perfect idea of the style and feeling of
+the Grotesque Renaissance. I cannot pollute this volume by any
+illustration of its worst forms, but the head turned to the front, on
+the right-hand in the opposite Plate, will give the general reader an
+idea of its most graceful and refined developments. The figure set
+beside it, on the left, is a piece of noble grotesque, from fourteenth
+century Gothic; and it must be our present task to ascertain the nature
+of the difference which exists between the two, by an accurate inquiry
+into the true essence of the grotesque spirit itself.
+
+§ XXIII. First, then, it seems to me that the grotesque is, in almost
+all cases, composed of two elements, one ludicrous, the other fearful;
+that, as one or other of these elements prevails, the grotesque falls
+into two branches, sportive grotesque and terrible grotesque; but that
+we cannot legitimately consider it under these two aspects, because
+there are hardly any examples which do not in some degree combine both
+elements; there are few grotesques so utterly playful as to be overcast
+with no shade of fearfulness, and few so fearful as absolutely to
+exclude all ideas of jest. But although we cannot separate the grotesque
+itself into two branches, we may easily examine separately the two
+conditions of mind which it seems to combine; and consider successively
+what are the kinds of jest, and what the kinds of fearfulness, which may
+be legitimately expressed in the various walks of art, and how their
+expressions actually occur in the Gothic and Renaissance schools.
+
+First, then, what are the conditions of playfulness which we may fitly
+express in noble art, or which (for this is the same thing) are
+consistent with nobleness in humanity? In other words, what is the
+proper function of play, with respect not to youth merely, but to all
+mankind?
+
+§ XXIV. It is a much more serious question than may be at first
+supposed; for a healthy manner of play is necessary in order to a
+healthy manner of work: and because the choice of our recreation is, in
+most cases, left to ourselves, while the nature of our work is generally
+fixed by necessity or authority, it may be well doubted whether more
+distressful consequences may not have resulted from mistaken choice in
+play than from mistaken direction in labor.
+
+§ XXV. Observe, however, that we are only concerned, here, with that
+kind of play which causes laughter or implies recreation, not with that
+which consists in the excitement of the energies whether of body or
+mind. Muscular exertion is, indeed, in youth, one of the conditions of
+recreation; "but neither the violent bodily labor which children of all
+ages agree to call play," nor the grave excitement of the mental
+faculties in games of skill or chance, are in anywise connected with the
+state of feeling we have here to investigate, namely, that sportiveness
+which man possesses in common with many inferior creatures, but to which
+his higher faculties give nobler expression in the various
+manifestations of wit, humor, and fancy.
+
+With respect to the manner in which this instinct of playfulness is
+indulged or repressed, mankind are broadly distinguishable into four
+classes: the men who play wisely; who play necessarily; who play
+inordinately; and who play not at all.
+
+§ XXVI. First: Those who play wisely. It is evident that the idea of any
+kind of play can only be associated with the idea of an imperfect,
+childish, and fatigable nature. As far as men can raise that nature, so
+that it shall no longer be interested by trifles or exhausted by toils,
+they raise it above play; he whose heart is at once fixed upon heaven,
+and open to the earth, so as to apprehend the importance of heavenly
+doctrines, and the compass of human sorrow, will have little disposition
+for jest; and exactly in proportion to the breadth and depth of his
+character and intellect, will be, in general, the incapability of
+surprise, or exuberant and sudden emotion, which must render play
+impossible. It is, however, evidently not intended that many men should
+even reach, far less pass their lives in, that solemn state of
+thoughtfulness, which brings them into the nearest brotherhood with
+their Divine Master; and the highest and healthiest state which is
+competent to ordinary humanity appears to be that which, accepting the
+necessity of recreation, and yielding to the impulses of natural delight
+springing out of health and innocence, does, indeed, condescend often to
+playfulness, but never without such deep love of God, of truth, and of
+humanity, as shall make even its slightest words reverent, its idlest
+fancies profitable, and its keenest satire indulgent. Wordsworth and
+Plato furnish us with, perhaps, the finest and highest examples of this
+playfulness: in the one case, unmixed with satire, the perfectly simple
+effusion of that spirit--in
+
+  "Which gives to all the self-same bent,
+   Whose life is wise, and innocent;"
+
+Plato, and, by the by, in a very wise book of our own times, not
+unworthy of being named in such companionship, "Friends in Council,"
+mingled with an exquisitely tender and loving satire.
+
+§ XXVII. Secondly: The men who play necessarily. That highest species of
+playfulness, which we have just been considering, is evidently the
+condition of a mind, not only highly cultivated, but so habitually
+trained to intellectual labor that it can bring a considerable force of
+accurate thought into its moments even of recreation. This is not
+possible, unless so much repose of mind and heart are enjoyed, even at
+the periods of greatest exertion, that the rest required by the system
+is diffused over the whole life. To the majority of mankind, such a
+state is evidently unattainable. They must, perforce, pass a large part
+of their lives in employments both irksome and toilsome, demanding an
+expenditure of energy which exhausts the system, and yet consuming that
+energy upon subjects incapable of interesting the nobler faculties. When
+such employments are intermitted, those noble instincts, fancy,
+imagination, and curiosity, are all hungry for the food which the labor
+of the day has denied to them, while yet the weariness of the body, in a
+great degree, forbids their application to any serious subject. They
+therefore exert themselves without any determined purpose, and under no
+vigorous restraint, but gather, as best they may, such various
+nourishment, and put themselves to such fantastic exercise, as may
+soonest indemnify them for their past imprisonment, and prepare them to
+endure their recurrence. This sketching of the mental limbs as their
+fetters fall away,--this leaping and dancing of the heart and intellect,
+when they are restored to the fresh air of heaven, yet half paralyzed by
+their captivity, and unable to turn themselves to any earnest
+purpose,--I call necessary play. It is impossible to exaggerate its
+importance, whether in polity, or in art.
+
+§ XXVIII. Thirdly: The men who play inordinately. The most perfect state
+of society which, consistently with due understanding of man's nature,
+it may be permitted us to conceive, would be one in which the whole
+human race were divided, more or less distinctly, into workers and
+thinkers; that is to say, into the two classes, who only play wisely, or
+play necessarily. But the number and the toil of the working class are
+enormously increased, probably more than doubled, by the vices of the
+men who neither play wisely nor necessarily, but are enabled by
+circumstances, and permitted by their want of principle, to make
+amusement the object of their existence. There is not any moment of the
+lives of such men which is not injurious to others; both because they
+leave the work undone which was appointed for them, and because they
+necessarily think wrongly, whenever it becomes compulsory upon them to
+think at all. The greater portion of the misery of this world arises
+from the false opinions of men whose idleness has physically
+incapacitated them from forming true ones. Every duty which we omit
+obscures some truth which we should have known; and the guilt of a life
+spent in the pursuit of pleasure is twofold, partly consisting in the
+perversion of action, and partly in the dissemination of falsehood.
+
+§ XXIX. There is, however, a less criminal, though hardly less dangerous
+condition of mind; which, though not failing in its more urgent duties,
+fails in the finer conscientiousness which regulates the degree, and
+directs the choice, of amusement, at those times when amusement is
+allowable. The most frequent error in this respect is the want of
+reverence in approaching subjects of importance or sacredness, and of
+caution in the expression of thoughts which may encourage like
+irreverence in others: and these faults are apt to gain upon the mind
+until it becomes habitually more sensible to what is ludicrous and
+accidental, than to what is grave and essential, in any subject that is
+brought before it; or even, at last, desires to perceive or to know
+nothing but what may end in jest. Very generally minds of this
+character are active and able; and many of them are so far
+conscientious, that they believe their jesting forwards their work. But
+it is difficult to calculate the harm they do, by destroying the
+reverence which is our best guide into all truth; for weakness and evil
+are easily visible, but greatness and goodness are often latent; and we
+do infinite mischief by exposing weakness to eyes which cannot
+comprehend greatness. This error, however, is more connected with abuses
+of the satirical than of the playful instinct; and I shall have more to
+say of it presently.
+
+§ XXX. Lastly: The men who do not play at all: those who are so dull or
+so morose as to be incapable of inventing or enjoying jest, and in whom
+care, guilt, or pride represses all healthy exhilaration of the fancy;
+or else men utterly oppressed with labor, and driven too hard by the
+necessities of the world to be capable of any species of happy
+relaxation.
+
+§ XXXI. We have now to consider the way in which the presence or absence
+of joyfulness, in these several classes, is expressed in art.
+
+1. Wise play. The first and noblest class hardly ever speak through art,
+except seriously; they feel its nobleness too profoundly, and value the
+time necessary for its production too highly, to employ it in the
+rendering of trivial thoughts. The playful fancy of a moment may
+innocently be expressed by the passing word; but he can hardly have
+learned the preciousness of life, who passes days in the elaboration of
+a jest. And, as to what regards the delineation of human character, the
+nature of all noble art is to epitomize and embrace so much at once,
+that its subject can never be altogether ludicrous; it must possess all
+the solemnities of the whole, not the brightness of the partial, truth.
+For all truth that makes us smile is partial. The novelist amuses us by
+his relation of a particular incident; but the painter cannot set any
+one of his characters before us without giving some glimpse of its whole
+career. That of which the historian informs us in successive pages, it
+is the task of the painter to inform us of at once, writing upon the
+countenance not merely the expression of the moment, but the history of
+the life: and the history of a life can never be a jest.
+
+Whatever part, therefore, of the sportive energy of these men of the
+highest class would be expressed in verbal wit or humor finds small
+utterance through their art, and will assuredly be confined, if it occur
+there at all, to scattered and trivial incidents. But so far as their
+minds can recreate themselves by the imagination of strange, yet not
+laughable, forms, which, either in costume, in landscape, or in any
+other accessaries, may be combined with those necessary for their more
+earnest purposes, we find them delighting in such inventions; and a
+species of grotesqueness thence arising in all their work, which is
+indeed one of its most valuable characteristics, but which is so
+intimately connected with the sublime or terrible form of the grotesque,
+that it will be better to notice it under that head.
+
+§ XXXII. 2. Necessary play. I have dwelt much in a former portion of
+this work, on the justice and desirableness of employing the minds of
+inferior workmen, and of the lower orders in general, in the production
+of objects of art of one kind or another. So far as men of this class
+are compelled to hard manual labor for their daily bread, so far forth
+their artistical efforts must be rough and ignorant, and their
+artistical perceptions comparatively dull. Now it is not possible, with
+blunt perceptions and rude hands, to produce works which shall be
+pleasing by their beauty; but it is perfectly possible to produce such
+as shall be interesting by their character or amusing by their satire.
+For one hard-working man who possesses the finer instincts which decide
+on perfection of lines and harmonies of color, twenty possess dry humor
+or quaint fancy; not because these faculties were originally given to
+the human race, or to any section of it, in greater degree than the
+sense of beauty, but because these are exercised in our daily
+intercourse with each other, and developed by the interest which we take
+in the affairs of life, while the others are not. And because,
+therefore, a certain degree of success will probably attend the effort
+to express this humor or fancy, while comparative failure will
+assuredly result from an ignorant struggle to reach the forms of solemn
+beauty, the working-man, who turns his attention partially to art, will
+probably, and wisely, choose to do that which he can do best, and
+indulge the pride of an effective satire rather than subject himself to
+assured mortification in the pursuit of beauty; and this the more,
+because we have seen that his application to art is to be playful and
+recreative, and it is not in recreation that the conditions of
+perfection can be fulfilled.
+
+§ XXXIII. Now all the forms of art which result from the comparatively
+recreative exertion of minds more or less blunted or encumbered by other
+cares and toils, the art which we may call generally art of the wayside,
+as opposed to that which is the business of men's lives, is, in the best
+sense of the word, Grotesque. And it is noble or inferior, first,
+according to the tone of the minds which have produced it, and in
+proportion to their knowledge, wit, love of truth, and kindness;
+secondly, according to the degree of strength they have been able to
+give forth; but yet, however much we may find in it needing to be
+forgiven, always delightful so long as it is the work of good and
+ordinarily intelligent men. And its delightfulness ought mainly to
+consist _in those very imperfections_ which mark it for work done in
+times of rest. It is not its own merit so much as the enjoyment of him
+who produced it, which is to be the source of the spectator's pleasure;
+it is to the strength of his sympathy, not to the accuracy of his
+criticism, that it makes appeal; and no man can indeed be a lover of
+what is best in the higher walks of art, who has not feeling and charity
+enough to rejoice with the rude sportiveness of hearts that have escaped
+out of prison, and to be thankful for the flowers which men have laid
+their burdens down to sow by the wayside.
+
+§ XXXIV. And consider what a vast amount of human work this right
+understanding of its meaning will make fruitful and admirable to us,
+which otherwise we could only have passed by with contempt. There is
+very little architecture in the world which is, in the full sense of the
+words, good and noble. A few pieces of Italian Gothic and Romanesque, a
+few scattered fragments of Gothic cathedrals, and perhaps two or three
+of Greek temples, are all that we possess approaching to an ideal of
+perfection. All the rest--Egyptian, Norman, Arabian, and most Gothic,
+and, which is very noticeable, for the most part all the strongest and
+mightiest--depend for their power on some developement of the grotesque
+spirit; but much more the inferior domestic architecture of the middle
+ages, and what similar conditions remain to this day in countries from
+which the life of art has not yet been banished by its laws. The
+fantastic gables, built up in scroll-work and steps, of the Flemish
+street; the pinnacled roofs set with their small humorist double
+windows, as if with so many ears and eyes, of Northern France; the
+blackened timbers, crossed and carved into every conceivable waywardness
+of imagination, of Normandy and old England; the rude hewing of the pine
+timbers of the Swiss cottage; the projecting turrets and bracketed
+oriels of the German street; these, and a thousand other forms, not in
+themselves reaching any high degree of excellence, are yet admirable,
+and most precious, as the fruits of a rejoicing energy in uncultivated
+minds. It is easier to take away the energy, than to add the
+cultivation; and the only effect of the better knowledge which civilized
+nations now possess, has been, as we have seen in a former chapter, to
+forbid their being happy, without enabling them to be great.
+
+§ XXXV. It is very necessary, however, with respect to this provincial
+or rustic architecture, that we should carefully distinguish its truly
+grotesque from its picturesque elements. In the "Seven Lamps" I defined
+the picturesque to be "parasitical sublimity," or sublimity belonging to
+the external or accidental characters of a thing, not to the thing
+itself. For instance, when a highland cottage roof is covered with
+fragments of shale instead of slates, it becomes picturesque, because
+the irregularity and rude fractures of the rocks, and their grey and
+gloomy color, give to it something of the savageness, and much of the
+general aspect, of the slope of a mountain side. But as a mere cottage
+roof, it cannot be sublime, and whatever sublimity it derives from the
+wildness or sternness which the mountains have given it in its covering,
+is, so far forth, parasitical. The mountain itself would have been
+grand, which is much more than picturesque; but the cottage cannot be
+grand as such, and the parasitical grandeur which it may possess by
+accidental qualities, is the character for which men have long agreed to
+use the inaccurate word "Picturesque."
+
+§ XXXVI. On the other hand, beauty cannot be parasitical. There is
+nothing so small or so contemptible, but it may be beautiful in its own
+right. The cottage may be beautiful, and the smallest moss that grows on
+its roof, and the minutest fibre of that moss which the microscope can
+raise into visible form, and all of them in their own right, not less
+than the mountains and the sky; so that we use no peculiar term to
+express their beauty, however diminutive, but only when the sublime
+element enters, without sufficient worthiness in the nature of the thing
+to which it is attached.
+
+§ XXXVII. Now this picturesque element, which is always given, if by
+nothing else, merely by ruggedness, adds usually very largely to the
+pleasurableness of grotesque work, especially to that of its inferior
+kinds; but it is not for this reason to be confounded with the
+grotesqueness itself. The knots and rents of the timbers, the irregular
+lying of the shingles on the roofs, the vigorous light and shadow, the
+fractures and weather-stains of the old stones, which were so deeply
+loved and so admirably rendered by our lost Prout, are the picturesque
+elements of the architecture: the grotesque ones are those which are not
+produced by the working of nature and of time, but exclusively by the
+fancy of man; and, as also for the most part by his indolent and
+uncultivated fancy, they are always, in some degree, wanting in
+grandeur, unless the picturesque element be united with them.
+
+§ XXXVIII. 3. Inordinate play. The reader will have some difficulty, I
+fear, in keeping clearly in his mind the various divisions of our
+subject; but, when he has once read the chapter through, he will see
+their places and coherence. We have next to consider the expression
+throughout of the minds of men who indulge themselves in unnecessary
+play. It is evident that a large number of these men will be more
+refined and more highly educated than those who only play necessarily;
+the power of pleasure-seeking implies, in general, fortunate
+circumstances of life. It is evident also that their play will not be so
+hearty, so simple, or so joyful; and this deficiency of brightness will
+affect it in proportion to its unnecessary and unlawful continuance,
+until at last it becomes a restless and dissatisfied indulgence in
+excitement, or a painful delving after exhausted springs of pleasure.
+
+The art through which this temper is expressed will, in all probability,
+be refined and sensual,--therefore, also, assuredly feeble; and because,
+in the failure of the joyful energy of the mind, there will fail, also,
+its perceptions and its sympathies, it will be entirely deficient in
+expression of character, and acuteness of thought, but will be
+peculiarly restless, manifesting its desire for excitement in idle
+changes of subject and purpose. Incapable of true imagination, it will
+seek to supply its place by exaggerations, incoherencies, and
+monstrosities; and the form of the grotesque to which it gives rise will
+be an incongruous chain of hackneyed graces, idly thrown
+together,--prettinesses or sublimities, not of its own invention,
+associated in forms which will be absurd without being fantastic, and
+monstrous without being terrible. And because, in the continual pursuit
+of pleasure, men lose both cheerfulness and charity, there will be small
+hilarity, but much malice, in this grotesque; yet a weak malice,
+incapable of expressing its own bitterness, not having grasp enough of
+truth to become forcible, and exhausting itself in impotent or
+disgusting caricature.
+
+§ XXXIX. Of course, there are infinite ranks and kinds of this
+grotesque, according to the natural power of the minds which originate
+it, and to the degree in which they have lost themselves. Its highest
+condition is that which first developed itself among the enervated
+Romans, and which was brought to the highest perfection of which it was
+capable, by Raphael, in the arabesques of the Vatican. It may be
+generally described as an elaborate and luscious form of nonsense. Its
+lower conditions are found in the common upholstery and decorations
+which, over the whole of civilized Europe, have sprung from this
+poisonous root; an artistical pottage, composed of nymphs, cupids, and
+satyrs, with shreddings of heads and paws of meek wild beasts, and
+nondescript vegetables. And the lowest of all are those which have not
+even graceful models to recommend them, but arise out of the corruption
+of the higher schools, mingled with clownish or bestial satire, as is
+the case in the latter Renaissance of Venice, which we were above
+examining. It is almost impossible to believe the depth to which the
+human mind can be debased in following this species of grotesque. In a
+recent Italian garden, the favorite ornaments frequently consist of
+stucco images, representing, in dwarfish caricature, the most disgusting
+types of manhood and womanhood which can be found amidst the dissipation
+of the modern drawingroom; yet without either veracity or humor, and
+dependent, for whatever interest they possess, upon simple grossness of
+expression and absurdity of costume. Grossness, of one kind or another,
+is, indeed, an unfailing characteristic of the style; either latent, as
+in the refined sensuality of the more graceful arabesques, or, in the
+worst examples, manifested in every species of obscene conception and
+abominable detail. In the head, described in the opening of this
+chapter, at Santa Maria Formosa, the _teeth_ are represented as
+_decayed_.
+
+§ XL. 4. The minds of the fourth class of men who do not play at all,
+are little likely to find expression in any trivial form of art, except
+in bitterness of mockery; and this character at once stamps the work in
+which it appears, as belonging to the class of terrible, rather than of
+playful, grotesque. We have, therefore, now to examine the state of mind
+which gave rise to this second and more interesting branch of
+imaginative work.
+
+§ XLI. Two great and principal passions are evidently appointed by the
+Deity to rule the life of man; namely, the love of God, and the fear of
+sin, and of its companion--Death. How many motives we have for Love, how
+much there is in the universe to kindle our admiration and to claim our
+gratitude, there are, happily, multitudes among us who both feel and
+teach. But it has not, I think, been sufficiently considered how
+evident, throughout the system of creation, is the purpose of God that
+we should often be affected by Fear; not the sudden, selfish, and
+contemptible fear of immediate danger, but the fear which arises out of
+the contemplation of great powers in destructive operation, and
+generally from the perception of the presence of death. Nothing appears
+to me more remarkable than the array of scenic magnificence by which the
+imagination is appalled, in myriads of instances, when the actual danger
+is comparatively small; so that the utmost possible impression of awe
+shall be produced upon the minds of all, though direct suffering is
+inflicted upon few. Consider, for instance, the moral effect of a single
+thunder-storm. Perhaps two or three persons may be struck dead within
+the space of a hundred square miles; and their deaths, unaccompanied by
+the scenery of the storm, would produce little more than a momentary
+sadness in the busy hearts of living men. But the preparation for the
+Judgment by all that mighty gathering of clouds; by the questioning of
+the forest leaves, in their terrified stillness, which way the winds
+shall go forth; by the murmuring to each other, deep in the distance, of
+the destroying angels before they draw forth their swords of fire; by
+the march of the funeral darkness in the midst of the noon-day, and the
+rattling of the dome of heaven beneath the chariot-wheels of death;--on
+how many minds do not these produce an impression almost as great as the
+actual witnessing of the fatal issue! and how strangely are the
+expressions of the threatening elements fitted to the apprehension of
+the human soul! The lurid color, the long, irregular, convulsive sound,
+the ghastly shapes of flaming and heaving cloud, are all as true and
+faithful in their appeal to our instinct of danger, as the moaning or
+wailing of the human voice itself is to our instinct of pity. It is not
+a reasonable calculating terror which they awake in us; it is no matter
+that we count distance by seconds, and measure probability by averages.
+That shadow of the thunder-cloud will still do its work upon our hearts,
+and we shall watch its passing away as if we stood upon the
+threshing-floor of Araunah.
+
+§ XLII. And this is equally the case with respect to all the other
+destructive phenomena of the universe. From the mightiest of them to the
+gentlest, from the earthquake to the summer shower, it will be found
+that they are attended by certain aspects of threatening, which strike
+terror into the hearts of multitudes more numerous a thousandfold than
+those who actually suffer from the ministries of judgment; and that,
+besides the fearfulness of these immediately dangerous phenomena, there
+is an occult and subtle horror belonging to many aspects of the creation
+around us, calculated often to fill us with serious thought, even in our
+times of quietness and peace. I understand not the most dangerous,
+because most attractive form of modern infidelity, which, pretending to
+exalt the beneficence of the Deity, degrades it into a reckless
+infinitude of mercy, and blind obliteration of the work of sin; and
+which does this chiefly by dwelling on the manifold appearances of God's
+kindness on the face of creation. Such kindness is indeed everywhere and
+always visible; but not alone. Wrath and threatening are invariably
+mingled with the love; and in the utmost solitudes of nature, the
+existence of Hell seems to me as legibly declared by a thousand
+spiritual utterances, as that of Heaven. It is well for us to dwell with
+thankfulness on the unfolding of the flower, and the falling of the dew,
+and the sleep of the green fields in the sunshine; but the blasted
+trunk, the barren rock, the moaning of the bleak winds, the roar of the
+black, perilous, merciless whirlpools of the mountain streams, the
+solemn solitudes of moors and seas, the continual fading of all beauty
+into darkness, and of all strength into dust, have these no language for
+us? We may seek to escape their teaching by reasonings touching the good
+which is wrought out of all evil; but it is vain sophistry. The good
+succeeds to the evil as day succeeds the night, but so also the evil to
+the good. Gerizim and Ebal, birth and death, light and darkness, heaven
+and hell, divide the existence of man, and his Futurity.[39]
+
+§ XLIII. And because the thoughts of the choice we have to make between
+these two, ought to rule us continually, not so much in our own actions
+(for these should, for the most part, be governed by settled habit and
+principle) as in our manner of regarding the lives of other men, and our
+own responsibilities with respect to them; therefore, it seems to me
+that the healthiest state into which the human mind can be brought is
+that which is capable of the greatest love, and the greatest awe: and
+this we are taught even in our times of rest; for when our minds are
+rightly in tone, the merely pleasurable excitement which they seek with
+most avidity is that which rises out of the contemplation of beauty or
+of terribleness. We thirst for both, and, according to the height and
+tone of our feeling, desire to see them in noble or inferior forms. Thus
+there is a Divine beauty, and a terribleness or sublimity coequal with
+it in rank, which are the subjects of the highest art; and there is an
+inferior or ornamental beauty, and an inferior terribleness coequal with
+it in rank, which are the subjects of grotesque art. And the state of
+mind in which the terrible form of the grotesque is developed, is that
+which in some irregular manner, dwells upon certain conditions of
+terribleness, into the complete depth of which it does not enter for the
+time.
+
+§ XLIV. Now the things which are the proper subjects of human fear are
+twofold; those which have the power of Death, and those which have the
+nature of Sin. Of which there are many ranks, greater or less in power
+and vice, from the evil angels themselves down to the serpent which is
+their type, and which though of a low and contemptible class, appears
+to unite the deathful and sinful natures in the most clearly visible and
+intelligible form; for there is nothing else which we know, of so small
+strength and occupying so unimportant a place in the economy of
+creation, which yet is so mortal and so malignant. It is, then, on these
+two classes of objects that the mind fixes for its excitement, in that
+mood which gives rise to the terrible grotesque; and its subject will be
+found always to unite some expression of vice and danger, but regarded
+in a peculiar temper; sometimes (A) of predetermined or involuntary
+apathy, sometimes (B) of mockery, sometimes (C) of diseased and
+ungoverned imaginativeness.
+
+§ XLV. For observe, the difficulty which, as I above stated, exists in
+distinguishing the playful from the terrible grotesque arises out of
+this cause; that the mind, under certain phases of excitement, _plays_
+with _terror_, and summons images which, if it were in another temper,
+would be awful, but of which, either in weariness or in irony, it
+refrains for the time to acknowledge the true terribleness. And the mode
+in which this refusal takes place distinguishes the noble from the
+ignoble grotesque. For the master of the noble grotesque knows the depth
+of all at which he seems to mock, and would feel it at another time, or
+feels it in a certain undercurrent of thought even while he jests with
+it; but the workman of the ignoble grotesque can feel and understand
+nothing, and mocks at all things with the laughter of the idiot and the
+cretin.
+
+To work out this distinction completely is the chief difficulty in our
+present inquiry; and, in order to do so, let us consider the above-named
+three conditions of mind in succession, with relation to objects of
+terror.
+
+§ _XLVI_. (A). Involuntary or predetermined apathy. We saw above that
+the grotesque was produced, chiefly in subordinate or ornamental art, by
+rude, and in some degree uneducated men, and in their times of rest. At
+such times, and in such subordinate work, it is impossible that they
+should represent any solemn or terrible subject with a full and serious
+entrance into its feeling. It is not in the languor of a leisure hour
+that a man will set his whole soul to conceive the means of representing
+some important truth, nor to the projecting angle of a timber bracket
+that he would trust its representation, if conceived. And yet, in this
+languor, and in this trivial work, he must find some expression of the
+serious part of his soul, of what there is within him capable of awe, as
+well as of love. The more noble the man is, the more impossible it will
+be for him to confine his thoughts to mere loveliness, and that of a low
+order. Were his powers and his time unlimited, so that, like Frà
+Angelico, he could paint the Seraphim, in that order of beauty he could
+find contentment, bringing down heaven to earth. But by the conditions
+of his being, by his hard-worked life, by his feeble powers of
+execution, by the meanness of his employment and the languor of his
+heart, he is bound down to earth. It is the world's work that he is
+doing, and world's work is not to be done without fear. And whatever
+there is of deep and eternal consciousness within him, thrilling his
+mind with the sense of the presence of sin and death around him, must be
+expressed in that slight work, and feeble way, come of it what will. He
+cannot forget it, among all that he sees of beautiful in nature; he may
+not bury himself among the leaves of the violet on the rocks, and of the
+lily in the glen, and twine out of them garlands of perpetual gladness.
+He sees more in the earth than these,--misery and wrath, and
+discordance, and danger, and all the work of the dragon and his angels;
+this he sees with too deep feeling ever to forget. And though when he
+returns to his idle work,--it may be to gild the letters upon the page,
+or to carve the timbers of the chamber, or the stones of the
+pinnacle,--he cannot give his strength of thought any more to the woe or
+to the danger, there is a shadow of them still present with him: and as
+the bright colors mingle beneath his touch, and the fair leaves and
+flowers grow at his bidding, strange horrors and phantasms rise by their
+side; grisly beasts and venomous serpents, and spectral fiends and
+nameless inconsistencies of ghastly life, rising out of things most
+beautiful, and fading back into them again, as the harm and the horror
+of life do out of its happiness. He has seen these things; he wars with
+them daily; he cannot but give them their part in his work, though in a
+state of comparative apathy to them at the time. He is but carving and
+gilding, and must not turn aside to weep; but he knows that hell is
+burning on, for all that, and the smoke of it withers his oak-leaves.
+
+§ XLVII. Now, the feelings which give rise to the false or ignoble
+grotesque, are exactly the reverse of these. In the true grotesque, a
+man of naturally strong feeling is accidentally or resolutely apathetic;
+in the false grotesque, a man naturally apathetic is forcing himself
+into temporary excitement. The horror which is expressed by the one,
+comes upon him whether he will or not; that which is expressed by the
+other, is sought out by him, and elaborated by his art. And therefore,
+also, because the fear of the one is true, and of true things, however
+fantastic its expression may be, there will be reality in it, and force.
+It is not a manufactured terribleness, whose author, when he had
+finished it, knew not if it would terrify any one else or not: but it is
+a terribleness taken from the life; a spectre which the workman indeed
+saw, and which, as it appalled him, will appal us also. But the other
+workman never felt any Divine fear; he never shuddered when he heard the
+cry from the burning towers of the earth,
+
+  "Venga Medusa; sì lo farem di smalto."
+
+He is stone already, and needs no gentle hand laid upon his eyes to save
+him.
+
+§ XLVIII. I do not mean what I say in this place to apply to the
+creations of the imagination. It is not as the creating but as the
+_seeing_ man, that we are here contemplating the master of the true
+grotesque. It is because the dreadfulness of the universe around him
+weighs upon his heart, that his work is wild; and therefore through the
+whole of it we shall find the evidence of deep insight into nature. His
+beasts and birds, however monstrous, will have profound relations with
+the true. He may be an ignorant man, and little acquainted with the laws
+of nature; he is certainly a busy man, and has not much time to watch
+nature; but he never saw a serpent cross his path, nor a bird flit
+across the sky, nor a lizard bask upon a stone, without learning so much
+of the sublimity and inner nature of each as will not suffer him
+thenceforth to conceive them coldly. He may not be able to carve plumes
+or scales well; but his creatures will bite and fly, for all that. The
+ignoble workman is the very reverse of this. He never felt, never looked
+at nature; and if he endeavor to imitate the work of the other, all his
+touches will be made at random, and all his extravagances will be
+ineffective; he may knit brows, and twist lips, and lengthen beaks, and
+sharpen teeth, but it will be all in vain. He may make his creatures
+disgusting, but never fearful.
+
+§ XLIX. There is, however, often another cause of difference than this.
+The true grotesque being the expression of the _repose_ or play of a
+_serious_ mind, there is a false grotesque opposed to it, which is the
+result of the _full exertion_ of a _frivolous_ one. There is much
+grotesque which is wrought out with exquisite care and pains, and as
+much labor given to it as if it were of the noblest subject; so that the
+workman is evidently no longer apathetic, and has no excuse for
+unconnectedness of thought, or sudden unreasonable fear. If he awakens
+horror now, it ought to be in some truly sublime form. His strength is
+in his work; and he must not give way to sudden humor, and fits of
+erratic fancy. If he does so, it must be because his mind is naturally
+frivolous, or is for the time degraded into the deliberate pursuit of
+frivolity. And herein lies the real distinction between the base
+grotesque of Raphael and the Renaissance, above alluded to, and the true
+Gothic grotesque. Those grotesques or arabesques of the Vatican, and
+other such work, which have become the patterns of ornamentation in
+modern times, are the fruit of great minds degraded to base objects. The
+care, skill, and science, applied to the distribution of the leaves, and
+the drawing of the figures, are intense, admirable, and accurate;
+therefore, they ought to have produced a grand and serious work, not a
+tissue of nonsense. If we can draw the human head perfectly, and are
+masters of its expression and its beauty, we have no business to cut it
+off, and hang it up by the hair at the end of a garland. If we can draw
+the human body in the perfection of its grace and movement, we have no
+business to take away its limbs, and terminate it with a bunch of
+leaves. Or rather our doing so will imply that there is something wrong
+with us; that, if we can consent to use our best powers for such base
+and vain trifling, there must be something wanting in the powers
+themselves; and that, however skilful we may be, or however learned, we
+are wanting both in the earnestness which can apprehend a noble truth,
+and in the thoughtfulness which can feel a noble fear. No Divine terror
+will ever be found in the work of the man who wastes a colossal strength
+in elaborating toys; for the first lesson which that terror is sent to
+teach us, is the value of the human soul, and the shortness of mortal
+time.
+
+§ L. And are we never, then, it will be asked, to possess a refined or
+perfect ornamentation? Must all decoration be the work of the ignorant
+and the rude? Not so; but exactly in proportion as the ignorance and
+rudeness diminish, must the ornamentation become rational, and the
+grotesqueness disappear. The noblest lessons may be taught in
+ornamentation, the most solemn truths compressed into it. The Book of
+Genesis, in all the fulness of its incidents, in all the depth of its
+meaning, is bound within the leaf-borders of the gates of Ghiberti. But
+Raphael's arabesque is mere elaborate idleness. It has neither meaning
+nor heart in it; it is an unnatural and monstrous abortion.
+
+§ LI. Now, this passing of the grotesque into higher art, as the mind of
+the workman becomes informed with better knowledge, and capable of more
+earnest exertion, takes place in two ways. Either, as his power
+increases, he devotes himself more and more to the beauty which he now
+feels himself able to express, and so the grotesqueness expands, and
+softens into the beautiful, as in the above-named instance of the gates
+of Ghiberti; or else, if the mind of the workman be naturally inclined
+to gloomy contemplation, the imperfection or apathy of his work rises
+into nobler terribleness, until we reach the point of the grotesque of
+Albert Durer, where, every now and then, the playfulness or apathy of
+the painter passes into perfect sublime. Take the Adam and Eve, for
+instance. When he gave Adam a bough to hold, with a parrot on it, and a
+tablet hung to it, with "Albertus Durer Noricus faciebat, 1504,"
+thereupon, his mind was not in Paradise. He was half in play, half
+apathetic with respect to his subject, thinking how to do his work well,
+as a wise master-graver, and how to receive his just reward of fame. But
+he rose into the true sublime in the head of Adam, and in the profound
+truthfulness of every creature that fills the forest. So again in that
+magnificent coat of arms, with the lady and the satyr, as he cast the
+fluttering drapery hither and thither around the helmet, and wove the
+delicate crown upon the woman's forehead, he was in a kind of play; but
+there is none in the dreadful skull upon the shield. And in the "Knight
+and Death," and in the dragons of the illustrations to the Apocalypse,
+there is neither play nor apathy; but their grotesque is of the ghastly
+kind which best illustrates the nature of death and sin. And this leads
+us to the consideration of the second state of mind out of which the
+noble grotesque is developed; that is to say, the temper of mockery.
+
+§ LII. (B). Mockery, or Satire. In the former part of this chapter, when
+I spoke of the kinds of art which were produced in the recreation of the
+lower orders, I only spoke of forms of ornament, not of the expression
+of satire or humor. But it seems probable, that nothing is so refreshing
+to the vulgar mind as some exercise of this faculty, more especially on
+the failings of their superiors; and that, wherever the lower orders are
+allowed to express themselves freely, we shall find humor, more or less
+caustic, becoming a principal feature in their work. The classical and
+Renaissance manufacturers of modern times having silenced the
+independent language of the operative, his humor and satire pass away in
+the word-wit which has of late become the especial study of the group of
+authors headed by Charles Dickens; all this power was formerly thrown
+into noble art, and became permanently expressed in the sculptures of
+the cathedral. It was never thought that there was anything discordant
+or improper in such a position: for the builders evidently felt very
+deeply a truth of which, in modern times, we are less cognizant; that
+folly and sin are, to a certain extent, synonymous, and that it would be
+well for mankind in general, if all could be made to feel that
+wickedness is as contemptible as it is hateful. So that the vices were
+permitted to be represented under the most ridiculous forms, and all the
+coarsest wit of the workman to be exhausted in completing the
+degradation of the creatures supposed to be subjected to them.
+
+§ LIII. Nor were even the supernatural powers of evil exempt from this
+species of satire. For with whatever hatred or horror the evil angels
+were regarded, it was one of the conditions of Christianity that they
+should also be looked upon as vanquished; and this not merely in their
+great combat with the King of Saints, but in daily and hourly combats
+with the weakest of His servants. In proportion to the narrowness of the
+powers of abstract conception in the workman, the nobleness of the idea
+of spiritual nature diminished, and the traditions of the encounters of
+men with fiends in daily temptations were imagined with less terrific
+circumstances, until the agencies which in such warfare were almost
+always represented as vanquished with disgrace, became, at last, as much
+the objects of contempt as of terror.
+
+The superstitions which represented the devil as assuming various
+contemptible forms of disguises in order to accomplish his purposes
+aided this gradual degradation of conception, and directed the study of
+the workman to the most strange and ugly conditions of animal form,
+until at last, even in the most serious subjects, the fiends are oftener
+ludicrous than terrible. Nor, indeed, is this altogether avoidable, for
+it is not possible to express intense wickedness without some condition
+of degradation. Malice, subtlety, and pride, in their extreme, cannot be
+written upon noble forms; and I am aware of no effort to represent the
+Satanic mind in the angelic form, which has succeeded in painting.
+Milton succeeds only because he separately describes the movements of
+the mind, and therefore leaves himself at liberty to make the form
+heroic; but that form is never distinct enough to be painted. Dante, who
+will not leave even external forms obscure, degrades them before he can
+feel them to be demoniacal; so also John Bunyan: both of them, I think,
+having firmer faith than Milton's in their own creations, and deeper
+insight into the nature of sin. Milton makes his fiends too noble, and
+misses the foulness, inconstancy, and fury of wickedness. His Satan
+possesses some virtues, not the less virtues for being applied to evil
+purpose. Courage, resolution, patience, deliberation in council, this
+latter being eminently a wise and holy character, as opposed to the
+"Insania" of excessive sin: and all this, if not a shallow and false, is
+a smooth and artistical, conception. On the other hand, I have always
+felt that there was a peculiar grandeur in the indescribable,
+ungovernable fury of Dante's fiends, ever shortening its own powers, and
+disappointing its own purposes; the deaf, blind, speechless, unspeakable
+rage, fierce as the lightning, but erring from its mark or turning
+senselessly against itself, and still further debased by foulness of
+form and action. Something is indeed to be allowed for the rude feelings
+of the time, but I believe all such men as Dante are sent into the world
+at the time when they can do their work best; and that, it being
+appointed for him to give to mankind the most vigorous realization
+possible both of Hell and Heaven, he was born both in the country and at
+the time which furnished the most stern opposition of Horror and Beauty,
+and permitted it to be written in the clearest terms. And, therefore,
+though there are passages in the "Inferno" which it would be impossible
+for any poet now to write, I look upon it as all the more perfect for
+them. For there can be no question but that one characteristic of
+excessive vice is indecency, a general baseness in its thoughts and acts
+concerning the body,[40] and that the full portraiture of it cannot be
+given without marking, and that in the strongest lines, this tendency to
+corporeal degradation; which, in the time of Dante, could be done
+frankly, but cannot now. And, therefore, I think the twenty-first and
+twenty-second books of the "Inferno" the most perfect portraitures of
+fiendish nature which we possess; and at the same time, in their
+mingling of the extreme of horror (for it seems to me that the silent
+swiftness of the first demon, "con l'ali aperte e sovra i pie leggiero,"
+cannot be surpassed in dreadfulness) with ludicrous actions and images,
+they present the most perfect instances with which I am acquainted of
+the terrible grotesque. But the whole of the "Inferno" is full of this
+grotesque, as well as the "Faërie Queen;" and these two poems, together
+with the works of Albert Durer, will enable the reader to study it in
+its noblest forms, without reference to Gothic cathedrals.
+
+§ LIV. Now, just as there are base and noble conditions of the apathetic
+grotesque, so also are there of this satirical grotesque. The condition
+which might be mistaken for it is that above described as resulting from
+the malice of men given to pleasure, and in which the grossness and
+foulness are in the workman as much as in his subject, so that he
+chooses to represent vice and disease rather than virtue and beauty,
+having his chief delight in contemplating them; though he still mocks at
+them with such dull wit as may be in him, because, as Young has said
+most truly,
+
+  "'Tis not in folly not to scorn a fool."
+
+§ LV. Now it is easy to distinguish this grotesque from its noble
+counterpart, by merely observing whether any forms of beauty or dignity
+are mingled with it or not; for, of course, the noble grotesque is only
+employed by its master for good purposes, and to contrast with beauty:
+but the base workman cannot conceive anything but what is base; and
+there will be no loveliness in any part of his work, or, at the best, a
+loveliness measured by line and rule, and dependent on legal shapes of
+feature. But, without resorting to this test, and merely by examining
+the ugly grotesque itself, it will be found that, if it belongs to the
+base school, there will be, first, no Horror in it; secondly, no Nature
+in it; and, thirdly, no Mercy in it.
+
+§ LVI. I say, first, no Horror. For the base soul has no fear of sin,
+and no hatred of it: and, however it may strive to make its work
+terrible, there will be no genuineness in the fear; the utmost it can do
+will be to make its work disgusting.
+
+Secondly, there will be no Nature in it. It appears to be one of the
+ends proposed by Providence in the appointment of the forms of the brute
+creation, that the various vices to which mankind are liable should be
+severally expressed in them so distinctly and clearly as that men could
+not but understand the lesson; while yet these conditions of vice might,
+in the inferior animal, be observed without the disgust and hatred which
+the same vices would excite, if seen in men, and might be associated
+with features of interest which would otherwise attract and reward
+contemplation. Thus, ferocity, cunning, sloth, discontent, gluttony,
+uncleanness, and cruelty are seen, each in its extreme, in various
+animals; and are so vigorously expressed, that when men desire to
+indicate the same vices in connexion with human forms, they can do it no
+better than by borrowing here and there the features of animals. And
+when the workman is thus led to the contemplation of the animal kingdom,
+finding therein the expressions of vice which he needs, associated with
+power, and nobleness, and freedom from disease, if his mind be of right
+tone he becomes interested in this new study; and all noble grotesque
+is, therefore, full of the most admirable rendering of animal character.
+But the ignoble workman is capable of no interest of this kind; and,
+being too dull to appreciate, and too idle to execute, the subtle and
+wonderful lines on which the expression of the lower animal depends, he
+contents himself with vulgar exaggeration, and leaves his work as false
+as it is monstrous, a mass of blunt malice and obscene ignorance.
+
+§ LVII. Lastly, there will be no Mercy in it. Wherever the satire of the
+noble grotesque fixes upon human nature, it does so with much sorrow
+mingled amidst its indignation: in its highest forms there is an
+infinite tenderness, like that of the fool in Lear; and even in its more
+heedless or bitter sarcasm, it never loses sight altogether of the
+better nature of what it attacks, nor refuses to acknowledge its
+redeeming or pardonable features. But the ignoble grotesque has no pity:
+it rejoices in iniquity, and exists only to slander.
+
+§ LVIII. I have not space to follow out the various forms of transition
+which exist between the two extremes of great and base in the satirical
+grotesque. The reader must always remember, that, although there is an
+infinite distance between the best and worst, in this kind the interval
+is filled by endless conditions more or less inclining to the evil or
+the good; impurity and malice stealing gradually into the nobler forms,
+and invention and wit elevating the lower, according to the countless
+minglings of the elements of the human soul.
+
+§ LIX. (C). Ungovernableness of the imagination. The reader is always to
+keep in mind that if the objects of horror, in which the terrible
+grotesque finds its materials, were contemplated in their true light,
+and with the entire energy of the soul, they would cease to be
+grotesque, and become altogether sublime; and that therefore it is some
+shortening of the power, or the will, of contemplation, and some
+consequent distortion of the terrible image in which the grotesqueness
+consists. Now this distortion takes place, it was above asserted, in
+three ways: either through apathy, satire, or ungovernableness of
+imagination. It is this last cause of the grotesque which we have
+finally to consider; namely, the error and wildness of the mental
+impressions, caused by fear operating upon strong powers of imagination,
+or by the failure of the human faculties in the endeavor to grasp the
+highest truths.
+
+§ LX. The grotesque which comes to all men in a disturbed dream is the
+most intelligible example of this kind, but also the most ignoble; the
+imagination, in this instance, being entirely deprived of all aid from
+reason, and incapable of self-government. I believe, however, that the
+noblest forms of imaginative power are also in some sort ungovernable,
+and have in them something of the character of dreams; so that the
+vision, of whatever kind, comes uncalled, and will not submit itself to
+the seer, but conquers him, and forces him to speak as a prophet,
+having no power over his words or thoughts.[41] Only, if the whole man
+be trained perfectly, and his mind calm, consistent and powerful, the
+vision which comes to him is seen as in a perfect mirror, serenely, and
+in consistence with the rational powers; but if the mind be imperfect
+and ill trained, the vision is seen as in a broken mirror, with strange
+distortions and discrepancies, all the passions of the heart breathing
+upon it in cross ripples, till hardly a trace of it remains unbroken. So
+that, strictly speaking, the imagination is never governed; it is always
+the ruling and Divine power: and the rest of the man is to it only as an
+instrument which it sounds, or a tablet on which it writes; clearly and
+sublimely if the wax be smooth and the strings true, grotesquely and
+wildly if they are stained and broken. And thus the "Iliad," the
+"Inferno," the "Pilgrim's Progress," the "Faërie Queen," are all of them
+true dreams; only the sleep of the men to whom they came was the deep,
+living sleep which God sends, with a sacredness in it, as of death, the
+revealer of secrets.
+
+§ LXI. Now, observe in this matter, carefully, the difference between a
+dim mirror and a distorted one; and do not blame me for pressing the
+analogy too far, for it will enable me to explain my meaning every way
+more clearly. Most men's minds are dim mirrors, in which all truth is
+seen, as St. Paul tells us, darkly: this is the fault most common and
+most fatal; dulness of the heart and mistiness of sight, increasing to
+utter hardness and blindness; Satan breathing upon the glass, so that if
+we do not sweep the mist laboriously away, it will take no image. But,
+even so far as we are able to do this, we have still the distortion to
+fear, yet not to the same extent, for we can in some sort allow for the
+distortion of an image, if only we can see it clearly. And the fallen
+human soul, at its best, must be as a diminishing glass, and that a
+broken one, to the mighty truths of the universe round it; and the wider
+the scope of its glance, and the vaster the truths into which it obtains
+an insight, the more fantastic their distortion is likely to be, as the
+winds and vapors trouble the field of the telescope most when it reaches
+farthest.
+
+§ LXII. Now, so far as the truth is seen by the imagination[42] in its
+wholeness and quietness, the vision is sublime; but so far as it is
+narrowed and broken by the inconsistencies of the human capacity, it
+becomes grotesque; and it would seem to be rare that any very exalted
+truth should be impressed on the imagination without some grotesqueness
+in its aspect, proportioned to the degree of _diminution of breadth_ in
+the grasp which is given of it. Nearly all the dreams recorded in the
+Bible,--Jacob's, Joseph's, Pharaoh's, Nebuchadnezzar's,--are grotesques;
+and nearly the whole of the accessary scenery in the books of Ezekiel
+and the Apocalypse. Thus, Jacob's dream revealed to him the ministry of
+angels; but because this ministry could not be seen or understood by him
+in its fulness, it was narrowed to him into a ladder between heaven and
+earth, which was a grotesque. Joseph's two dreams were evidently
+intended to be signs of the steadfastness of the Divine purpose towards
+him, by possessing the clearness of special prophecy; yet were couched
+in such imagery, as not to inform him prematurely of his destiny, and
+only to be understood after their fulfilment. The sun, and moon, and
+stars were at the period, and are indeed throughout the Bible, the
+symbols of high authority. It was not revealed to Joseph that he should
+be lord over all Egypt; but the representation of his family by symbols
+of the most magnificent dominion, and yet as subject to him, must have
+been afterwards felt by him as a distinctly prophetic indication of his
+own supreme power. It was not revealed to him that the occasion of his
+brethren's special humiliation before him should be their coming to buy
+corn; but when the event took place, must he not have felt that there
+was prophetic purpose in the form of the sheaves of wheat which first
+imaged forth their subjection to him? And these two images of the sun
+doing obeisance, and the sheaves bowing down,--narrowed and imperfect
+intimations of great truth which yet could not be otherwise
+conveyed,--are both grotesque. The kine of Pharaoh eating each other,
+the gold and clay of Nebuchadnezzar's image, the four beasts full of
+eyes, and other imagery of Ezekiel and the Apocalypse, are grotesques of
+the same kind, on which I need not further insist.
+
+§ LXIII. Such forms, however, ought perhaps to have been arranged under
+a separate head, as Symbolical Grotesque; but the element of awe enters
+into them so strongly, as to justify, for all our present purposes,
+their being classed with the other varieties of terrible grotesque. For
+even if the symbolic vision itself be not terrible, the sense of what
+may be veiled behind it becomes all the more awful in proportion to the
+insignificance or strangeness of the sign itself; and, I believe, this
+thrill of mingled doubt, fear, and curiosity lies at the very root of
+the delight which mankind take in symbolism. It was not an accidental
+necessity for the conveyance of truth by pictures instead of words,
+which led to its universal adoption wherever art was on the advance; but
+the Divine fear which necessarily follows on the understanding that a
+thing is other and greater than it seems; and which, it appears
+probable, has been rendered peculiarly attractive to the human heart,
+because God would have us understand that this is true not of invented
+symbols merely, but of all things amidst which we live; that there is a
+deeper meaning within them than eye hath seen, or ear hath heard; and
+that the whole visible creation is a mere perishable symbol of things
+eternal and true. It cannot but have been sometimes a subject of wonder
+with thoughtful men, how fondly, age after age, the Church has cherished
+the belief that the four living creatures which surrounded the
+Apocalyptic throne were symbols of the four Evangelists, and rejoiced
+to use those forms in its picture-teaching; that a calf, a lion, an
+eagle, and a beast with a man's face, should in all ages have been
+preferred by the Christian world, as expressive of Evangelistic power
+and inspiration, to the majesty of human forms; and that quaint
+grotesques, awkward and often ludicrous caricatures even of the animals
+represented, should have been regarded by all men, not only with
+contentment, but with awe, and have superseded all endeavors to
+represent the characters and persons of the Evangelistic writers
+themselves (except in a few instances, confined principally to works
+undertaken without a definite religious purpose);--this, I say, might
+appear more than strange to us, were it not that we ourselves share the
+awe, and are still satisfied with the symbol, and that justly. For,
+whether we are conscious of it or not, there is in our hearts, as we
+gaze upon the brutal forms that have so holy a signification, an
+acknowledgment that it was not Matthew, nor Mark, nor Luke, nor John, in
+whom the Gospel of Christ was unsealed: but that the invisible things of
+Him from the beginning of the creation are clearly seen, being
+understood by the things that are made; that the whole world, and all
+that is therein, be it low or high, great or small, is a continual
+Gospel; and that as the heathen, in their alienation from God, changed
+His glory into an image made like unto corruptible man, and to birds,
+and four-footed beasts, the Christian, in his approach to God, is to
+undo this work, and to change the corruptible things into the image of
+His glory; believing that there is nothing so base in creation, but that
+our faith may give it wings which shall raise us into companionship with
+heaven; and that, on the other hand, there is nothing so great or so
+goodly in creation, but that it is a mean symbol of the Gospel of
+Christ, and of the things He has prepared for them that love Him.
+
+§ LXIV. And it is easy to understand, if we follow out this thought,
+how, when once the symbolic language was familiarized to the mind, and
+its solemnity felt in all its fulness, there was no likelihood of
+offence being taken at any repulsive or feeble characters in execution
+or conception. There was no form so mean, no incident so commonplace,
+but, if regarded in this light, it might become sublime; the more
+vigorous the fancy and the more faithful the enthusiasm, the greater
+would be the likelihood of their delighting in the contemplation of
+symbols whose mystery was enhanced by apparent insignificance, or in
+which the sanctity and majesty of meaning were contrasted with the
+utmost uncouthness of external form: nor with uncouthness merely, but
+even with every appearance of malignity or baseness; the beholder not
+being revolted even by this, but comprehending that, as the seeming evil
+in the framework of creation did not invalidate its Divine authorship,
+so neither did the evil or imperfection in the symbol invalidate its
+Divine message. And thus, sometimes, the designer at last became wanton
+in his appeal to the piety of his interpreter, and recklessly poured out
+the impurity and the savageness of his own heart, for the mere pleasure
+of seeing them overlaid with the fine gold of the sanctuary, by the
+religion of their beholder.
+
+§ LXV. It is not, however, in every symbolical subject that the fearful
+grotesque becomes embodied to the full. The element of distortion which
+affects the intellect when dealing with subjects above its proper
+capacity, is as nothing compared with that which it sustains from the
+direct impressions of terror. It is the trembling of the human soul in
+the presence of death which most of all disturbs the images on the
+intellectual mirror, and invests them with the fitfulness and
+ghastliness of dreams. And from the contemplation of death, and of the
+pangs which follow his footsteps, arise in men's hearts the troop of
+strange and irresistible superstitions which, more or less melancholy or
+majestic according to the dignity of the mind they impress, are yet
+never without a certain grotesqueness, following on the paralysis of the
+reason and over-excitement of the fancy. I do not mean to deny the
+actual existence of spiritual manifestations; I have never weighed the
+evidence upon the subject; but with these, if such exist, we are not
+here concerned. The grotesque which we are examining arises out of that
+condition of mind which appears to follow naturally upon the
+contemplation of death, and in which the fancy is brought into morbid
+action by terror, accompanied by the belief in spiritual presence, and
+in the possibility of spiritual apparition. Hence are developed its most
+sublime, because its least voluntary, creations, aided by the
+fearfulness of the phenomena of nature which are in any wise the
+ministers of death, and primarily directed by the peculiar ghastliness
+of expression in the skeleton, itself a species of terrible grotesque in
+its relation to the perfect human frame.
+
+§ LXVI. Thus, first born from the dusty and dreadful whiteness of the
+charnel house, but softened in their forms by the holiest of human
+affections, went forth the troop of wild and wonderful images, seen
+through tears, that had the mastery over our Northern hearts for so many
+ages. The powers of sudden destruction lurking in the woods and waters,
+in the rocks and clouds;--kelpie and gnome, Lurlei and Hartz spirits;
+the wraith and foreboding phantom; the spectra of second sight; the
+various conceptions of avenging or tormented ghost, haunting the
+perpetrator of crime, or expiating its commission; and the half
+fictitious and contemplative, half visionary and believed images of the
+presence of death itself, doing its daily work in the chambers of
+sickness and sin, and waiting for its hour in the fortalices of strength
+and the high places of pleasure;--these, partly degrading us by the
+instinctive and paralyzing terror with which they are attended, and
+partly ennobling us by leading our thoughts to dwell in the eternal
+world, fill the last and the most important circle in that great kingdom
+of dark and distorted power, of which we all must be in some sort the
+subjects until mortality shall be swallowed up of life; until the waters
+of the last fordless river cease to roll their untransparent volume
+between us and the light of heaven, and neither death stand between us
+and our brethren, nor symbols between us and our God.
+
+§ LXVII. We have now, I believe, obtained a view approaching to
+completeness of the various branches of human feeling which are
+concerned in the developement of this peculiar form of art. It remains
+for us only to note, as briefly as possible, what facts in the actual
+history of the grotesque bear upon our immediate subject.
+
+From what we have seen to be its nature, we must, I think, be led to one
+most important conclusion; that wherever the human mind is healthy and
+vigorous in all its proportions, great in imagination and emotion no
+less than in intellect, and not overborne by an undue or hardened
+preëminence of the mere reasoning faculties, there the grotesque will
+exist in full energy. And, accordingly, I believe that there is no test
+of greatness in periods, nations, or men, more sure than the
+developement, among them or in them, of a noble grotesque, and no test
+of comparative smallness or limitation, of one kind or another, more
+sure than the absence of grotesque invention, or incapability of
+understanding it. I think that the central man of all the world, as
+representing in perfect balance the imaginative, moral, and intellectual
+faculties, all at their highest, is Dante; and in him the grotesque
+reaches at once the most distinct and the most noble developement to
+which it was ever brought in the human mind. The two other greatest men
+whom Italy has produced, Michael Angelo and Tintoret, show the same
+element in no less original strength, but oppressed in the one by his
+science, and in both by the spirit of the age in which they lived;
+never, however, absent even in Michael Angelo, but stealing forth
+continually in a strange and spectral way, lurking in folds of raiment
+and knots of wild hair, and mountainous confusions of craggy limb and
+cloudy drapery; and, in Tintoret, ruling the entire conceptions of his
+greatest works to such a degree that they are an enigma or an offence,
+even to this day, to all the petty disciples of a formal criticism. Of
+the grotesque in our own Shakspeare I need hardly speak, nor of its
+intolerableness to his French critics; nor of that of Æschylus and
+Homer, as opposed to the lower Greek writers; and so I believe it will
+be found, at all periods, in all minds of the first order.
+
+§ LXVIII. As an index of the greatness of nations, it is a less certain
+test, or, rather, we are not so well agreed on the meaning of the term
+"greatness" respecting them. A nation may produce a great effect, and
+take up a high place in the world's history, by the temporary enthusiasm
+or fury of its multitudes, without being truly great; or, on the other
+hand, the discipline of morality and common sense may extend its
+physical power or exalt its well-being, while yet its creative and
+imaginative powers are continually diminishing. And again: a people may
+take so definite a lead over all the rest of the world in one direction,
+as to obtain a respect which is not justly due to them if judged on
+universal grounds. Thus the Greeks perfected the sculpture of the human
+body; threw their literature into a disciplined form, which has given it
+a peculiar power over certain conditions of modern mind; and were the
+most carefully educated race that the world has seen; but a few years
+hence, I believe, we shall no longer think them a greater people than
+either the Egyptians or Assyrians.
+
+§ LXIX. If, then, ridding ourselves as far as possible of prejudices
+owing merely to the school-teaching which remains from the system of the
+Renaissance, we set ourselves to discover in what races the human soul,
+taken all in all, reached its highest magnificence, we shall find, I
+believe, two great families of men, one of the East and South, the other
+of the West and North: the one including the Egyptians, Jews, Arabians,
+Assyrians, and Persians; the other, I know not whence derived, but
+seeming to flow forth from Scandinavia, and filling the whole of Europe
+with its Norman and Gothic energy. And in both these families, wherever
+they are seen in their utmost nobleness, there the grotesque is
+developed in its utmost energy; and I hardly know whether most to admire
+the winged bulls of Nineveh, or the winged dragons of Verona.
+
+§ LXX. The reader who has not before turned his attention to this
+subject may, however, at first have some difficulty in distinguishing
+between the noble grotesque of these great nations, and the barbarous
+grotesque of mere savages, as seen in the work of the Hindoo and other
+Indian nations; or, more grossly still, in that of the complete savage
+of the Pacific islands; or if, as is to be hoped, he instinctively
+feels the difference, he may yet find difficulty in determining wherein
+that difference consists. But he will discover, on consideration, that
+the noble grotesque _involves the true appreciation of beauty_, though
+the mind may wilfully turn to other images or the hand resolutely stop
+short of the perfection which it must fail, if it endeavored, to reach;
+while the grotesque of the Sandwich islander involves no perception or
+imagination of anything above itself. He will find that in the exact
+proportion in which the grotesque results from an incapability of
+perceiving beauty, it becomes savage or barbarous; and that there are
+many stages of progress to be found in it even in its best times, much
+truly savage grotesque occurring in the fine Gothic periods, mingled
+with the other forms of the ignoble grotesque resulting from vicious
+inclinations or base sportiveness. Nothing is more mysterious in the
+history of the human mind, than the manner in which gross and ludicrous
+images are mingled with the most solemn subjects in the work of the
+middle ages, whether of sculpture or illumination; and although, in
+great part, such incongruities are to be accounted for on the various
+principles which I have above endeavored to define, in many instances
+they are clearly the result of vice and sensuality. The general
+greatness of seriousness of an age does not effect the restoration of
+human nature; and it would be strange, if, in the midst of the art even
+of the best periods, when that art was entrusted to myriads of workmen,
+we found no manifestations of impiety, folly, or impurity.
+
+§ LXXI. It needs only to be added that in the noble grotesque, as it is
+partly the result of a morbid state of the imaginative power, that power
+itself will be always seen in a high degree; and that therefore our
+power of judging of the rank of a grotesque work will depend on the
+degree in which we are in general sensible of the presence of invention.
+The reader may partly test this power in himself by referring to the
+Plate given in the opening of this chapter, in which, on the left, is a
+piece of noble and inventive grotesque, a head of the lion-symbol of St.
+Mark, from the Veronese Gothic; the other is a head introduced as a
+boss on the foundation of the Palazzo Corner della Regina at Venice,
+utterly devoid of invention, made merely monstrous by exaggerations of
+the eyeballs and cheeks, and generally characteristic of that late
+Renaissance grotesque of Venice, with which we are at present more
+immediately concerned.[43]
+
+§ LXXII. The developement of that grotesque took place under different
+laws from those which regulate it in any other European city. For, great
+as we have seen the Byzantine mind show itself to be in other
+directions, it was marked as that of a declining nation by the absence
+of the grotesque element; and, owing to its influence, the early
+Venetian Gothic remained inferior to all other schools in this
+particular character. Nothing can well be more wonderful than its
+instant failure in any attempt at the representation of ludicrous or
+fearful images, more especially when it is compared with the magnificent
+grotesque of the neighboring city of Verona, in which the Lombard
+influence had full sway. Nor was it until the last links of connexion
+with Constantinople had been dissolved, that the strength of the
+Venetian mind could manifest itself in this direction. But it had then a
+new enemy to encounter. The Renaissance laws altogether checked its
+imagination in architecture; and it could only obtain permission to
+express itself by starting forth in the work of the Venetian painters,
+filling them with monkeys and dwarfs, even amidst the most serious
+subjects, and leading Veronese and Tintoret to the most unexpected and
+wild fantasies of form and color.
+
+§ LXXIII. We may be deeply thankful for this peculiar reserve of the
+Gothic grotesque character to the last days of Venice. All over the rest
+of Europe it had been strongest in the days of imperfect art;
+magnificently powerful throughout the whole of the thirteenth century,
+tamed gradually in the fourteenth and fifteenth, and expiring in the
+sixteenth amidst anatomy and laws of art. But at Venice, it had not been
+received when it was elsewhere in triumph, and it fled to the lagoons
+for shelter when elsewhere it was oppressed. And it was arrayed by the
+Venetian painters in robes of state, and advanced by them to such honor
+as it had never received in its days of widest dominion; while, in
+return, it bestowed upon their pictures that fulness, piquancy, decision
+of parts, and mosaic-like intermingling of fancies, alternately
+brilliant and sublime, which were exactly what was most needed for the
+developement of their unapproachable color-power.
+
+§ LXXIV. Yet, observe, it by no means follows that because the grotesque
+does not appear in the art of a nation, the sense of it does not exist
+in the national mind. Except in the form of caricature, it is hardly
+traceable in the English work of the present day; but the minds of our
+workmen are full of it, if we would only allow them to give it shape.
+They express it daily in gesture and gibe, but are not allowed to do so
+where it would be useful. In like manner, though the Byzantine influence
+repressed it in the early Venetian architecture, it was always present
+in the Venetian mind, and showed itself in various forms of national
+custom and festival; _acted_ grotesques, full of wit, feeling, and
+good-humor. The ceremony of the hat and the orange, described in the
+beginning of this chapter, is one instance out of multitudes. Another,
+more rude, and exceedingly characteristic, was that instituted in the
+twelfth century in memorial of the submission of Woldaric, the patriarch
+of Aquileia, who, having taken up arms against the patriarch of Grado,
+and being defeated and taken prisoner by the Venetians, was sentenced,
+not to death, but to send every year on "Fat Thursday" sixty-two large
+loaves, twelve fat pigs, and a bull, to the Doge; the bull being
+understood to represent the patriarch, and the twelve pigs his clergy:
+and the ceremonies of the day consisting in the decapitation of these
+representatives, and a distribution of their joints among the senators;
+together with a symbolic record of the attack upon Aquileia, by the
+erection of a wooden castle in the rooms of the Ducal Palace, which the
+_Doge and the Senate_ attacked and demolished with clubs. As long as the
+Doge and the Senate were truly kingly and noble, they were content to
+let this ceremony be continued; but when they became proud and selfish,
+and were destroying both themselves and the state by their luxury, they
+found it inconsistent with their dignity, and it was abolished, as far
+as the Senate was concerned, in 1549.[44]
+
+§ LXXV. By these and other similar manifestations, the grotesque spirit
+is traceable through all the strength of the Venetian people. But again:
+it is necessary that we should carefully distinguish between it and the
+spirit of mere levity. I said, in the fifth chapter, that the Venetians
+were distinctively a serious people, serious, that is to say, in the
+sense in which the English are a more serious people than the French;
+though the habitual intercourse of our lower classes in London has a
+tone of humor in it which I believe is untraceable in that of the
+Parisian populace. It is one thing to indulge in playful rest, and
+another to be devoted to the pursuit of pleasure: and gaiety of heart
+during the reaction after hard labor, and quickened by satisfaction in
+the accomplished duty or perfected result, is altogether compatible
+with, nay, even in some sort arises naturally out of, a deep internal
+seriousness of disposition; this latter being exactly the condition of
+mind which, as we have seen, leads to the richest developements of the
+playful grotesque; while, on the contrary, the continual pursuit of
+pleasure deprives the soul of all alacrity and elasticity, and leaves it
+incapable of happy jesting, capable only of that which is bitter, base,
+and foolish. Thus, throughout the whole of the early career of the
+Venetians, though there is much jesting, there is no levity; on the
+contrary there is an intense earnestness both in their pursuit of
+commercial and political successes, and in their devotion to
+religion,[45] which led gradually to the formation of that highly
+wrought mingling of immovable resolution with secret thoughtfulness,
+which so strangely, sometimes so darkly, distinguishes the Venetian
+character at the time of their highest power, when the seriousness was
+left, but the conscientiousness destroyed. And if there be any one sign
+by which the Venetian countenance, as it is recorded for us, to the very
+life, by a school of portraiture which has never been equalled (chiefly
+because no portraiture ever had subjects so noble),--I say, if there be
+one thing more notable than another in the Venetian features, it is this
+deep pensiveness and solemnity. In other districts of Italy, the dignity
+of the heads which occur in the most celebrated compositions is clearly
+owing to the feeling of the painter. He has visibly raised or idealized
+his models, and appears always to be veiling the faults or failings of
+the human nature around him, so that the best of his work is that which
+has most perfectly taken the color of his own mind; and the least
+impressive, if not the least valuable, that which appears to have been
+unaffected and unmodified portraiture. But at Venice, all is exactly the
+reverse of this. The tone of mind in the painter appears often in some
+degree frivolous or sensual; delighting in costume, in domestic and
+grotesque incident, and in studies of the naked form. But the moment he
+gives himself definitely to portraiture, all is noble and grave; the
+more literally true his work, the more majestic; and the same artist who
+will produce little beyond what is commonplace in painting a Madonna or
+an apostle, will rise into unapproachable sublimity when his subject is
+a member of the Forty, or a Master of the Mint.
+
+Such, then, were the general tone and progress of the Venetian mind, up
+to the close of the seventeenth century. First, serious, religious, and
+sincere; then, though serious still, comparatively deprived of
+conscientiousness, and apt to decline into stern and subtle policy: in
+the first case, the spirit of the noble grotesque not showing itself in
+art at all, but only in speech and action; in the second case,
+developing itself in painting, through accessories and vivacities of
+composition, while perfect dignity was always preserved in portraiture.
+A third phase rapidly developed itself.
+
+§ LXXVI. Once more, and for the last time, let me refer the reader to
+the important epoch of the death of the Doge Tomaso Mocenigo in 1423,
+long ago indicated as the commencement of the decline of the Venetian
+power. That commencement is marked, not merely by the words of the dying
+Prince, but by a great and clearly legible sign. It is recorded, that on
+the accession of his successor, Foscari, to the throne, "SI FESTEGGIO
+DALLA CITTA UNO ANNO INTERO:" "The city kept festival for a whole year."
+Venice had in her childhood sown, in tears, the harvest she was to reap
+in rejoicing. She now sowed in laughter the seeds of death.
+
+Thenceforward, year after year, the nation drank with deeper thirst from
+the fountains of forbidden pleasure, and dug for springs, hitherto
+unknown, in the dark places of the earth. In the ingenuity of
+indulgence, in the varieties of vanity, Venice surpassed the cities of
+Christendom, as of old she surpassed them in fortitude and devotion; and
+as once the powers of Europe stood before her judgment-seat, to receive
+the decisions of her justice, so now the youth of Europe assembled in
+the halls of her luxury, to learn from her the arts of delight.
+
+It is as needless, as it is painful, to trace the steps of her final
+ruin. That ancient curse was upon her, the curse of the cities of the
+plain, "Pride, fulness of bread, and abundance of idleness." By the
+inner burning of her own passions, as fatal as the fiery reign of
+Gomorrah, she was consumed from her place among the nations; and her
+ashes are choking the channels of the dead salt sea.
+
+
+FOOTNOTES:
+
+  [27] Mutinelli, Annali Urbani, lib. i. p. 24; and the Chronicle of
+    1738, quoted by Galliciolli: "attrovandosi allora la giesia de Sta.
+    Maria Formosa sola giesia del nome della gloriosa Vergine Maria."
+
+  [28] Or from the brightness of the cloud, according to the Padre who
+    arranged the "Memorie delle Chiese di Venezia," vol. iii. p. 7.
+    Compare Corner, p. 42. This first church was built in 639.
+
+  [29] Perhaps both Corner and the Padre founded their diluted
+    information on the short sentence of Sansovino: "Finalmente, l'anno
+    1075, fu ridotta a perfezione da Paolo Barbetta, sul modello del
+    corpo di mezzo della chiesa di S. Marco." Sansovino, however, gives
+    842, instead of 864, as the date of the first rebuilding.
+
+  [30] Or at least for its principal families. Vide Appendix 8, "Early
+    Venetian Marriages."
+
+  [31] "Nazionale quasi la ceremonia, perciocche per essa nuovi
+    difensori ad acquistar andava la patria, sostegni nuovi le leggi, la
+    Liberta."--_Mutinelli._
+
+  [32] "Vestita, _per antico uso_, di bianco, e con chiome sparse giù
+    per le spalle, conteste con fila d'oro." "Dressed according to
+    ancient usage in white, and with her hair thrown down upon her
+    shoulders, interwoven with threads of gold." This was when she was
+    first brought out of her chamber to be seen by the guests invited to
+    the espousals. "And when the form of the espousal has been gone
+    through, she is led, to the sound of pipes and trumpets, and other
+    musical instruments, round the room, _dancing serenely all the time,
+    and bowing herself before the guests_ (ballando placidamente, e
+    facendo inchini ai convitati); and so she returns to her chamber:
+    and when other guests have arrived, she again comes forth, and makes
+    the circuit of the chamber. And this is repeated for an hour or
+    somewhat more; and then, accompanied by many ladies who wait for
+    her, she enters a gondola without its felze (canopy), and, seated on
+    a somewhat raised seat covered with carpets, with a great number of
+    gondolas following her, she goes to visit the monasteries and
+    convents, wheresoever she has any relations."
+
+  [33] Sansovino.
+
+  [34] English, "Malmsey." The reader will find a most amusing account
+    of the negotiations between the English and Venetians, touching the
+    supply of London with this wine, in Mr. Brown's translation of the
+    Giustiniani papers. See Appendix IX.
+
+  [35] "XV. diebus et octo diebus ante festum Mariarum omni
+    anno."--_Galliciolli._ The same precautions were taken before the
+    feast of the Ascension.
+
+  [36] Casa Vittura.
+
+  [37] The keystone of the arch on its western side, facing the canal.
+
+  [38] The inscriptions are as follows:
+
+    To the left of the reader.
+
+      "VINCENTIUS CAPELLUS MARITIMARUM
+       RERUM PERITISSIMUS ET ANTIQUORUM
+       LAUDIBUS PAR, TRIREMIUM ONERARIA
+       RUM PRÆFECTUS, AB HENRICO VII. BRI
+       TANNIÆ REGE INSIGNE DONATUS CLAS
+       SIS LEGATUS V. IMP. DESIG. TER CLAS
+       SEM DEDUXIT, COLLAPSAM NAVALEM DIS
+       CIPLINAM RESTITUIT, AD ZACXINTHUM
+       AURIÆ CÆSARIS LEGATO PRISCAM
+       VENETAM VIRTUTEM OSTENDIT."
+
+    To the right of the reader.
+
+      "IN AMBRACIO SINU BARBARUSSUM OTTHO
+       MANICÆ CLASSIS DUCEM INCLUSIT
+       POSTRIDIE AD INTERNITIONEM DELETU
+       RUS NISI FATA CHRISTIANIS ADVERSA
+       VETUISSENT. IN RYZONICO SINU CASTRO NOVO
+       EXPUGNATO DIVI MARCI PROCUR
+       UNIVERSO REIP CONSENSU CREATUS
+       IN PATRIA MORITUR TOTIUS CIVITATIS
+       MOERORE, ANNO ÆTATIS LXXIV. MDCXLII. XIV. KAL SEPT."
+
+  [39] The Love of God is, however, always shown by the predominance,
+    or greater sum, of good, in the end; but never by the annihilation
+    of evil. The modern doubts of eternal punishment are not so much the
+    consequence of benevolence as of feeble powers of reasoning. Every
+    one admits that God brings finite good out of finite evil. Why not,
+    therefore, infinite good out of infinite evil?
+
+  [40] Let the reader examine, with special reference to this subject,
+    the general character of the language of Iago.
+
+  [41] This opposition of art to inspiration is long and gracefully
+    dwelt upon by Plato, in his "Phædrus," using, in the course of his
+    argument, almost the words of St Paul: [Greek: kallion marturousin
+    oi palaioi manian sôphrosynês tên ek Theou tês par anthrôpôn
+    gignomenês]: "It is the testimony of the ancients, that _the madness
+    which is of God is a nobler thing than the wisdom which is of men_;"
+    and again, "He who sets himself to any work with which the Muses
+    have to do," (i. e. to any of the fine arts,) "without madness,
+    thinking that by art alone he can do his work sufficiently, will be
+    found vain and incapable, and the work of temperance and rationalism
+    will be thrust aside and obscured by that of inspiration." The
+    passages to the same effect, relating especially to poetry, are
+    innumerable in nearly all ancient writers; but in this of Plato, the
+    entire compass of the fine arts is intended to be embraced.
+
+    No one acquainted with other parts of my writings will suppose me to
+    be an advocate of idle trust in the imagination. But it is in these
+    days just as necessary to allege the supremacy of genius as the
+    necessity of labor; for there never was, perhaps, a period in which
+    the peculiar gift of the painter was so little discerned, in which
+    so many and so vain efforts have been made to replace it by study
+    and toil. This has been peculiarly the case with the German school,
+    and there are few exhibitions of human error more pitiable than the
+    manner in which the inferior members of it, men originally and for
+    ever destitute of the painting faculty, force themselves into an
+    unnatural, encumbered, learned fructification of tasteless fruit,
+    and pass laborious lives in setting obscurely and weakly upon canvas
+    the philosophy, if such it be, which ten minutes' work of a strong
+    man would have put into healthy practice, or plain words. I know not
+    anything more melancholy than the sight of the huge German cartoon,
+    with its objective side, and subjective side; and mythological
+    division, and symbolical division, and human and Divine division;
+    its allegorical sense, and literal sense; and ideal point of view,
+    and intellectual point of view; its heroism of well-made armor and
+    knitted brows; its heroinism of graceful attitude and braided hair;
+    its inwoven web of sentiment, and piety, and philosophy, and
+    anatomy, and history, all profound: and twenty innocent dashes of
+    the hand of one God-made painter, poor old Bassan or Bonifazio, were
+    worth it all, and worth it ten thousand times over.
+
+    Not that the sentiment or the philosophy is base in itself. They
+    will make a good man, but they will not make a good painter,--no,
+    nor the millionth part of a painter. They would have been good in
+    the work and words of daily life; but they are good for nothing in
+    the cartoon, if they are there alone. And the worst result of the
+    system is the intense conceit into which it cultivates a weak mind.
+    Nothing is so hopeless, so intolerable, as the pride of a foolish
+    man who has passed through a process of thinking, so as actually to
+    have found something out. He believes there is nothing else to be
+    found out in the universe. Whereas the truly great man, on whom the
+    Revelations rain till they bear him to the earth with their weight,
+    lays his head in the dust, and speaks thence--often in broken
+    syllables. Vanity is indeed a very equally divided inheritance among
+    mankind; but I think that among the first persons, no emphasis is
+    altogether so strong as that on the German _Ich_. I was once
+    introduced to a German philosopher-painter before Tintoret's
+    "Massacre of the Innocents." He looked at it superciliously, and
+    said it "wanted to be restored." He had been himself several years
+    employed in painting a "Faust" in a red jerkin and blue fire; which
+    made Tintoret appear somewhat dull to him.
+
+  [42] I have before stated ("Modern Painters" vol. ii.) that the
+    first function of the imagination is the apprehension of ultimate
+    truth.
+
+  [43] Note especially, in connexion with what was advanced in Vol. II.
+    respecting our English neatness of execution, how the base workman
+    has cut the lines of the architecture neatly and precisely round the
+    abominable head: but the noble workman has used his chisel like a
+    painter's pencil, and sketched the glory with a few irregular lines,
+    anything rather than circular; and struck out the whole head in the
+    same frank and fearless way, leaving the sharp edges of the stone as
+    they first broke, and flinging back the crest of hair from the
+    forehead with half a dozen hammer-strokes, while the poor wretch who
+    did the other was half a day in smoothing its vapid and vermicular
+    curls.
+
+  [44] The decree is quoted by Mutinelli, lib. i. p. 46.
+
+  [45] See Appendix 9.
+
+
+
+
+CHAPTER IV.
+
+CONCLUSION.
+
+
+§ I. I fear this chapter will be a rambling one, for it must be a kind
+of supplement to the preceding pages, and a general recapitulation of
+the things I have too imperfectly and feebly said.
+
+The grotesques of the seventeenth and eighteenth centuries, the nature
+of which we examined in the last chapter, close the career of the
+architecture of Europe. They were the last evidences of any feeling
+consistent with itself, and capable of directing the efforts of the
+builder to the formation of anything worthy the name of a style or
+school. From that time to this, no resuscitation of energy has taken
+place, nor does any for the present appear possible. How long this
+impossibility may last, and in what direction with regard to art in
+general, as well as to our lifeless architecture, our immediate efforts
+may most profitably be directed, are the questions I would endeavor
+briefly to consider in the present chapter.
+
+§ II. That modern science, with all its additions to the comforts of
+life, and to the fields of rational contemplation, has placed the
+existing races of mankind on a higher platform than any that preceded
+them, none can doubt for an instant; and I believe the position in which
+we find ourselves is somewhat analogous to that of thoughtful and
+laborious youth succeeding a restless and heedless infancy. Not long
+ago, it was said to me by one of the masters of modern science: "When
+men invented the locomotive, the child was learning to go; when they
+invented the telegraph, it was learning to speak." He looked forward to
+the manhood of mankind, as assuredly the nobler in proportion to the
+slowness of its developement. What might not be expected from the prime
+and middle strength of the order of existence whose infancy had lasted
+six thousand years? And, indeed, I think this the truest, as well as the
+most cheering, view that we can take of the world's history. Little
+progress has been made as yet. Base war, lying policy, thoughtless
+cruelty, senseless improvidence,--all things which, in nations, are
+analogous to the petulance, cunning, impatience, and carelessness of
+infancy,--have been, up to this hour, as characteristic of mankind as
+they were in the earliest periods; so that we must either be driven to
+doubt of human progress at all, or look upon it as in its very earliest
+stage. Whether the opportunity is to be permitted us to redeem the hours
+that we have lost; whether He, in whose sight a thousand years are as
+one day, has appointed us to be tried by the continued possession of the
+strange powers with which He has lately endowed us; or whether the
+periods of childhood and of probation are to cease together, and the
+youth of mankind is to be one which shall prevail over death, and bloom
+for ever in the midst of a new heaven and a new earth, are questions
+with which we have no concern. It is indeed right that we should look
+for, and hasten, so far as in us lies, the coming of the Day of God; but
+not that we should check any human efforts by anticipations of its
+approach. We shall hasten it best by endeavoring to work out the tasks
+that are appointed for us here; and, therefore, reasoning as if the
+world were to continue under its existing dispensation, and the powers
+which have just been granted to us were to be continued through myriads
+of future ages.
+
+§ III. It seems to me, then, that the whole human race, so far as their
+own reason can be trusted, may at present be regarded as just emergent
+from childhood; and beginning for the first time to feel their strength,
+to stretch their limbs, and explore the creation around them. If we
+consider that, till within the last fifty years, the nature of the
+ground we tread on, of the air we breathe, and of the light by which we
+see, were not so much as conjecturally conceived by us; that the
+duration of the globe, and the races of animal life by which it was
+inhabited, are just beginning to be apprehended; and that the scope of
+the magnificent science which has revealed them, is as yet so little
+received by the public mind, that presumption and ignorance are still
+permitted to raise their voices against it unrebuked; that perfect
+veracity in the representation of general nature by art has never been
+attempted until the present day, and has in the present day been
+resisted with all the energy of the popular voice;[46] that the simplest
+problems of social science are yet so little understood, as that
+doctrines of liberty and equality can be openly preached, and so
+successfully as to affect the whole body of the civilized world with
+apparently incurable disease; that the first principles of commerce were
+acknowledged by the English Parliament only a few months ago, in its
+free trade measures, and are still so little understood by the million,
+that no nation dares to abolish its custom-houses;[47] that the simplest
+principles of policy are still not so much as stated, far less received,
+and that civilized nations persist in the belief that the subtlety and
+dishonesty which they know to be ruinous in dealings between man and
+man, are serviceable in dealings between multitude and multitude;
+finally, that the scope of the Christian religion, which we have been
+taught for two thousand years, is still so little conceived by us, that
+we suppose the laws of charity and of self-sacrifice bear upon
+individuals in all their social relations, and yet do not bear upon
+nations in any of their political relations;--when, I say, we thus
+review the depth of simplicity in which the human race are still
+plunged with respect to all that it most profoundly concerns them to
+know, and which might, by them, with most ease have been ascertained, we
+can hardly determine how far back on the narrow path of human progress
+we ought to place the generation to which we belong, how far the
+swaddling clothes are unwound from us, and childish things beginning to
+be put away.
+
+On the other hand, a power of obtaining veracity in the representation
+of material and tangible things, which, within certain limits and
+conditions, is unimpeachable, has now been placed in the hands of all
+men,[48] almost without labor. The foundation of every natural science
+is now at last firmly laid, not a day passing without some addition of
+buttress and pinnacle to their already magnificent fabric. Social
+theorems, if fiercely agitated, are therefore the more likely to be at
+last determined, so that they never can be matters of question more.
+Human life has been in some sense prolonged by the increased powers of
+locomotion, and an almost limitless power of converse. Finally, there is
+hardly any serious mind in Europe but is occupied, more or less, in the
+investigation of the questions which have so long paralyzed the strength
+of religious feeling, and shortened the dominion of religious faith. And
+we may therefore at least look upon ourselves as so far in a definite
+state of progress, as to justify our caution in guarding against the
+dangers incident to every period of change, and especially to that from
+childhood into youth.
+
+§ IV. Those dangers appear, in the main, to be twofold; consisting
+partly in the pride of vain knowledge, partly in the pursuit of vain
+pleasure. A few points are still to be noticed with respect to each of
+these heads.
+
+Enough, it might be thought, had been said already, touching the pride
+of knowledge; but I have not yet applied the principles, at which we
+arrived in the third chapter, to the practical questions of modern art.
+And I think those principles, together with what were deduced from the
+consideration of the nature of Gothic in the second volume, so necessary
+and vital, not only with respect to the progress of art, but even to the
+happiness of society, that I will rather run the risk of tediousness
+than of deficiency, in their illustration and enforcement.
+
+In examining the nature of Gothic, we concluded that one of the chief
+elements of power in that, and in _all good_ architecture, was the
+acceptance of uncultivated and rude energy in the workman. In examining
+the nature of Renaissance, we concluded that its chief element of
+weakness was that pride of knowledge which not only prevented all
+rudeness in expression, but gradually quenched all energy which could
+only be rudely expressed; nor only so, but, for the motive and matter of
+the work itself, preferred science to emotion, and experience to
+perception.
+
+§ V. The modern mind differs from the Renaissance mind in that its
+learning is more substantial and extended, and its temper more humble;
+but its errors, with respect to the cultivation of art, are precisely
+the same,--nay, as far as regards execution, even more aggravated. We
+require, at present, from our general workmen, more perfect finish than
+was demanded in the most skilful Renaissance periods, except in their
+very finest productions; and our leading principles in teaching, and in
+the patronage which necessarily gives tone to teaching, are, that the
+goodness of work consists primarily in firmness of handling and accuracy
+of science, that is to say, in hand-work and head-work; whereas
+heart-work, which is the _one_ work we want, is not only independent of
+both, but often, in great degree, inconsistent with either.
+
+§ VI. Here, therefore, let me finally and firmly enunciate the great
+principle to which all that has hitherto been stated is
+subservient:--that art is valuable or otherwise, only as it expresses
+the personality, activity, and living perception of a good and great
+human soul; that it may express and contain this with little help from
+execution, and less from science; and that if it have not this, if it
+show not the vigor, perception, and invention of a mighty human spirit,
+it is worthless. Worthless, I mean, as _art_; it may be precious in some
+other way, but, as art, it is nugatory. Once let this be well understood
+among us, and magnificent consequences will soon follow. Let me repeat
+it in other terms, so that I may not be misunderstood. All art is great,
+and good, and true, only so far as it is distinctively the work of
+_manhood_ in its entire and highest sense; that is to say, not the work
+of limbs and fingers, but of the soul, aided, according to her
+necessities, by the inferior powers; and therefore distinguished in
+essence from all products of those inferior powers unhelped by the soul.
+For as a photograph is not a work of art, though it requires certain
+delicate manipulations of paper and acid, and subtle calculations of
+time, in order to bring out a good result; so, neither would a drawing
+_like_ a photograph, made directly from nature, be a work of art,
+although it would imply many delicate manipulations of the pencil and
+subtle calculations of effects of color and shade. It is no more art[49]
+to manipulate a camel's hair pencil, than to manipulate a china tray and
+a glass vial. It is no more art to lay on color delicately, than to lay
+on acid delicately. It is no more art to use the cornea and retina for
+the reception of an image, than to use a lens and a piece of silvered
+paper. But the moment that inner part of the man, or rather that entire
+and only being of the man, of which cornea and retina, fingers and
+hands, pencils and colors, are all the mere servants and
+instruments;[50] that manhood which has light in itself, though the
+eyeball be sightless, and can gain in strength when the hand and the
+foot are hewn off and cast into the fire; the moment this part of the
+man stands forth with its solemn "Behold, it is I," then the work
+becomes art indeed, perfect in honor, priceless in value, boundless in
+power.
+
+§ VII. Yet observe, I do not mean to speak of the body and soul as
+separable. The man is made up of both: they are to be raised and
+glorified together, and all art is an expression of the one, by and
+through the other. All that I would insist upon is, the necessity of the
+whole man being in his work; the body _must_ be in it. Hands and habits
+must be in it, whether we will or not; but the nobler part of the man
+may often not be in it. And that nobler part acts principally in love,
+reverence, and admiration, together with those conditions of thought
+which arise out of them. For we usually fall into much error by
+considering the intellectual powers as having dignity in themselves, and
+separable from the heart; whereas the truth is, that the intellect
+becomes noble and ignoble according to the food we give it, and the kind
+of subjects with which it is conversant. It is not the reasoning power
+which, of itself, is noble, but the reasoning power occupied with its
+proper objects. Half of the mistakes of metaphysicians have arisen from
+their not observing this; namely, that the intellect, going through the
+same processes, is yet mean or noble according to the matter it deals
+with, and wastes itself away in mere rotatory motion, if it be set to
+grind straws and dust. If we reason only respecting words, or lines, or
+any trifling and finite things, the reason becomes a contemptible
+faculty; but reason employed on holy and infinite things, becomes
+herself holy and infinite. So that, by work of the soul, I mean the
+reader always to understand the work of the entire immortal creature,
+proceeding from a quick, perceptive, and eager heart, perfected by the
+intellect, and finally dealt with by the hands, under the direct
+guidance of these higher powers.
+
+§ VIII. And now observe, the first important consequence of our fully
+understanding this preëminence of the soul, will be the due
+understanding of that subordination of knowledge respecting which so
+much has already been said. For it must be felt at once, that the
+increase of knowledge, merely as such, does not make the soul larger or
+smaller; that, in the sight of God, all the knowledge man can gain is as
+nothing: but that the soul, for which the great scheme of redemption was
+laid, be it ignorant or be it wise, is all in all; and in the activity,
+strength, health, and well-being of this soul, lies the main difference,
+in His sight, between one man and another. And that which is all in all
+in God's estimate is also, be assured, all in all in man's labor; and to
+have the heart open, and the eyes clear, and the emotions and thoughts
+warm and quick, and not the knowing of this or the other fact, is the
+state needed for all mighty doing in this world. And therefore finally,
+for this, the weightiest of all reasons, let us take no pride in our
+knowledge. We may, in a certain sense, be proud of being immortal; we
+may be proud of being God's children; we may be proud of loving,
+thinking, seeing, and of all that we are by no human teaching: but not
+of what we have been taught by rote; not of the ballast and freight of
+the ship of the spirit, but only of its pilotage, without which all the
+freight will only sink it faster, and strew the sea more richly with
+its ruin. There is not at this moment a youth of twenty, having received
+what we moderns ridiculously call education, but he knows more of
+everything, except the soul, than Plato or St. Paul did; but he is not
+for that reason a greater man, or fitter for his work, or more fit to be
+heard by others, than Plato or St. Paul. There is not at this moment a
+junior student in our schools of painting, who does not know fifty times
+as much about the art as Giotto did; but he is not for that reason
+greater than Giotto; no, nor his work better, nor fitter for our
+beholding. Let him go on to know all that the human intellect can
+discover and contain in the term of a long life, and he will not be one
+inch, one line, nearer to Giotto's feet. But let him leave his academy
+benches, and, innocently, as one knowing nothing, go out into the
+highways and hedges, and there rejoice with them that rejoice, and weep
+with them that weep; and in the next world, among the companies of the
+great and good, Giotto will give his hand to him, and lead him into
+their white circle, and say, "This is our brother."
+
+§ IX. And the second important consequence of our feeling the soul's
+preëminence will be our understanding the soul's language, however
+broken, or low, or feeble, or obscure in its words; and chiefly that
+great symbolic language of past ages, which has now so long been
+unspoken. It is strange that the same cold and formal spirit which the
+Renaissance teaching has raised amongst us, should be equally dead to
+the languages of imitation and of symbolism; and should at once disdain
+the faithful rendering of real nature by the modern school of the
+Pre-Raphaelites, and the symbolic rendering of imagined nature in the
+work of the thirteenth century. But so it is; and we find the same body
+of modern artists rejecting Pre-Raphaelitism because it is not ideal!
+and thirteenth century work, because it is not real!--their own practice
+being at once false and un-ideal, and therefore equally opposed to both.
+
+§ X. It is therefore, at this juncture, of much importance to mark for
+the reader the exact relation of healthy symbolism and of healthy
+imitation; and, in order to do so, let us return to one of our Venetian
+examples of symbolic art, to the central cupola of St. Mark's. On that
+cupola, as has been already stated, there is a mosaic representing the
+Apostles on the Mount of Olives, with an olive-tree separating each from
+the other; and we shall easily arrive at our purpose, by comparing the
+means which would have been adopted by a modern artist bred in the
+Renaissance schools,--that is to say, under the influence of Claude and
+Poussin, and of the common teaching of the present day,--with those
+adopted by the Byzantine mosaicist to express the nature of these trees.
+
+§ XI. The reader is doubtless aware that the olive is one of the most
+characteristic and beautiful features of all Southern scenery. On the
+slopes of the northern Apennines, olives are the usual forest timber;
+the whole of the Val d'Arno is wooded with them, every one of its
+gardens is filled with them, and they grow in orchard-like ranks out of
+its fields of maize, or corn, or vine; so that it is physically
+impossible, in most parts of the neighborhood of Florence, Pistoja,
+Lucca, or Pisa, to choose any site of landscape which shall not owe its
+leading character to the foliage of these trees. What the elm and oak
+are to England, the olive is to Italy; nay, more than this, its presence
+is so constant, that, in the case of at least four fifths of the
+drawings made by any artist in North Italy, he must have been somewhat
+impeded by branches of olive coming between him and the landscape. Its
+classical associations double its importance in Greece; and in the Holy
+Land the remembrances connected with it are of course more touching than
+can ever belong to any other tree of the field. Now, for many years
+back, at least one third out of all the landscapes painted by English
+artists have been chosen from Italian scenery; sketches in Greece and in
+the Holy Land have become as common as sketches on Hampstead Heath; our
+galleries also are full of sacred subjects, in which, if any background
+be introduced at all, the foliage of the olive ought to have been a
+prominent feature.
+
+And here I challenge the untravelled English reader to tell me what an
+olive-tree is like?
+
+§ XII. I know he cannot answer my challenge. He has no more idea of an
+olive-tree than if olives grew only in the fixed stars. Let him meditate
+a little on this one fact, and consider its strangeness, and what a
+wilful and constant closing of the eyes to the most important truths it
+indicates on the part of the modern artist. Observe, a want of
+perception, not of science. I do not want painters to tell me any
+scientific facts about olive-trees. But it had been well for them to
+have felt and seen the olive-tree; to have loved it for Christ's sake,
+partly also for the helmed Wisdom's sake which was to the heathen in
+some sort as that nobler Wisdom which stood at God's right hand, when He
+founded the earth and established the heavens. To have loved it, even to
+the hoary dimness of its delicate foliage, subdued and faint of hue, as
+if the ashes of the Gethsemane agony had been cast upon it for ever; and
+to have traced, line by line, the gnarled writhing of its intricate
+branches, and the pointed fretwork of its light and narrow leaves,
+inlaid on the blue field of the sky, and the small rosy-white stars of
+its spring blossoming, and the beads of sable fruit scattered by autumn
+along its topmost boughs--the right, in Israel, of the stranger, the
+fatherless, and the widow,--and, more than all, the softness of the
+mantle, silver grey, and tender like the down on a bird's breast, with
+which, far away, it veils the undulation of the mountains;--these it had
+been well for them to have seen and drawn, whatever they had left
+unstudied in the gallery.
+
+§ XIII. And if the reader would know the reason why this has not been
+done (it is one instance only out of the myriads which might be given of
+sightlessness in modern art), and will ask the artists themselves, he
+will be informed of another of the marvellous contradictions and
+inconsistencies in the base Renaissance art; for it will be answered
+him, that it is not right, nor according to law, to draw trees so that
+one should be known from another, but that trees ought to be generalized
+into a universal idea of a tree: that is to say, that the very school
+which carries its science in the representation of man down to the
+dissection of the most minute muscle, refuses so much science to the
+drawing of a tree as shall distinguish one species from another; and
+also, while it attends to logic, and rhetoric, and perspective, and
+atmosphere, and every other circumstance which is trivial, verbal,
+external, or accidental, in what it either says or sees, it will _not_
+attend to what is essential and substantial,--being intensely
+solicitous, for instance, if it draws two trees, one behind the other,
+that the farthest off shall be as much smaller as mathematics show that
+it should be, but totally unsolicitous to show, what to the spectator is
+a far more important matter, whether it is an apple or an orange tree.
+
+§ XIV. This, however, is not to our immediate purpose. Let it be granted
+that an idea of an olive-tree is indeed to be given us in a special
+manner; how, and by what language, this idea is to be conveyed, are
+questions on which we shall find the world of artists again divided; and
+it was this division which I wished especially to illustrate by
+reference to the mosaics of St. Mark's.
+
+Now the main characteristics of an olive-tree are these. It has sharp
+and slender leaves of a greyish green, nearly grey on the under surface,
+and resembling, but somewhat smaller than, those of our common willow.
+Its fruit, when ripe, is black and lustrous; but of course so small,
+that, unless in great quantity, it is not conspicuous upon the tree. Its
+trunk and branches are peculiarly fantastic in their twisting, showing
+their fibres at every turn; and the trunk is often hollow, and even rent
+into many divisions like separate stems, but the extremities are
+exquisitely graceful, especially in the setting on of the leaves; and
+the notable and characteristic effect of the tree in the distance is of
+a rounded and soft mass or ball of downy foliage.
+
+§ XV. Supposing a modern artist to address himself to the rendering of
+this tree with his best skill: he will probably draw accurately the
+twisting of the branches, but yet this will hardly distinguish the tree
+from an oak: he will also render the color and intricacy of the foliage,
+but this will only confuse the idea of an oak with that of a willow. The
+fruit, and the peculiar grace of the leaves at the extremities, and the
+fibrous structure of the stems, will all be too minute to be rendered
+consistently with his artistical feeling of breadth, or with the amount
+of labor which he considers it dexterous and legitimate to bestow upon
+the work: but, above all, the rounded and monotonous form of the head of
+the tree will be at variance with his ideas of "composition;" he will
+assuredly disguise or break it, and the main points of the olive-tree
+will all at last remain untold.
+
+§ XVI. Now observe, the old Byzantine mosaicist begins his work at
+enormous disadvantage. It is to be some one hundred and fifty feet above
+the eye, in a dark cupola; executed not with free touches of the pencil,
+but with square pieces of glass; not by his own hand, but by various
+workmen under his superintendence; finally, not with a principal purpose
+of drawing olive-trees, but mainly as a decoration of the cupola. There
+is to be an olive-tree beside each apostle, and their stems are to be
+the chief lines which divide the dome. He therefore at once gives up the
+irregular twisting of the boughs hither and thither, but he will not
+give up their fibres. Other trees have irregular and fantastic branches,
+but the knitted cordage of fibres is the olive's own. Again, were he to
+draw the leaves of their natural size, they would be so small that their
+forms would be invisible in the darkness; and were he to draw them so
+large as that their shape might be seen, they would look like laurel
+instead of olive. So he arranges them in small clusters of five each,
+nearly of the shape which the Byzantines give to the petals of the lily,
+but elongated so as to give the idea of leafage upon a spray; and these
+clusters,--his object always, be it remembered, being _decoration_ not
+less than _representation_,--he arranges symmetrically on each side of
+his branches, laying the whole on a dark ground most truly suggestive of
+the heavy rounded mass of the tree, which, in its turn, is relieved
+against the gold of the cupola. Lastly, comes the question respecting
+the fruit. The whole power and honor of the olive is in its fruit; and,
+unless that be represented, nothing is represented. But if the berries
+were colored black or green, they would be totally invisible; if of
+any other color, utterly unnatural, and violence would be done to the
+whole conception. There is but one conceivable means of showing them,
+namely to represent them as golden. For the idea of golden fruit of
+various kinds was already familiar to the mind, as in the apples of the
+Hesperides, without any violence to the distinctive conception of the
+fruit itself.[51] So the mosaicist introduced small round golden berries
+into the dark ground between each leaf, and his work was done.
+
+[Illustration: Plate IV.
+               Mosaics of Olive-tree and Flowers.]
+
+§ XVII. On the opposite plate, the uppermost figure on the left is a
+tolerably faithful representation of the general effect of one of these
+decorative olive-trees; the figure on the right is the head of the tree
+alone, showing the leaf clusters, berries, and _interlacing_ of the
+boughs as they leave the stem. Each bough is connected with a separate
+line of fibre in the trunk, and the junctions of the arms and stem are
+indicated, down to the very root of the tree, with a truth in structure
+which may well put to shame the tree anatomy of modern times.
+
+§ XVIII. The white branching figures upon the serpentine band below are
+two of the clusters of flowers which form the foreground of a mosaic in
+the atrium. I have printed the whole plate in blue, because that color
+approaches more nearly than black to the distant effect of the mosaics,
+of which the darker portions are generally composed of blue, in greater
+quantity than any other color. But the waved background in this
+instance, is of various shades of blue and green alternately, with one
+narrow black band to give it force; the whole being intended to
+represent the distant effect and color of deep grass, and the wavy line
+to _express its bending motion_, just as the same symbol is used to
+represent the waves of water. Then the two white clusters are
+representative of the distinctly visible herbage close to the
+spectator, having buds and flowers of two kinds, springing in one case
+out of the midst of twisted grass, and in the other out of their own
+proper leaves; the clusters being kept each so distinctly symmetrical,
+as to form, when set side by side, an ornamental border of perfect
+architectural severity; and yet each cluster different from the next,
+and every flower, and bud, and knot of grass, varied in form and
+thought. The way the mosaic tesseræ are arranged, so as to give the
+writhing of the grass blades round the stalks of the flowers, is
+exceedingly fine.
+
+The tree circles below are examples of still more severely conventional
+forms, adopted, on principle, when the decoration is to be in white and
+gold, instead of color; these ornaments being cut in white marble on the
+outside of the church, and the ground laid in with gold, though
+necessarily here represented, like the rest of the plate, in blue. And
+it is exceedingly interesting to see how the noble workman, the moment
+he is restricted to more conventional materials, retires into more
+conventional forms, and reduces his various leafage into symmetry, now
+nearly perfect; yet observe, in the central figure, where the symbolic
+meaning of the vegetation beside the cross required it to be more
+distinctly indicated, he has given it life and growth by throwing it
+into unequal curves on the opposite sides.
+
+§ XIX. I believe the reader will now see, that in these mosaics, which
+the careless traveller is in the habit of passing by with contempt,
+there is a depth of feeling and of meaning greater than in most of the
+best sketches from nature of modern times; and, without entering into
+any question whether these conventional representations are as good as,
+under the required limitations, it was possible to render them, they are
+at all events good enough completely to illustrate that mode of
+symbolical expression which appeals altogether to thought, and in no
+wise trusts to realization. And little as, in the present state of our
+schools, such an assertion is likely to be believed, the fact is that
+this kind of expression is the _only one allowable in noble art_.
+
+§ XX. I pray the reader to have patience with me for a few moments. I do
+not mean that no art is noble but Byzantine mosaic; but no art is noble
+which in any wise depends upon direct imitation for its effect upon the
+mind. This was asserted in the opening chapters of "Modern Painters,"
+but not upon the highest grounds; the results at which we have now
+arrived in our investigation of early art, will enable me to place it on
+a loftier and firmer foundation.
+
+§ XXI. We have just seen that all great art is the work of the whole
+living creature, body and soul, and chiefly of the soul. But it is not
+only _the work_ of the whole creature, it likewise _addresses_ the whole
+creature. That in which the perfect being speaks, must also have the
+perfect being to listen. I am not to spend my utmost spirit, and give
+all my strength and life to my work, while you, spectator or hearer,
+will give me only the attention of half your soul. You must be all mine,
+as I am all yours; it is the only condition on which we can meet each
+other. All your faculties, all that is in you of greatest and best, must
+be awake in you, or I have no reward. The painter is not to cast the
+entire treasure of his human nature into his labor, merely to please a
+part of the beholder: not merely to delight his senses, not merely to
+amuse his fancy, not merely to beguile him into emotion, not merely to
+lead him into thought, but to do _all_ this. Senses, fancy, feeling,
+reason, the whole of the beholding spirit, must be stilled in attention
+or stirred with delight; else the laboring spirit has not done its work
+well. For observe, it is not merely its _right_ to be thus met, face to
+face, heart to heart; but it is its _duty_ to evoke its answering of the
+other soul; its trumpet call must be so clear, that though the challenge
+may by dulness or indolence be unanswered, there shall be no error as to
+the meaning of the appeal; there must be a summons in the work, which it
+shall be our own fault if we do not obey. We require this of it, we
+beseech this of it. Most men do not know what is in them, till they
+receive this summons from their fellows: their hearts die within them,
+sleep settles upon them, the lethargy of the world's miasmata; there is
+nothing for which they are so thankful as for that cry, "Awake, thou
+that sleepest." And this cry must be most loudly uttered to their
+noblest faculties; first of all to the imagination, for that is the most
+tender, and the soonest struck into numbness by the poisoned air; so
+that one of the main functions of art in its service to man, is to
+arouse the imagination from its palsy, like the angel troubling the
+Bethesda pool; and the art which does not do this is false to its duty,
+and degraded in its nature. It is not enough that it be well imagined,
+it must task the beholder also to imagine well; and this so
+imperatively, that if he does not choose to rouse himself to meet the
+work, he shall not taste it, nor enjoy it in any wise. Once that he is
+well awake, the guidance which the artist gives him should be full and
+authoritative: the beholder's imagination must not be suffered to take
+its own way, or wander hither and thither; but neither must it be left
+at rest; and the right point of realization, for any given work of art,
+is that which will enable the spectator to complete it for himself, in
+the exact way the artist would have him, but not that which will save
+him the trouble of effecting the completion. So soon as the idea is
+entirely conveyed, the artist's labor should cease; and every touch
+which he adds beyond the point when, with the help of the beholder's
+imagination, the story ought to have been told, is a degradation to his
+work. So that the art is wrong, which either realizes its subject
+completely, or fails in giving such definite aid as shall enable it to
+be realized by the beholding imagination.
+
+§ XXII. It follows, therefore, that the quantity of finish or detail
+which may rightly be bestowed upon any work, depends on the number and
+kind of ideas which the artist wishes to convey, much more than on the
+amount of realization necessary to enable the imagination to grasp them.
+It is true that the differences of judgment formed by one or another
+observer are in great degree dependent on their unequal imaginative
+powers, as well as their unequal efforts in following the artist's
+intention; and it constantly happens that the drawing which appears
+clear to the painter in whose mind the thought is formed, is slightly
+inadequate to suggest it to the spectator. These causes of false
+judgment, or imperfect achievement, must always exist, but they are of
+no importance. For, in nearly every mind, the imaginative power, however
+unable to act independently, is so easily helped and so brightly
+animated by the most obscure suggestion, that there is no form of
+artistical language which will not readily be seized by it, if once it
+set itself intelligently to the task; and even without such effort there
+are few hieroglyphics of which, once understanding that it is to take
+them as hieroglyphics, it cannot make itself a pleasant picture.
+
+§ XXIII. Thus, in the case of all sketches, etchings, unfinished
+engravings, &c., no one ever supposes them to be imitations. Black
+outlines on white paper cannot produce a deceptive resemblance of
+anything; and the mind, understanding at once that it is to depend on
+its own powers for great part of its pleasure, sets itself so actively
+to the task that it can completely enjoy the rudest outline in which
+meaning exists. Now, when it is once in this temper, the artist is
+infinitely to be blamed who insults it by putting anything into his work
+which is not suggestive: having summoned the imaginative power, he must
+turn it to account and keep it employed, or it will run against him in
+indignation. Whatever he does merely to realize and substantiate an idea
+is impertinent; he is like a dull story-teller, dwelling on points which
+the hearer anticipates or disregards. The imagination will say to him:
+"I knew all that before; I don't want to be told that. Go on; or be
+silent, and let me go on in my own way. I can tell the story better than
+you."
+
+Observe, then, whenever finish is given for the sake of realization, it
+is wrong; whenever it is given for the sake of adding ideas it is right.
+All true finish consists in the addition of ideas, that is to say, in
+giving the imagination more food; for once well awaked, it is ravenous
+for food: but the painter who finishes in order to substantiate takes
+the food out of its mouth, and it will turn and rend him.
+
+§ XXIV. Let us go back, for instance, to our olive grove,--or, lest the
+reader should be tired of olives, let it be an oak copse,--and consider
+the difference between the substantiating and the imaginative methods of
+finish in such a subject. A few strokes of the pencil, or dashes of
+color, will be enough to enable the imagination to conceive a tree; and
+in those dashes of color Sir Joshua Reynolds would have rested, and
+would have suffered the imagination to paint what more it liked for
+itself, and grow oaks, or olives, or apples, out of the few dashes of
+color at its leisure. On the other hand, Hobbima, one of the worst of
+the realists, smites the imagination on the mouth, and bids it be
+silent, while he sets to work to paint his oak of the right green, and
+fill up its foliage laboriously with jagged touches, and furrow the bark
+all over its branches, so as, if possible, to deceive us into supposing
+that we are looking at a real oak; which, indeed, we had much better do
+at once, without giving any one the trouble to deceive us in the matter.
+
+§ XXV. Now, the truly great artist neither leaves the imagination to
+itself, like Sir Joshua, nor insults it by realization, like Hobbima,
+but finds it continual employment of the happiest kind. Having summoned
+it by his vigorous first touches, he says to it: "Here is a tree for
+you, and it is to be an oak. Now I know that you can make it green and
+intricate for yourself, but that is not enough: an oak is not only green
+and intricate, but its leaves have most beautiful and fantastic forms
+which I am very sure you are not quite able to complete without help; so
+I will draw a cluster or two perfectly for you, and then you can go on
+and do all the other clusters. So far so good: but the leaves are not
+enough; the oak is to be full of acorns, and you may not be quite able
+to imagine the way they grow, nor the pretty contrast of their glossy
+almond-shaped nuts with the chasing of their cups; so I will draw a
+bunch or two of acorns for you, and you can fill up the oak with others
+like them. Good: but that is not enough; it is to be a bright day in
+summer, and all the outside leaves are to be glittering in the sunshine
+as if their edges were of gold: I cannot paint this, but you can; so I
+will really gild some of the edges nearest you,[52] and you can turn
+the gold into sunshine, and cover the tree with it. Well done: but still
+this is not enough; the tree is so full foliaged and so old that the
+wood birds come in crowds to build there; they are singing, two or three
+under the shadow of every bough. I cannot show you them all; but here is
+a large one on the outside spray, and you can fancy the others inside."
+
+§ XXVI. In this way the calls upon the imagination are multiplied as a
+great painter finishes; and from these larger incidents he may proceed
+into the most minute particulars, and lead the companion imagination to
+the veins in the leaves and the mosses on the trunk, and the shadows of
+the dead leaves upon the grass, but always multiplying thoughts, or
+subjects of thought, never working for the sake of realization; the
+amount of realization actually reached depending on his space, his
+materials, and the nature of the thoughts he wishes to suggest. In the
+sculpture of an oak-tree, introduced above an Adoration of the Magi on
+the tomb of the Doge Marco Dolfino (fourteenth century), the sculptor
+has been content with a few leaves, a single acorn, and a bird; while,
+on the other hand, Millais' willow-tree with the robin, in the
+background of his "Ophelia," or the foreground of Hunt's "Two Gentlemen
+of Verona," carries the appeal to the imagination into particulars so
+multiplied and minute, that the work nearly reaches realization. But it
+does not matter how near realization the work may approach in its
+fulness, or how far off it may remain in its slightness, so long as
+realization is not the end proposed, but the informing one spirit of the
+thoughts of another. And in this greatness and simplicity of purpose all
+noble art is alike, however slight its means, or however perfect, from
+the rudest mosaics of St. Mark's to the most tender finishing of the
+"Huguenot" or the "Ophelia."
+
+§ XXVII. Only observe, in this matter, that a greater degree of
+realization is often allowed, for the sake of color, than would be right
+without it. For there is not any distinction between the artists of the
+inferior and the nobler schools more definite than this; that the first
+_color for the sake of realization_, and the second _realize for the
+sake of color_. I hope that, in the fifth chapter, enough has been said
+to show the nobility of color, though it is a subject on which I would
+fain enlarge whenever I approach it: for there is none that needs more
+to be insisted upon, chiefly on account of the opposition of the persons
+who have no eye for color, and who, being therefore unable to understand
+that it is just as divine and distinct in its power as music (only
+infinitely more varied in its harmonies), talk of it as if it were
+inferior and servile with respect to the other powers of art;[53]
+whereas it is so far from being this, that wherever it enters it must
+take the mastery, and, whatever else is sacrificed for its sake, _it_,
+at least, must be right. This is partly the case even with music: it is
+at our choice, whether we will accompany a poem with music, or not; but,
+if we do, the music _must_ be right, and neither discordant nor
+inexpressive. The goodness and sweetness of the poem cannot save it, if
+the music be harsh or false; but, if the music be right, the poem may be
+insipid or inharmonious, and still saved by the notes to which it is
+wedded. But this is far more true of color. If that be wrong, all is
+wrong. No amount of expression or invention can redeem an ill-colored
+picture; while, on the other hand, if the color be right, there is
+nothing it will not raise or redeem; and, therefore, wherever color
+enters at all, anything _may_ be sacrificed to it, and, rather than it
+should be false or feeble, everything _must_ be sacrificed to it: so
+that, when an artist touches color, it is the same thing as when a poet
+takes up a musical instrument; he implies, in so doing, that he is a
+master, up to a certain point, of that instrument, and can produce sweet
+sound from it, and is able to fit the course and measure of his words to
+its tones, which, if he be not able to do, he had better not have
+touched it. In like manner, to add color to a drawing is to undertake
+for the perfection of a visible music, which, if it be false, will
+utterly and assuredly mar the whole work; if true, proportionately
+elevate it, according to its power and sweetness. But, in no case ought
+the color to be added in order to increase the realization. The drawing
+or engraving is all that the imagination needs. To "paint" the subject
+merely to make it more real, is only to insult the imaginative power and
+to vulgarize the whole. Hence the common, though little understood
+feeling, among men of ordinary cultivation, that an inferior sketch is
+always better than a bad painting; although, in the latter, there may
+verily be more skill than in the former. For the painter who has
+presumed to touch color without perfectly understanding it, not for the
+color's sake, nor because he loves it, but for the sake of completion
+merely, has committed two sins against us; he has dulled the imagination
+by not trusting it far enough, and then, in this languid state, he
+oppresses it with base and false color; for all color that is not
+lovely, is discordant; there is no mediate condition. So, therefore,
+when it is permitted to enter at all, it must be with the
+predetermination that, cost what it will, the color shall be right and
+lovely: and I only wish that, in general, it were better understood that
+a _painter's_ business is _to paint_, primarily; and that all
+expression, and grouping, and conceiving, and what else goes to
+constitute design, _are of less importance than color, in a colored
+work_. And so they were always considered in the noble periods; and
+sometimes all resemblance to nature whatever (as in painted windows,
+illuminated manuscripts, and such other work) is sacrificed to the
+brilliancy of color; sometimes distinctness of form to its richness, as
+by Titian, Turner, and Reynolds; and, which is the point on which we are
+at present insisting, sometimes, in the pursuit of its utmost
+refinements on the surfaces of objects, an amount of realization becomes
+consistent with noble art, which would otherwise be altogether
+inadmissible, that is to say, which no great mind could otherwise have
+either produced or enjoyed. The extreme finish given by the
+Pre-Raphaelites is rendered noble chiefly by their love of color.
+
+§ XXVIII. So then, whatever may be the means, or whatever the more
+immediate end of any kind of art, all of it that is good agrees in this,
+that it is the expression of one soul talking to another, and is
+precious according to the greatness of the soul that utters it. And
+consider what mighty consequences follow from our acceptance of this
+truth! what a key we have herein given us for the interpretation of the
+art of all time! For, as long as we held art to consist in any high
+manual skill, or successful imitation of natural objects, or any
+scientific and legalized manner of performance whatever, it was
+necessary for us to limit our admiration to narrow periods and to few
+men. According to our own knowledge and sympathies, the period chosen
+might be different, and our rest might be in Greek statues, or Dutch
+landscapes, or Italian Madonnas; but, whatever our choice, we were
+therein captive, barred from all reverence but of our favorite masters,
+and habitually using the language of contempt towards the whole of the
+human race to whom it had not pleased Heaven to reveal the arcana of the
+particular craftsmanship we admired, and who, it might be, had lived
+their term of seventy years upon the earth, and fitted themselves
+therein for the eternal world, without any clear understanding,
+sometimes even with an insolent disregard, of the laws of perspective
+and chiaroscuro.
+
+But let us once comprehend the holier nature of the art of man, and
+begin to look for the meaning of the spirit, however syllabled, and the
+scene is changed; and we are changed also. Those small and dexterous
+creatures whom once we worshipped, those fur-capped divinities with
+sceptres of camel's hair, peering and poring in their one-windowed
+chambers over the minute preciousness of the labored canvas; how are
+they swept away and crushed into unnoticeable darkness! And in their
+stead, as the walls of the dismal rooms that enclosed them, and us, are
+struck by the four winds of Heaven, and rent away, and as the world
+opens to our sight, lo! far back into all the depths of time, and forth
+from all the fields that have been sown with human life, how the harvest
+of the dragon's teeth is springing! how the companies of the gods are
+ascending out of the earth! The dark stones that have so long been the
+sepulchres of the thoughts of nations, and the forgotten ruins wherein
+their faith lay charnelled, give up the dead that were in them; and
+beneath the Egyptian ranks of sultry and silent rock, and amidst the dim
+golden lights of the Byzantine dome, and out of the confused and cold
+shadows of the Northern cloister, behold, the multitudinous souls come
+forth with singing, gazing on us with the soft eyes of newly
+comprehended sympathy, and stretching their white arms to us across the
+grave, in the solemn gladness of everlasting brotherhood.
+
+§ XXIX. The other danger to which, it was above said, we were primarily
+exposed under our present circumstances of life, is the pursuit of vain
+pleasure, that is to say, false pleasure; delight, which is not indeed
+delight; as knowledge vainly accumulated, is not indeed knowledge. And
+this we are exposed to chiefly in the fact of our ceasing to be
+children. For the child does not seek false pleasure; its pleasures are
+true, simple, and instinctive: but the youth is apt to abandon his early
+and true delight for vanities,--seeking to be like men, and sacrificing
+his natural and pure enjoyments to his pride. In like manner, it seems
+to me that modern civilization sacrifices much pure and true pleasure to
+various forms of ostentation from which it can receive no fruit.
+Consider, for a moment, what kind of pleasures are open to human nature,
+undiseased. Passing by the consideration of the pleasures of the higher
+affections, which lie at the root of everything, and considering the
+definite and practical pleasures of daily life, there is, first, the
+pleasure of doing good; the greatest of all, only apt to be despised
+from not being often enough tasted: and then, I know not in what order
+to put them, nor does it matter,--the pleasure of gaining knowledge; the
+pleasure of the excitement of imagination and emotion (or poetry and
+passion); and, lastly, the gratification of the senses, first of the
+eye, then of the ear, and then of the others in their order.
+
+§ XXX. All these we are apt to make subservient to the desire of praise;
+nor unwisely, when the praise sought is God's and the conscience's: but
+if the sacrifice is made for man's admiration, and knowledge is only
+sought for praise, passion repressed or affected for praise, and the
+arts practised for praise, we are feeding on the bitterest apples of
+Sodom, suffering always ten mortifications for one delight. And it seems
+to me, that in the modern civilized world we make such sacrifice doubly:
+first, by laboring for merely ambitious purposes; and secondly, which is
+the main point in question, by being ashamed of simple pleasures, more
+especially of the pleasure in sweet color and form, a pleasure evidently
+so necessary to man's perfectness and virtue, that the beauty of color
+and form has been given lavishly throughout the whole of creation, so
+that it may become the food of all, and with such intricacy and subtlety
+that it may deeply employ the thoughts of all. If we refuse to accept
+the natural delight which the Deity has thus provided for us, we must
+either become ascetics, or we must seek for some base and guilty
+pleasures to replace those of Paradise, which we have denied ourselves.
+
+Some years ago, in passing through some of the cells of the Grand
+Chartreuse, noticing that the window of each apartment looked across the
+little garden of its inhabitant to the wall of the cell opposite, and
+commanded no other view, I asked the monk beside me, why the window was
+not rather made on the side of the cell whence it would open to the
+solemn fields of the Alpine valley. "We do not come here," he replied,
+"to look at the mountains."
+
+§ XXXI. The same answer is given, practically, by the men of this
+century, to every such question; only the walls with which they enclose
+themselves are those of pride, not of prayer. But in the middle ages it
+was otherwise. Not, indeed, in landscape itself, but in the art which
+can take the place of it, in the noble color and form with which they
+illumined, and into which they wrought, every object around them that
+was in any wise subjected to their power, they obeyed the laws of their
+inner nature, and found its proper food. The splendor and fantasy even
+of dress, which in these days we pretend to despise, or in which, if we
+even indulge, it is only for the sake of vanity, and therefore to our
+infinite harm, were in those early days studied for love of their true
+beauty and honorableness, and became one of the main helps to dignity of
+character, and courtesy of bearing. Look back to what we have been told
+of the dress of the early Venetians, that it was so invented "that in
+clothing themselves with it, they might clothe themselves also with
+modesty and honor;"[54] consider what nobleness of expression there is
+in the dress of any of the portrait figures of the great times, nay,
+what perfect beauty, and more than beauty, there is in the folding of
+the robe round the imagined form even of the saint or of the angel; and
+then consider whether the grace of vesture be indeed a thing to be
+despised. We cannot despise it if we would; and in all our highest
+poetry and happiest thought we cling to the magnificence which in daily
+life we disregard. The essence of modern romance is simply the return of
+the heart and fancy to the things in which they naturally take pleasure;
+and half the influence of the best romances, of Ivanhoe, or Marmion, or
+the Crusaders, or the Lady of the Lake, is completely dependent upon the
+accessaries of armor and costume. Nay, more than this, deprive the Iliad
+itself of its costume, and consider how much of its power would be lost.
+And that delight and reverence which we feel in, and by means of, the
+mere imagination of these accessaries, the middle ages had in the vision
+of them; the nobleness of dress exercising, as I have said, a perpetual
+influence upon character, tending in a thousand ways to increase
+dignity and self-respect, and together with grace of gesture, to induce
+serenity of thought.
+
+§ XXXII. I do not mean merely in its magnificence; the most splendid
+time was not the best time. It was still in the thirteenth
+century,--when, as we have seen, simplicity and gorgeousness were justly
+mingled, and the "leathern girdle and clasp of bone" were worn, as well
+as the embroidered mantle,--that the manner of dress seems to have been
+noblest. The chain mail of the knight, flowing and falling over his form
+in lapping waves of gloomy strength, was worn under full robes of one
+color in the ground, his crest quartered on them, and their borders
+enriched with subtle illumination. The women wore first a dress close to
+the form in like manner, and then long and flowing robes, veiling them
+up to the neck, and delicately embroidered around the hem, the sleeves,
+and the girdle. The use of plate armor gradually introduced more
+fantastic types; the nobleness of the form was lost beneath the steel;
+the gradually increasing luxury and vanity of the age strove for
+continual excitement in more quaint and extravagant devices; and in the
+fifteenth century, dress reached its point of utmost splendor and fancy,
+being in many cases still exquisitely graceful, but now, in its morbid
+magnificence, devoid of all wholesome influence on manners. From this
+point, like architecture, it was rapidly degraded; and sank through the
+buff coat, and lace collar, and jack-boot, to the bag-wig, tailed coat,
+and high-heeled shoes; and so to what it is now.
+
+§ XXXIII. Precisely analogous to this destruction of beauty in dress,
+has been that of beauty in architecture; its color, and grace, and
+fancy, being gradually sacrificed to the base forms of the Renaissance,
+exactly as the splendor of chivalry has faded into the paltriness of
+fashion. And observe the form in which the necessary reaction has taken
+place; necessary, for it was not possible that one of the strongest
+instincts of the human race could be deprived altogether of its natural
+food. Exactly in the degree that the architect withdrew from his
+buildings the sources of delight which in early days they had so richly
+possessed, demanding, in accordance with the new principles of taste,
+the banishment of all happy color and healthy invention, in that degree
+the minds of men began to turn to landscape as their only resource. The
+picturesque school of art rose up to address those capacities of
+enjoyment for which, in sculpture, architecture, or the higher walks of
+painting, there was employment no more; and the shadows of Rembrandt,
+and savageness of Salvator, arrested the admiration which was no longer
+permitted to be rendered to the gloom or the grotesqueness of the Gothic
+aisle. And thus the English school of landscape, culminating in Turner,
+is in reality nothing else than a healthy effort to fill the void which
+the destruction of Gothic architecture has left.
+
+§ XXXIV. But the void cannot thus be completely filled; no, nor filled
+in any considerable degree. The art of landscape-painting will never
+become thoroughly interesting or sufficing to the minds of men engaged
+in active life, or concerned principally with practical subjects. The
+sentiment and imagination necessary to enter fully into the romantic
+forms of art are chiefly the characteristics of youth; so that nearly
+all men as they advance in years, and some even from their childhood
+upwards, must be appealed to, if at all, by a direct and substantial
+art, brought before their daily observation and connected with their
+daily interests. No form of art answers these conditions so well as
+architecture, which, as it can receive help from every character of mind
+in the workman, can address every character of mind in the spectator;
+forcing itself into notice even in his most languid moments, and
+possessing this chief and peculiar advantage, that it is the property of
+all men. Pictures and statues may be jealously withdrawn by their
+possessors from the public gaze, and to a certain degree their safety
+requires them to be so withdrawn; but the outsides of our houses belong
+not so much to us as to the passer-by, and whatever cost and pains we
+bestow upon them, though too often arising out of ostentation, have at
+least the effect of benevolence.
+
+§ XXXV. If, then, considering these things, any of my readers should
+determine, according to their means, to set themselves to the revival
+of a healthy school of architecture in England, and wish to know in few
+words how this may be done, the answer is clear and simple. First, let
+us cast out utterly whatever is connected with the Greek, Roman, or
+Renaissance architecture, in principle or in form. We have seen above,
+that the whole mass of the architecture, founded on Greek and Roman
+models, which we have been in the habit of building for the last three
+centuries, is utterly devoid of all life, virtue, honorableness, or
+power of doing good. It is base, unnatural, unfruitful, unenjoyable, and
+impious. Pagan in its origin, proud and unholy in its revival, paralyzed
+in its old age, yet making prey in its dotage of all the good and living
+things that were springing around it in their youth, as the dying and
+desperate king, who had long fenced himself so strongly with the towers
+of it, is said to have filled his failing veins with the blood of
+children;[55] an architecture invented, as it seems, to make plagiarists
+of its architects, slaves of its workmen, and Sybarites of its
+inhabitants; an architecture in which intellect is idle, invention
+impossible, but in which all luxury is gratified, and all insolence
+fortified;--the first thing we have to do is to cast it out, and shake
+the dust of it from our feet for ever. Whatever has any connexion with
+the five orders, or with any one of the orders,--whatever is Doric, or
+Ionic, or Tuscan, or Corinthian, or Composite, or in any way Grecized or
+Romanized; whatever betrays the smallest respect for Vitruvian laws, or
+conformity with Palladian work,--that we are to endure no more. To
+cleanse ourselves of these "cast clouts and rotten rags" is the first
+thing to be done in the court of our prison.
+
+§ XXXVI. Then, to turn our prison into a palace is an easy thing. We
+have seen above, that exactly in the degree in which Greek and Roman
+architecture is lifeless, unprofitable, and unchristian, in that same
+degree our own ancient Gothic is animated, serviceable, and faithful. We
+have seen that it is flexible to all duty, enduring to all time,
+instructive to all hearts, honorable and holy in all offices. It is
+capable alike of all lowliness and all dignity, fit alike for cottage
+porch or castle gateway; in domestic service familiar, in religious,
+sublime; simple, and playful, so that childhood may read it, yet clothed
+with a power that can awe the mightiest, and exalt the loftiest of human
+spirits: an architecture that kindles every faculty in its workman, and
+addresses every emotion in its beholder; which, with every stone that is
+laid on its solemn walls, raises some human heart a step nearer heaven,
+and which from its birth has been incorporated with the existence, and
+in all its form is symbolical of the faith, of Christianity. In this
+architecture let us henceforward build, alike the church, the palace,
+and the cottage; but chiefly let us use it for our civil and domestic
+buildings. These once ennobled, our ecclesiastical work will be exalted
+together with them: but churches are not the proper scenes for
+experiments in untried architecture, nor for exhibitions of unaccustomed
+beauty. It is certain that we must often fail before we can again build
+a natural and noble Gothic: let not our temples be the scenes of our
+failures. It is certain that we must offend many deep-rooted prejudices,
+before ancient Christian architecture[56] can be again received by all
+of us: let not religion be the first source of such offence. We shall
+meet with difficulties in applying Gothic architecture to churches,
+which would in no wise affect the designs of civil buildings, for the
+most beautiful forms of Gothic chapels are not those which are best
+fitted for Protestant worship. As it was noticed in the second volume,
+when speaking of the Cathedral of Torcello it seems not unlikely, that
+as we study either the science of sound, or the practice of the early
+Christians, we may see reason to place the pulpit generally at the
+extremity of the apse or chancel; an arrangement entirely destructive of
+the beauty of a Gothic church, as seen in existing examples, and
+requiring modifications of its design in other parts with which we
+should be unwise at present to embarrass ourselves; besides, that the
+effort to introduce the style exclusively for ecclesiastical purposes,
+excites against it the strong prejudices of many persons who might
+otherwise be easily enlisted among its most ardent advocates. I am quite
+sure, for instance, that if such noble architecture as has been employed
+for the interior of the church just built in Margaret Street[57] had
+been seen in a civil building, it would have decided the question with
+many men at once; whereas, at present, it will be looked upon with fear
+and suspicion, as the expression of the ecclesiastical principles of a
+particular party. But, whether thus regarded or not, this church
+assuredly decides one question conclusively, that of our present
+capability of Gothic design. It is the first piece of architecture I
+have seen, built in modern days, which is free from all signs of
+timidity or incapacity. In general proportion of parts, in refinement
+and piquancy of mouldings, above all, in force, vitality, and grace of
+floral ornament, worked in a broad and masculine manner, it challenges
+fearless comparison with the noblest work of any time. Having done this,
+we may do anything; there need be no limits to our hope or our
+confidence; and I believe it to be possible for us, not only to equal,
+but far to surpass, in some respects, any Gothic yet seen in Northern
+countries. In the introduction of figure-sculpture, we must, indeed, for
+the present, remain utterly inferior, for we have no figures to study
+from. No architectural sculpture was ever good for anything which did
+not represent the dress and persons of the people living at the time;
+and our modern dress will _not_ form decorations for spandrils and
+niches. But in floral sculpture we may go far beyond what has yet been
+done, as well as in refinement of inlaid work and general execution.
+For, although the glory of Gothic architecture is to receive the rudest
+work, it refuses not the best; and, when once we have been content to
+admit the handling of the simplest workman, we shall soon be rewarded by
+finding many of our simple workmen become cunning ones: and, with the
+help of modern wealth and science, we may do things like Giotto's
+campanile, instead of like our own rude cathedrals; but better than
+Giotto's campanile, insomuch as we may adopt the pure and perfect forms
+of the Northern Gothic, and work them out with the Italian refinement.
+It is hardly possible at present to imagine what may be the splendor of
+buildings designed in the forms of English and French thirteenth century
+_surface_ Gothic, and wrought out with the refinement of Italian art in
+the details, and with a deliberate resolution, since we cannot have
+figure sculpture, to display in them the beauty of every flower and herb
+of the English fields, each by each; doing as much for every tree that
+roots itself in our rocks, and every blossom that drinks our summer
+rains, as our ancestors did for the oak, the ivy, and the rose. Let this
+be the object of our ambition, and let us begin to approach it, not
+ambitiously, but in all humility, accepting help from the feeblest
+hands; and the London of the nineteenth century may yet become as Venice
+without her despotism, and as Florence without her dispeace.
+
+
+FOOTNOTES:
+
+  [46] In the works of Turner and the Pre-Raphaelites.
+
+  [47] Observe, I speak of these various principles as self-evident,
+    only under the present circumstances of the world, not as if they
+    had always been so; and I call them now self-evident, not merely
+    because they seem so to myself, but because they are felt to be so
+    likewise by all the men in whom I place most trust. But granting
+    that they are not so, then their very disputability proves the state
+    of infancy above alleged, as characteristic of the world. For I do
+    not suppose that any Christian reader will doubt the first great
+    truth, that whatever facts or laws are important to mankind, God has
+    made ascertainable by mankind; and that as the decision of all these
+    questions is of vital importance to the race, that decision must
+    have been long ago arrived at, unless they were still in a state of
+    childhood.
+
+  [48] I intended to have given a sketch in this place (above referred
+    to) of the probable results of the daguerreotype and calotype within
+    the next few years, in modifying the application of the engraver's
+    art, but I have not had time to complete the experiments necessary
+    to enable me to speak with certainty. Of one thing, however, I have
+    little doubt, that an infinite service will soon be done to a large
+    body of our engravers; namely, the making them draughtsmen (in black
+    and white) on paper instead of steel.
+
+  [49] I mean art in its highest sense. All that men do ingeniously is
+    art, in one sense. In fact, we want a definition of the word "art"
+    much more accurate than any in our minds at present. For, strictly
+    speaking, there is no such thing as "fine" or "high" art. All _art_
+    is a low and common thing, and what we indeed respect is not art at
+    all, but _instinct_ or _inspiration_ expressed by the help of art.
+
+  [50] "_Socrates_. This, then, was what I asked you; whether that
+    which puts anything else to service, and the thing which is put to
+    service by it, are always two different things?
+
+    _Alcibiades._ I think so.
+
+    _Socrates._ What shall we then say of the leather-cutter? Does he
+    cut his leather with his instruments only, or with his hands also?
+
+    _Alcibiades._ With his hands also.
+
+    _Socrates._ Does he not use his eyes as well as his hands?
+
+    _Alcibiades._ Yes.
+
+    _Socrates._ And we agreed that the thing which uses and the thing
+    which is used, were different things?
+
+    _Alcibiades._ Yes.
+
+    _Socrates._ Then the leather-cutter is not the same thing as his
+    eyes or hands?
+
+    _Alcibiades._ So it appears.
+
+    _Socrates._ Does not, then, man make use of his whole body?
+
+    _Alcibiades._ Assuredly.
+
+    _Socrates._ Then the man is not the same thing as his body?
+
+    _Alcibiades._ It seems so.
+
+    _Socrates._ What, then, _is_ the man?
+
+    _Alcibiades._ I know not."
+
+    _Plato_, Alcibiades I.
+
+  [51] Thus the grapes pressed by Excesse are partly golden (Spenser,
+    book ii. cant. 12.):
+
+            "Which did themselves amongst the leaves enfold,
+             As lurking from the view of covetous guest,
+             That the weake boughes, with so rich load opprest
+             Did bow adowne as overburdened."
+
+  [52] The reader must not suppose that the use of gold, in this manner,
+    is confined to early art. Tintoret, the greatest master of pictorial
+    effect that ever existed, has gilded the ribs of the fig-leaves in
+    his "Resurrection," in the Scuola di San Rocco.
+
+  [53] Nothing is more wonderful to me than to hear the pleasure of the
+    eye, in color, spoken of with disdain as "sensual," while people
+    exalt that of the ear in music. Do they really suppose the eye is a
+    less noble bodily organ than the ear,--that the organ by which
+    nearly all our knowledge of the external universe is communicated to
+    us, and through which we learn the wonder and the love, can be less
+    exalted in its own peculiar delight than the ear, which is only for
+    the communication of the ideas which owe to the eye their very
+    existence? I do not mean to depreciate music: let it be loved and
+    reverenced as is just; only let the delight of the eye be reverenced
+    more. The great power of music over the multitude is owing, not to
+    its being less but _more_ sensual than color; it is so distinctly
+    and so richly sensual, that it can be idly enjoyed; it is exactly at
+    the point where the lower and higher pleasures of the senses and
+    imagination are balanced; so that pure and great minds love it for
+    its invention and emotion, and lower minds for its sensual power.
+
+  [54] Vol. II. Appendix 7.
+
+  [55] Louis the Eleventh. "In the month of March, 1481, Louis was
+    seized with a fit of apoplexy at _St. Bénoit-du-lac-mort_, near
+    Chinon. He remained speechless and bereft of reason three days; and
+    then but very imperfectly restored, he languished in a miserable
+    state.... To cure him," says a contemporary historian, "wonderful
+    and terrible medicines were compounded. It was reported among the
+    people that his physicians opened the veins of little children, and
+    made him drink their blood, to correct the poorness of his
+    own."--_Bussey's History of France._ London, 1850.
+
+  [56] Observe, I call Gothic "Christian" architecture, not
+    "ecclesiastical." There is a wide difference. I believe it is the
+    only architecture which Christian men should build, but not at all
+    an architecture necessarily connected with the services of their
+    church.
+
+  [57] Mr. Hope's Church, in Margaret Street, Portland Place. I do not
+    altogether like the arrangements of color in the brickwork; but
+    these will hardly attract the eye, where so much has been already
+    done with precious and beautiful marble, and is yet to be done in
+    fresco. Much will depend, however, upon the coloring of this latter
+    portion. I wish that either Holman Hunt or Millais could be
+    prevailed upon to do at least some of these smaller frescoes.
+
+
+
+
+APPENDIX.
+
+
+1. ARCHITECT OF THE DUCAL PALACE.
+
+Popular tradition and a large number of the chroniclers ascribe the
+building of the Ducal Palace to that Filippo Calendario who suffered
+death for his share in the conspiracy of Faliero. He was certainly one
+of the leading architects of the time, and had for several years the
+superintendence of the works of the Palace; but it appears, from the
+documents collected by the Abbé Cadorin, that the first designer of the
+Palace, the man to whom we owe the adaptation of the Frari traceries to
+civil architecture, was Pietro Baseggio, who is spoken of expressly as
+"formerly the Chief Master of our New Palace,"[58] in the decree of
+1361, quoted by Cadorin, and who, at his death, left Calendario his
+executor. Other documents collected by Zanotto, in his work on "Venezia
+e le sue Lagune," show that Calendario was for a long time at sea, under
+the commands of the Signory, returning to Venice only three or four
+years before his death; and that therefore the entire management of the
+works of the Palace, in the most important period, must have been
+entrusted to Baseggio.
+
+It is quite impossible, however, in the present state of the Palace, to
+distinguish one architect's work from another in the older parts; and I
+have not in the text embarrassed the reader by any attempt at close
+definition of epochs before the great junction of the Piazzetta Façade
+with the older palace in the fifteenth century. Here, however, it is
+necessary that I should briefly state the observations I was able to
+make on the relative dates of the earlier portions.
+
+In the description of the Fig-tree angle, given in the eighth chapter of
+Vol. II., I said that it seemed to me somewhat earlier than that of the
+Vine, and the reader might be surprised at the apparent opposition of
+this statement to my supposition that the Palace was built gradually
+round from the Rio Façade to the Piazzetta. But in the two great open
+arcades there is no succession of work traceable; from the Vine angle to
+the junction with the fifteenth century work, above and below, all seems
+nearly of the same date, the only question being of the accidental
+precedence of workmanship of one capital or another; and I think, from
+its style, that the Fig-tree angle must have been first completed. But
+in the upper stories of the Palace there are enormous differences of
+style. On the Rio Façade, in the upper story, are several series of
+massive windows of the third order, corresponding exactly in mouldings
+and manner of workmanship to those of the chapter-house of the Frari,
+and consequently carrying us back to a very early date in the fourteenth
+century: several of the capitals of these windows, and two richly
+sculptured string-courses in the wall below, are of Byzantine
+workmanship, and in all probability fragments of the Ziani Palace. The
+traceried windows on the Rio Façade, and the two eastern windows on the
+Sea Façade, are all of the finest early fourteenth century work,
+masculine and noble in their capitals and bases to the highest degree,
+and evidently contemporary with the very earliest portions of the lower
+arcades. But the moment we come to the windows of the Great Council
+Chamber the style is debased. The mouldings are the same, but they are
+coarsely worked, and the heads set amidst the leafage of the capitals
+quite valueless and vile.
+
+I have not the least doubt that these window-jambs and traceries were
+restored after the great fire;[59] and various other restorations have
+taken place since, beginning with the removal of the traceries from all
+the windows except the northern one of the Sala del Scrutinio, behind
+the Porta della Carta, where they are still left. I made out four
+periods of restoration among these windows, each baser than the
+preceding. It is not worth troubling the reader about them, but the
+traveller who is interested in the subject may compare two of them in
+the same window; the one nearer the sea of the two belonging to the
+little room at the top of the Palace on the Piazzetta Façade, between
+the Sala del Gran Consiglio and that of the Scrutinio. The seaward jamb
+of that window is of the first, and the opposite jamb of the second,
+period of these restorations. These are all the points of separation in
+date which I could discover by internal evidence. But much more might be
+made out by any Venetian antiquary whose time permitted him thoroughly
+to examine any existing documents which allude to or describe the parts
+of the Palace spoken of in the important decrees of 1340, 1342, and
+1344; for the first of these decrees speaks of certain "columns looking
+towards the Canal"[60] or sea, as then existing, and I presume these
+columns to have been part of the Ziani Palace, corresponding to the part
+of that palace on the Piazzetta where were the "red columns" between
+which Calendario was executed; and a great deal more might be determined
+by any one who would thoroughly unravel the obscure language of those
+decrees.
+
+Meantime, in order to complete the evidence respecting the main dates
+stated in the text, I have collected here such notices of the building
+of the Ducal Palace as appeared to me of most importance in the various
+chronicles I examined. I could not give them all in the text, as they
+repeat each other, and would have been tedious; but they will be
+interesting to the antiquary, and it is to be especially noted in all of
+them how the Palazzo _Vecchio_ is invariably distinguished, either
+directly or by implication, from the Palazzo Nuovo. I shall first
+translate the piece of the Zancarol Chronicle given by Cadorin, which
+has chiefly misled the Venetian antiquaries. I wish I could put the rich
+old Italian into old English, but must be content to lose its raciness,
+as it is necessary that the reader should be fully acquainted with its
+facts.
+
+"It was decreed that none should dare to propose to the Signory of
+Venice to ruin the _old_ palace and rebuild it new and more richly, and
+there was a penalty of one thousand ducats against any one who should
+break it. Then the Doge, wishing to set forward the public good, said to
+the Signory, ... that they ought to rebuild the façades of the _old_
+palace, and that it ought to be restored, to do honor to the nation: and
+so soon as he had done speaking, the Avogadori demanded the penalty from
+the Doge, for having disobeyed the law; and the Doge with ready mind
+paid it, remaining in his opinion that the said fabric ought to be
+built. And so, in the year 1422, on the 20th day of September, it was
+passed in the Council of the Pregadi that the said new palace should be
+begun, and the expense should be borne by the Signori del Sal; and so,
+on the 24th day of March, 1424, it was begun to throw down the _old_
+palace, and to build it anew."--_Cadorin_, p. 129.
+
+The day of the month, and the council in which the decree was passed,
+are erroneously given by this Chronicle. Cadorin has printed the words
+of the decree itself, which passed in the Great Council on the 27th
+September: and these words are, fortunately, much to our present
+purpose. For as more than one façade is spoken of in the above extract,
+the Marchese Selvatico was induced to believe that both the front to the
+sea and that to the Piazzetta had been destroyed; whereas, the "façades"
+spoken of are evidently those of the Ziani Palace. For the words of the
+decree (which are much more trustworthy than those of the Chronicle,
+even if there were any inconsistency between them) run thus: "Palatium
+nostrum fabricetur et fiat in forma decora et convenienti, quod
+respondeat _solemnissimo principio palatii nostri novi_." Thus the new
+council chamber and façade to the sea are called the "most venerable
+beginning of our _New_ Palace;" and the rest was ordered to be designed
+in accordance with these, as was actually the case as far as the Porta
+della Carta. But the Renaissance architects who thenceforward proceeded
+with the fabric, broke through the design, and built everything else
+according to their own humors.
+
+The question may be considered as set at rest by these words of the
+decree, even without any internal or any farther documentary evidence.
+But rather for the sake of impressing the facts thoroughly on the
+reader's mind, than of any additional proof, I shall quote a few more of
+the best accredited Chronicles.
+
+The passage given by Bettio, from the Sivos Chronicle, is a very
+important parallel with that from the Zancarol above:
+
+"Essendo molto vecchio, e quasi rovinoso el Palazzo sopra la piazza, fo
+deliberato di far quella parte tutta da novo, et continuarla com' è
+quella della Sala grande, et cosi il Lunedi 27 Marzo 1424 fu dato
+principio a ruinare detto Palazzo vecchio dalla parte, ch' è verso
+panateria cioè della Giustizia, ch' è nelli occhi di sopra le colonne
+fino alla Chiesa et fo fatto anco la porta grande, com' è al presente,
+con la sala che si addimanda la Libraria."[61]
+
+We have here all the facts told us in so many words: the "old palace" is
+definitely stated to have been "on the piazza," and it is to be rebuilt
+"like the part of the great saloon." The very point from which the newer
+buildings commenced is told us; but here the chronicler has carried his
+attempt at accuracy too far. The point of junction is, as stated above,
+at the third pillar beyond the medallion of Venice; and I am much at a
+loss to understand what could have been the disposition of these three
+pillars where they joined the Ziani Palace, and how they were connected
+with the arcade of the inner cortile. But with these difficulties, as
+they do not bear on the immediate question, it is of no use to trouble
+the reader.
+
+The next passage I shall give is from a Chronicle in the Marcian
+Library, bearing title, "Supposta di Zancaruol;" but in which I could
+not find the passage given by Cadorin from, I believe, a manuscript of
+this Chronicle at Vienna. There occurs instead of it the following thus
+headed:--
+
+"Come _la parte nova_ del Palazzo fuo hedificata _novamente_.
+
+"El Palazzo novo de Venesia quella parte che xe verso la Chiesia de S.
+Marcho fuo prexo chel se fesse del 1422 e fosse pagado la spexa per li
+officiali del sal. E fuo fatto per sovrastante G. Nicolo Barberigo cum
+provision de ducati X doro al mexe e fuo fabricado e fatto nobelissimo.
+Come fin ancho di el sta e fuo grande honor a la Signoria de Venesia e a
+la sua Citta."
+
+This entry, which itself bears no date, but comes between others dated
+22nd July and 27th December, is interesting, because it shows the first
+transition of the idea of _newness_, from the Grand Council Chamber to
+the part built under Foscari. For when Mocenigo's wishes had been
+fulfilled, and the old palace of Ziani had been destroyed, and another
+built in its stead, the Great Council Chamber, which was "the new
+palace" compared with Ziani's, became "the old palace" compared with
+Foscari's; and thus we have, in the body of the above extract, the whole
+building called "the new palace of Venice;" but in the heading of it, we
+have "the new _part_ of the palace" applied to the part built by
+Foscari, in contradistinction to the Council Chamber.
+
+The next entry I give is important, because the writing of the MS. in
+which it occurs, No. 53 in the Correr Museum, shows it to be probably
+not later than the end of the fifteenth century:
+
+"El palazo nuovo de Venixia zoe quella parte che se sora la piazza verso
+la giesia di Miss. San Marcho del 1422 fo principiado, el qual fo fato e
+finito molto belo, chome al presente se vede nobilissimo, et a la
+fabricha de quello fo deputado Miss. Nicolo Barberigo, soprastante con
+ducati dieci doro al mexe."
+
+We have here the part built by Foscari distinctly called the Palazzo
+Nuovo, as opposed to the Great Council Chamber, which had now completely
+taken the position of the Palazzo Vecchio, and is actually so called by
+Sansovino. In the copy of the Chronicle of Paolo Morosini, and in the
+MSS. numbered respectively 57, 59, 74, and 76 in the Correr Museum, the
+passage above given from No. 53 is variously repeated with slight
+modifications and curtailments; the entry in the Morosini Chronicle
+being headed, "Come fu principiato il palazo che guarda sopra la piaza
+grande di S. Marco," and proceeding in the words, "El Palazo Nuovo di
+Venetia, cioè quella parte che e sopra la piaza," &c., the writers being
+cautious, in all these instances, to _limit their statement_ to the part
+facing the Piazza, that no reader might suppose the Council Chamber to
+have been built or begun at the same time; though, as long as to the end
+of the sixteenth century, we find the Council Chamber still included in
+the expression "Palazzo Nuovo." Thus, in the MS. No. 75 in the Correr
+Museum, which is about that date, we have "Del 1422, a di 20 Settembre
+fu preso nel consegio grando de dover _compir_ el Palazo Novo, e dovesen
+fare la spessa li officialli del Sal (61. M. 2. B.)." And, so long as
+this is the case, the "Palazzo Vecchio" always means the Ziani Palace.
+Thus, in the next page of this same MS. we have "a di 27 Marzo (1424 by
+context) fo principia a butar zosso, el _Palazzo Vecchio_ per refarlo da
+novo, e poi se he" (and so it is done); and in the MS. No. 81, "Del
+1424, fo gittado zoso el _Palazzo Vecchio_ per refarlo de nuovo, a di 27
+Marzo." But in the time of Sansovino the Ziani Palace was quite
+forgotten; the Council Chamber was then the _old_ palace, and Foscari's
+part was the new. His account of the "Palazzo Publico" will now be
+perfectly intelligible; but, as the work itself is easily accessible, I
+shall not burden the reader with any farther extracts, only noticing
+that the chequering of the façade with red and white marbles, which he
+ascribes to Foscari, may or may not be of so late a date, as there is
+nothing in the style of the work which can be produced as evidence.
+
+
+2. THEOLOGY OF SPENSER.
+
+The following analysis of the first books of the "Faërie Queen," may be
+interesting to readers who have been in the habit of reading the noble
+poem too hastily to connect its parts completely together; and may
+perhaps induce them to more careful study of the rest of the poem.
+
+The Redcrosse Knight is Holiness,--the "Pietas" of St. Mark's, the
+"Devotio" of Orcagna,--meaning, I think, in general, Reverence and Godly
+Fear.
+
+This Virtue, in the opening of the book, has Truth (or Una) at its side,
+but presently enters the Wandering Wood, and encounters the serpent
+Error; that is to say, Error in her universal form, the first enemy of
+Reverence and Holiness; and more especially Error as founded on
+learning; for when Holiness strangles her,
+
+  "Her vomit _full of bookes and papers was_,
+   With loathly frogs and toades, which eyes did lacke."
+
+Having vanquished this first open and palpable form of Error, as
+Reverence and Religion must always vanquish it, the Knight encounters
+Hypocrisy, or Archimagus; Holiness cannot detect Hypocrisy, but
+believes him, and goes home with him; whereupon Hypocrisy succeeds in
+separating Holiness from Truth; and the Knight (Holiness) and Lady
+(Truth) go forth separately from the house of Archimagus.
+
+Now observe: the moment Godly Fear, or Holiness, is separated from
+Truth, he meets Infidelity, or the Knight Sans Foy; Infidelity having
+Falsehood, or Duesa, riding behind him. The instant the Redcrosse Knight
+is aware of the attack of Infidelity, he
+
+  "Gan fairly couch his speare, and towards ride."
+
+He vanquishes and slays Infidelity; but is deceived by his companion,
+Falsehood, and takes her for his lady: thus showing the condition of
+Religion, when, after being attacked by Doubt, and remaining victorious,
+it is nevertheless seduced, by any form of Falsehood, to pay reverence
+where it ought not. This, then, is the first fortune of Godly Fear
+separated from Truth. The poet then returns to Truth, separated from
+Godly Fear. She is immediately attended by a lion, or Violence, which
+makes her dreaded wherever she comes; and when she enters the mart of
+Superstition, this Lion tears Kirkrapine in pieces: showing how Truth,
+separated from Godliness, does indeed put an end to the abuses of
+Superstition, but does so violently and desperately. She then meets
+again with Hypocrisy, whom she mistakes for her own lord, or Godly Fear,
+and travels a little way under his guardianship (Hypocrisy thus not
+unfrequently appearing to defend the Truth), until they are both met by
+Lawlessness, or the Knight Sans Loy, whom Hypocrisy cannot resist.
+Lawlessness overthrows Hypocrisy, and seizes upon Truth, first slaying
+her lion attendant: showing that the first aim of licence is to destroy
+the force and authority of Truth. Sans Loy then takes Truth captive, and
+bears her away. Now this Lawlessness is the "unrighteousness," or
+"adikia," of St. Paul; and his bearing Truth away captive, is a type of
+those "who hold the truth in unrighteousness,"--that is to say,
+generally, of men who, knowing what is true, make the truth give way to
+their own purposes, or use it only to forward them, as is the case with
+so many of the popular leaders of the present day. Una is then delivered
+from Sans Loy by the satyrs, to show that Nature, in the end, must work
+out the deliverance of the truth, although, where it has been captive to
+Lawlessness, that deliverance can only be obtained through Savageness,
+and a return to barbarism. Una is then taken from among the satyrs by
+Satyrane, the son of a satyr and a "lady myld, fair Thyamis," (typifying
+the early steps of renewed civilization, and its rough and hardy
+character "nousled up in life and manners wilde,") who, meeting again
+with Sans Loy, enters instantly into rough and prolonged combat with
+him: showing how the early organization of a hardy nation must be
+wrought out through much discouragement from Lawlessness. This contest
+the poet leaving for the time undecided, returns to trace the adventures
+of the Redcrosse Knight, or Godly Fear, who, having vanquished
+Infidelity, presently is led by Falsehood to the house of Pride: thus
+showing how religion, separated from truth, is first tempted by doubts
+of God, and then by the pride of life. The description of this house of
+Pride is one of the most elaborate and noble pieces in the poem; and
+here we begin to get at the proposed system of Virtues and Vices. For
+Pride, as queen, has six other vices yoked in her chariot; namely,
+first, Idleness, then Gluttony, Lust, Avarice, Envy, and Anger, all
+driven on by "Sathan, with a smarting whip in hand." From these lower
+vices and their company, Godly Fear, though lodging in the house of
+Pride, holds aloof; but he is challenged, and has a hard battle to fight
+with Sans Joy, the brother of Sans Foy: showing, that though he has
+conquered Infidelity, and does not give himself up to the allurements of
+Pride, he is yet exposed, so long as he dwells in her house, to distress
+of mind and loss of his accustomed rejoicing before God. He, however,
+having partly conquered Despondency, or Sans Joy, Falsehood goes down to
+Hades, in order to obtain drugs to maintain the power or life of
+Despondency; but, meantime, the Knight leaves the house of Pride:
+Falsehood pursues and overtakes him, and finds him by a fountain side,
+of which the waters are
+
+                           "Dull and slow,
+  And all that drinke thereof do faint and feeble grow."
+
+Of which the meaning is, that Godly Fear, after passing through the
+house of Pride, is exposed to drowsiness and feebleness of watch; as,
+after Peter's boast, came Peter's sleeping, from weakness of the flesh,
+and then, last of all, Peter's fall. And so it follows: for the
+Redcrosse Knight, being overcome with faintness by drinking of the
+fountain, is thereupon attacked by the giant Orgoglio, overcome and
+thrown by him into a dungeon. This Orgoglio is Orgueil, or Carnal Pride;
+not the pride of life, spiritual and subtle, but the common and vulgar
+pride in the power of this world: and his throwing the Redcrosse Knight
+into a dungeon, is a type of the captivity of true religion under the
+temporal power of corrupt churches, more especially of the Church of
+Rome; and of its gradually wasting away in unknown places, while carnal
+pride has the preëminence over all things. That Spenser means,
+especially, the pride of the Papacy, is shown by the 16th stanza of the
+book; for there the giant Orgoglio is said to have taken Duessa, or
+Falsehood, for his "deare," and to have set upon her head a triple
+crown, and endowed her with royal majesty, and made her to ride upon a
+seven-headed beast.
+
+In the meantime, the dwarf, the attendant of the Redcrosse Knight, takes
+his arms, and finding Una tells her of the captivity of her lord. Una,
+in the midst of her mourning, meets Prince Arthur, in whom, as Spenser
+himself tells us, is set forth generally Magnificence; but who, as is
+shown by the choice of the hero's name, is more especially the
+magnificence, or literally, "great doing" of the kingdom of England.
+This power of England, going forth with Truth, attacks Orgoglio, or the
+Pride of Papacy, slays him; strips Duessa, or Falsehood, naked; and
+liberates the Redcrosse Knight. The magnificent and well-known
+description of Despair follows, by whom the Redcrosse Knight is hard
+bested, on account of his past errors and captivity, and is only saved
+by Truth, who, perceiving him to be still feeble, brings him to the
+house of Coelia, called, in the argument of the canto, Holiness, but
+properly, Heavenly Grace, the mother of the Virtues. Her "three
+daughters, well up-brought," are Faith, Hope, and Charity. Her porter is
+Humility; because Humility opens the door of Heavenly Grace. Zeal and
+Reverence are her chamberlains, introducing the new comers to her
+presence; her groom, or servant, is Obedience; and her physician,
+Patience. Under the commands of Charity, the matron Mercy rules over
+her hospital, under whose care the Knight is healed of his sickness; and
+it is to be especially noticed how much importance Spenser, though never
+ceasing to chastise all hypocrisies and mere observances of form,
+attaches to true and faithful _penance_ in effecting this cure. Having
+his strength restored to him, the Knight is trusted to the guidance of
+Mercy, who, leading him forth by a narrow and thorny way, first
+instructs him in the seven works of Mercy, and then leads him to the
+hill of Heavenly Contemplation; whence, having a sight of the New
+Jerusalem, as Christian of the Delectable Mountains, he goes forth to
+the final victory over Satan, the old serpent, with which the book
+closes.
+
+
+3. AUSTRIAN GOVERNMENT IN ITALY.
+
+I cannot close these volumes without expressing my astonishment and
+regret at the facility with which the English allow themselves to be
+misled by any representations, however openly groundless or ridiculous,
+proceeding from the Italian Liberal party, respecting the present
+administration of the Austrian Government. I do not choose here to enter
+into any political discussion, or express any political opinion; but it
+is due to justice to state the simple facts which came under my notice
+during my residence in Italy. I was living at Venice through two entire
+winters, and in the habit of familiar association both with Italians and
+Austrians, my own antiquarian vocations rendering such association
+possible without exciting the distrust of either party. During this
+whole period, I never once was able to ascertain, from any liberal
+Italian, that he had a single _definite_ ground of complaint against the
+Government. There was much general grumbling and vague discontent; but I
+never was able to bring one of them to the point, or to discover what it
+was that they wanted, or in what way they felt themselves injured; nor
+did I ever myself witness an instance of oppression on the part of the
+Government, though several of much kindness and consideration. The
+indignation of those of my own countrymen and countrywomen whom I
+happened to see during their sojourn in Venice was always vivid, but by
+no means large in its grounds. English ladies on their first arrival
+invariably began the conversation with the same remark: "What a
+dreadful thing it was to be ground under the iron heel of despotism!"
+Upon closer inquiries it always appeared that being "ground under the
+heel of despotism" was a poetical expression for being asked for one's
+passport at San Juliano, and required to fetch it from San Lorenzo, full
+a mile and a quarter distant. In like manner, travellers, after two or
+three days' residence in the city, used to return with pitiful
+lamentations over "the misery of the Italian people." Upon inquiring
+what instances they had met with of this misery, it invariably turned
+out that their gondoliers, after being paid three times their proper
+fare, had asked for something to drink, and had attributed the fact of
+their being thirsty to the Austrian Government. The misery of the
+Italians consists in having three festa days a week, and doing in their
+days of exertion about one fourth as much work as an English laborer.
+
+There is, indeed, much true distress occasioned by the measures which
+the Government is sometimes compelled to take in order to repress
+sedition; but the blame of this lies with those whose occupation is the
+excitement of sedition. So also there is much grievous harm done to
+works of art by the occupation of the country by so large an army; but
+for the mode in which that army is quartered, the Italian municipalities
+are answerable, not the Austrians. Whenever I was shocked by finding, as
+above-mentioned at Milan, a cloister, or a palace, occupied by soldiery,
+I always discovered, on investigation, that the place had been given by
+the municipality; and that, beyond requiring that lodging for a certain
+number of men should be found in such and such a quarter of the town,
+the Austrians had nothing to do with the matter. This does not, however,
+make the mischief less: and it is strange, if we think of it, to see
+Italy, with all her precious works of art, made a continual
+battle-field; as if no other place for settling their disputes could be
+found by the European powers, than where every random shot may destroy
+what a king's ransom cannot restore.[62] It is exactly as if the
+tumults in Paris could he settled no otherwise than by fighting them out
+in the Gallery of the Louvre.
+
+
+4. DATE OF THE PALACES OF THE BYZANTINE RENAISSANCE.
+
+In the sixth article of the Appendix to the first volume, the question
+of the date of the Casa Dario and Casa Trevisan was deferred until I
+could obtain from my friend Mr. Rawdon Brown, to whom the former palace
+once belonged, some more distinct data respecting this subject than I
+possessed myself.
+
+Speaking first of the Casa Dario, he says: "Fontana dates it from about
+the year 1450, and considers it the earliest specimen of the
+architecture founded by Pietro Lombardo, and followed by his sons,
+Tullio and Antonio. In a Sanuto autograph miscellany, purchased by me
+long ago, and which I gave to St. Mark's Library, are two letters from
+Giovanni Dario, dated 10th and 11th July, 1485, in the neighborhood of
+Adrianople; where the Turkish camp found itself, and Bajazet II.
+received presents from the Soldan of Egypt, from the Schah of the Indies
+(query Grand Mogul), and from the King of Hungary: of these matters,
+Dario's letters give many curious details. Then, in the _printed_
+Malipiero Annals, page 136 (which err, I think, by a year), the
+Secretary Dario's negotiations at the Porte are alluded to; and in date
+of 1484 he is stated to have returned to Venice, having quarrelled with
+the Venetian bailiff at Constantinople: the annalist adds, that
+'Giovanni Dario was a native of Candia, and that the Republic was so
+well satisfied with him for having concluded peace with Bajazet, that he
+received, as a gift from his country, an estate at Noventa, in the
+Paduan territory, worth 1500 ducats, and 600 ducats in cash for the
+dower of one of his daughters.' These largesses probably enabled him to
+build his house about the year 1486, and are doubtless hinted at in the
+inscription, which I restored A.D. 1837; _it had no date_, and ran thus,
+URBIS . GENIO . JOANNES . DARIVS. In the Venetian history of Paolo
+Morosini, page 594, it is also mentioned, that Giovanni Dario was,
+moreover, the Secretary who concluded the peace between Mahomet, the
+conqueror of Constantinople, and Venice, A.D. 1478; but, unless he build
+his house by proxy, that date has nothing to do with it; and in my mind,
+the fact of the present, and the inscription, warrant one's dating it
+1486, and not 1450.
+
+"The Trevisan-Cappello House, in Canonica, was once the property (A.D.
+1578) of a Venetian dame, fond of cray-fish, according to a letter of
+hers in the archives, whereby she thanks one of her lovers for some
+which he had sent her from Treviso to Florence, of which she was then
+Grand Duchess. Her name has perhaps found its way into the English
+annuals. Did you ever hear of Bianca Cappello? She bought that house of
+the Trevisana family, by whom Selva (in Cicognara) and Fontana
+(following Selva) say it was ordered of the Lombardi, at the
+commencement of the sixteenth century: but the inscription on its
+façade, thus,
+
+  SOLI  | |  HONOR. ET
+  DEO   | |  GLORIA.
+
+reminding one both of the Dario House, and of the words NON NOBIS DOMINE
+inscribed on the façade of the Loredano Vendramin Palace at S. Marcuola
+(now the property of the Duchess of Berri), of which Selva found proof
+in the Vendramin Archives that it was commenced by Sante Lombardo, A.D.
+1481, is in favor of its being classed among the works of the fifteenth
+century."
+
+
+5. RENAISSANCE SIDE OF DUCAL PALACE.
+
+In passing along the Rio del Palazzo the traveller ought especially to
+observe the base of the Renaissance building, formed by alternately
+depressed and raised pyramids, the depressed portions being _casts_ of
+the projecting ones, which are truncated on the summits. The work cannot
+be called rustication, for it is cut as sharply and delicately as a
+piece of ivory, but it thoroughly answers the end which rustication
+proposes, and misses: it gives the base of the building a look of
+crystalline hardness, actually resembling, and that very closely, the
+appearance presented by the fracture of a piece of cap quartz; while yet
+the light and shade of its alternate recesses and projections are so
+varied as to produce the utmost possible degree of delight to the eye,
+attainable by a geometrical pattern so simple. Yet, with all this high
+merit, it is not a base which could be brought into general use. Its
+brilliancy and piquancy are here set off with exquisite skill by its
+opposition to mouldings, in the upper part of the building, of an almost
+effeminate delicacy, and its complexity is rendered delightful by its
+contrast with the ruder bases of the other buildings of the city; but it
+would look meagre if it were employed to sustain bolder masses above,
+and would become wearisome if the eye were once thoroughly familiarized
+with it by repetition.
+
+
+6. CHARACTER OF THE DOGE MICHELE MOROSINI.
+
+The following extracts from the letter of Count Charles Morosini, above
+mentioned, appear to set the question at rest.
+
+"It is our unhappy destiny that, during the glory of the Venetian
+republic, no one took the care to leave us a faithful and conscientious
+history: but I hardly know whether this misfortune should be laid to the
+charge of the historians themselves, or of those commentators who have
+destroyed their trustworthiness by new accounts of things, invented by
+themselves. As for the poor Morosini, we may perhaps save his honor by
+assembling a conclave of our historians, in order to receive their
+united sentence; for, in this case, he would have the absolute majority
+on his side, nearly all the authors bearing testimony to his love for
+his country and to the magnanimity of his heart. I must tell you that
+the history of Daru is not looked upon with esteem by well-informed men;
+and it is said that he seems to have no other object in view than to
+obscure the glory of all actions. I know not on what authority the
+English writer depends; but he has, perhaps, merely copied the statement
+of Daru.... I have consulted an ancient and authentic MS. belonging to
+the Venieri family, a MS. well known, and certainly better worthy of
+confidence than Daru's history, and it says nothing of M. Morosini but
+that he was elected Doge to the delight and joy of all men. Neither do
+the Savina or Dolfin Chronicles say a word of the shameful speculation;
+and our best informed men say that the reproach cast by some historians
+against the Doge perhaps arose from a mistaken interpretation of the
+words pronounced by him, and reported by Marin Sanuto, that 'the
+speculation would sooner or later have been advantageous to the
+country.' But this single consideration is enough to induce us to form a
+favorable conclusion respecting the honor of this man, namely, that he
+was not elected Doge until after he had been entrusted with many
+honorable embassies to the Genoese and Carrarese, as well as to the King
+of Hungary and Amadeus of Savoy; and if in these embassies he had not
+shown himself a true lover of his country, the republic not only would
+not again have entrusted him with offices so honorable, but would never
+have rewarded him with the dignity of Doge, therein to succeed such a
+man as Andrea Contarini; and the war of Chioggia, during which it is
+said that he tripled his fortune by speculations, took place during the
+reign of Contarini, 1379, 1380, while Morosini was absent on foreign
+embassies."
+
+
+7. MODERN EDUCATION.
+
+The following fragmentary notes on this subject have been set down at
+different times. I have been accidentally prevented from arranging them
+properly for publication, but there are one or two truths in them which
+it is better to express insufficiently than not at all.
+
+       *       *       *       *       *
+
+By a large body of the people of England and of Europe a man is called
+educated if he can write Latin verses and construe a Greek chorus. By
+some few more enlightened persons it is confessed that the construction
+of hexameters is not in itself an important end of human existence; but
+they say, that the general discipline which a course of classical
+reading gives to the intellectual powers, is the final object of our
+scholastical institutions.
+
+But it seems to me, there is no small error even in this last and more
+philosophical theory. I believe, that what it is most honorable to know,
+it is also most profitable to learn; and that the science which it is
+the highest power to possess, it is also the best exercise to acquire.
+
+And if this be so, the question as to what should be the materiel of
+education, becomes singularly simplified. It might be matter of dispute
+what processes have the greatest effect in developing the intellect; but
+it can hardly be disputed what facts it is most advisable that a man
+entering into life should accurately know.
+
+I believe, in brief, that he ought to know three things:
+
+  First.   Where he is.
+  Secondly.   Where he is going.
+  Thirdly.   What he had best do, under those circumstances.
+
+First. Where he is.--That is to say, what sort of a world he has got
+into; how large it is; what kind of creatures live in it, and how; what
+it is made of, and what may be made of it.
+
+Secondly. Where he is going.--That is to say, what chances or reports
+there are of any other world besides this; what seems to be the nature
+of that other world; and whether, for information respecting it, he had
+better consult the Bible, Koran, or Council of Trent.
+
+Thirdly. What he had best do under those circumstances.--That is to say,
+what kind of faculties he possesses; what are the present state and
+wants of mankind; what is his place in society; and what are the
+readiest means in his power of attaining happiness and diffusing it. The
+man who knows these things, and who has had his will so subdued in the
+learning them, that he is ready to do what he knows he ought, I should
+call educated; and the man who knows them not,--uneducated, though he
+could talk all the tongues of Babel.
+
+Our present European system of so-called education ignores, or despises,
+not one, nor the other, but all the three, of these great branches of
+human knowledge.
+
+First: It despises Natural History.--Until within the last year or two,
+the instruction in the physical sciences given at Oxford consisted of a
+course of twelve or fourteen lectures on the Elements of Mechanics or
+Pneumatics, and permission to ride out to Shotover with the Professor of
+Geology. I do not know the specialties of the system pursued in the
+academies of the Continent; but their practical result is, that unless a
+man's natural instincts urge him to the pursuit of the physical sciences
+too strongly to be resisted, he enters into life utterly ignorant of
+them. I cannot, within my present limits, even so much as count the
+various directions in which this ignorance does evil. But the main
+mischief of it is, that it leaves the greater number of men without the
+natural food which God intended for their intellects. For one man who is
+fitted for the study of words, fifty are fitted for the study of things,
+and were intended to have a perpetual, simple, and religious delight in
+watching the processes, or admiring the creatures, of the natural
+universe. Deprived of this source of pleasure, nothing is left to them
+but ambition or dissipation; and the vices of the upper classes of
+Europe are, I believe, chiefly to be attributed to this single cause.
+
+Secondly: It despises Religion.--I do not say it despises "Theology,"
+that is to say, _Talk_ about God. But it despises "Religion;" that is to
+say, the "binding" or training to God's service. There is much talk and
+much teaching in all our academies, of which the effect is not to bind,
+but to loosen, the elements of religious faith. Of the ten or twelve
+young men who, at Oxford, were my especial friends, who sat with me
+under the same lectures on Divinity, or were punished with me for
+missing lecture by being sent to evening prayers,[63] four are now
+zealous Romanists,--a large average out of twelve; and while thus our
+own universities profess to teach Protestantism, and do not, the
+universities on the Continent profess to teach Romanism, and do
+not,--sending forth only rebels and infidels. During long residence on
+the Continent, I do not remember meeting with above two or three young
+men, who either believed in revelation, or had the grace to hesitate in
+the assertion of their infidelity.
+
+Whence, it seems to me, we may gather one of two things; either that
+there is nothing in any European form of religion so reasonable or
+ascertained, as that it can be taught securely to our youth, or fastened
+in their minds by any rivets of proof which they shall not be able to
+loosen the moment they begin to think; or else, that no means are taken
+to train them in such demonstrable creeds.
+
+It seems to me the duty of a rational nation to ascertain (and to be at
+some pains in the matter) which of these suppositions is true; and, if
+indeed no proof can be given of any supernatural fact, or Divine
+doctrine, stronger than a youth just out of his teens can overthrow in
+the first stirrings of serious thought, to confess this boldly; to get
+rid of the expense of an Establishment, and the hypocrisy of a Liturgy;
+to exhibit its cathedrals as curious memorials of a by-gone
+superstition, and, abandoning all thoughts of the next world, to set
+itself to make the best it can of this.
+
+But if, on the other hand, there _does_ exist any evidence by which the
+probability of certain religious facts may be shown, as clearly, even,
+as the probabilities of things not absolutely ascertained in
+astronomical or geological science, let this evidence be set before all
+our youth so distinctly, and the facts for which it appears inculcated
+upon them so steadily, that although it may be possible for the evil
+conduct of after life to efface, or for its earnest and protracted
+meditation to modify, the impressions of early years, it may not be
+possible for our young men, the instant they emerge from their
+academies, to scatter themselves like a flock of wild fowl risen out of
+a marsh, and drift away on every irregular wind of heresy and apostasy.
+
+Lastly: Our system of European education despises Politics.--That is to
+say, the science of the relations and duties of men to each other. One
+would imagine, indeed, by a glance at the state of the world, that there
+was no such science. And, indeed, it is one still in its infancy.
+
+It implies, in its full sense, the knowledge of the operations of the
+virtues and vices of men upon themselves and society; the understanding
+of the ranks and offices of their intellectual and bodily powers in
+their various adaptations to art, science, and industry; the
+understanding of the proper offices of art, science, and labor
+themselves, as well as of the foundations of jurisprudence, and broad
+principles of commerce; all this being coupled with practical knowledge
+of the present state and wants of mankind.
+
+What, it will be said, and is all this to be taught to schoolboys? No;
+but the first elements of it, all that are necessary to be known by an
+individual in order to his acting wisely in any station of life, might
+be taught, not only to every schoolboy, but to every peasant. The
+impossibility of equality among men; the good which arises from their
+inequality; the compensating circumstances in different states and
+fortunes; the honorableness of every man who is worthily filling his
+appointed place in society, however humble; the proper relations of poor
+and rich, governor and governed; the nature of wealth, and mode of its
+circulation; the difference between productive and unproductive labor;
+the relation of the products of the mind and hand; the true value of
+works of the higher arts, and the possible amount of their production;
+the meaning of "Civilization," its advantages and dangers; the meaning
+of the term "Refinement;" the possibilities of possessing refinement in
+a low station, and of losing it in a high one; and, above all, the
+significance of almost every act of a man's daily life, in its ultimate
+operation upon himself and others;--all this might be, and ought to be,
+taught to every boy in the kingdom, so completely, that it should be
+just as impossible to introduce an absurd or licentious doctrine among
+our adult population, as a new version of the multiplication table. Nor
+am I altogether without hope that some day it may enter into the heads
+of the tutors of our schools to try whether it is not as easy to make an
+Eton boy's mind as sensitive to falseness in policy, as his ear is at
+present to falseness in prosody.
+
+I know that this is much to hope. That English ministers of religion
+should ever come to desire rather to make a youth acquainted with the
+powers of nature and of God, than with the powers of Greek particles;
+that they should ever think it more useful to show him how the great
+universe rolls upon its course in heaven, than how the syllables are
+fitted in a tragic metre; that they should hold it more advisable for
+him to be fixed in the principles of religion than in those of syntax;
+or, finally, that they should ever come to apprehend that a youth likely
+to go straight out of college into parliament, might not unadvisably
+know as much of the Peninsular as of the Peloponnesian War, and be as
+well acquainted with the state of Modern Italy as of old Etruria;--all
+this however unreasonably, I _do_ hope, and mean to work for. For though
+I have not yet abandoned all expectation of a better world than this, I
+believe this in which we live is not so good as it might be. I know
+there are many people who suppose French revolutions, Italian
+insurrections, Caffre wars, and such other scenic effects of modern
+policy, to be among the normal conditions of humanity. I know there are
+many who think the atmosphere of rapine, rebellion, and misery which
+wraps the lower orders of Europe more closely every day, is as natural a
+phenomenon as a hot summer. But God forbid! There are ills which flesh
+is heir to, and troubles to which man is born; but the troubles which he
+is born to are as sparks which fly _upward_, not as flames burning to
+the nethermost Hell. The Poor we must have with us always, and sorrow is
+inseparable from any hour of life; but we may make their poverty such as
+shall inherit the earth, and the sorrow, such as shall be hallowed by
+the hand of the Comforter, with everlasting comfort. We _can_, if we
+will but shake off this lethargy and dreaming that is upon us, and take
+the pains to think and act like men, we can, I say, make kingdoms to be
+like well-governed households, in which, indeed, while no care or
+kindness can prevent occasional heart-burnings, nor any foresight or
+piety anticipate all the vicissitudes of fortune, or avert every stroke
+of calamity, yet the unity of their affection and fellowship remains
+unbroken, and their distress is neither embittered by division,
+prolonged by imprudence, nor darkened by dishonor.
+
+       *       *       *       *       *
+
+The great leading error of modern times is the mistaking erudition for
+education. I call it the leading error, for I believe that, with little
+difficulty, nearly every other might be shown to have root in it; and,
+most assuredly, the worst that are fallen into on the subject of art.
+
+Education then, briefly, is the leading human souls to what is best, and
+making what is best out of them; and these two objects are always
+attainable together, and by the same means; the training which makes men
+happiest in themselves, also makes them most serviceable to others. True
+education, then, has respect, first to the ends which are proposable to
+the man, or attainable by him; and, secondly, to the material of which
+the man is made. So far as it is able, it chooses the end according to
+the material: but it cannot always choose the end, for the position of
+many persons in life is fixed by necessity; still less can it choose
+the material; and, therefore, all it can do, is to fit the one to the
+other as wisely as may be.
+
+But the first point to be understood, is that the material is as various
+as the ends; that not only one man is unlike another, but _every_ man is
+essentially different from _every_ other, so that no training, no
+forming, nor informing, will ever make two persons alike in thought or
+in power. Among all men, whether of the upper or lower orders, the
+differences are eternal and irreconcilable, between one individual and
+another, born under absolutely the same circumstances. One man is made
+of agate, another of oak; one of slate, another of clay. The education
+of the first is polishing; of the second, seasoning; of the third,
+rending; of the fourth, moulding. It is of no use to season the agate;
+it is vain to try to polish the slate; but both are fitted, by the
+qualities they possess, for services in which they may be honored.
+
+Now the cry for the education of the lower classes, which is heard every
+day more widely and loudly, is a wise and a sacred cry, provided it be
+extended into one for the education of _all_ classes, with definite
+respect to the work each man has to do, and the substance of which he is
+made. But it is a foolish and vain cry, if it be understood, as in the
+plurality of cases it is meant to be, for the expression of mere craving
+after knowledge, irrespective of the simple purposes of the life that
+now is, and blessings of that which is to come.
+
+One great fallacy into which men are apt to fall when they are reasoning
+on this subject is: that light, as such, is always good; and darkness,
+as such, always evil. Far from it. Light untempered would be
+annihilation. It is good to them that sit in darkness and in the shadow
+of death; but, to those that faint in the wilderness, so also is the
+shadow of the great rock in a weary land. If the sunshine is good, so
+also the cloud of the latter rain. Light is only beautiful, only
+available for life, when it is tempered with shadow; pure light is
+fearful, and unendurable by humanity. And it is not less ridiculous to
+say that the light, as such, is good in itself, than to say that the
+darkness is good in itself. Both are rendered safe, healthy, and useful
+by the other; the night by the day, the day by the night; and we could
+just as easily live without the dawn as without the sunset, so long as
+we are human. Of the celestial city we are told there shall be "no night
+there," and then we shall know even as also we are known: but the night
+and the mystery have both their service here; and our business is not to
+strive to turn the night into day, but to be sure that we are as they
+that watch for the morning.
+
+Therefore, in the education either of lower or upper classes, it matters
+not the least how much or how little they know, provided they know just
+what will fit them to do their work, and to be happy in it. What the sum
+or the nature of their knowledge ought to be at a given time or in a
+given case, is a totally different question: the main thing to be
+understood is, that a man is not educated, in any sense whatsoever,
+because he can read Latin, or write English, or can behave well in a
+drawingroom; but that he is only educated if he is happy, busy,
+beneficent, and effective in the world; that millions of peasants are
+therefore at this moment better educated than most of those who call
+themselves gentlemen; and that the means taken to "educate" the lower
+classes in any other sense may very often be productive of a precisely
+opposite result.
+
+Observe: I do not say, nor do I believe, that the lower classes ought
+not to be better educated, in millions of ways, than they are. I believe
+_every man in a Christian kingdom ought to be equally well educated_.
+But I would have it education to purpose; stern, practical,
+irresistible, in moral habits, in bodily strength and beauty, in all
+faculties of mind capable of being developed under the circumstances of
+the individual, and especially in the technical knowledge of his own
+business; but yet, infinitely various in its effort, directed to make
+one youth humble, and another confident; to tranquillize this mind, to
+put some spark of ambition into that; now to urge, and now to restrain:
+and in the doing of all this, considering knowledge as one only out of
+myriads of means in its hands, or myriads of gifts at its disposal; and
+giving it or withholding it as a good husbandman waters his garden,
+giving the full shower only to the thirsty plants, and at times when
+they are thirsty, whereas at present we pour it upon the heads of our
+youth as the snow falls on the Alps, on one and another alike, till they
+can bear no more, and then take honor to ourselves because here and
+there a river descends from their crests into the valleys, not
+observing that we have made the loaded hills themselves barren for ever.
+
+Finally: I hold it for indisputable, that the first duty of a state is
+to see that every child born therein shall be well housed, clothed, fed,
+and educated, till it attain years of discretion. But in order to the
+effecting this, the government must have an authority over the people of
+which we now do not so much as dream; and I cannot in this place pursue
+the subject farther.
+
+
+8. EARLY VENETIAN MARRIAGES.
+
+Galliciolli, lib. ii. § 1757, insinuates a doubt of the general custom,
+saying "it would be more reasonable to suppose that only twelve maidens
+were married in public on St. Mark's day;" and Sandi also speaks of
+twelve only. All evidence, however, is clearly in favor of the popular
+tradition; the most curious fact connected with the subject being the
+mention, by Herodotus, of the mode of marriage practised among the
+Illyrian "Veneti" of his time, who presented their maidens for marriage
+on one day in each year; and, with the price paid for those who were
+beautiful, gave dowries to those who had no personal attractions.
+
+It is very curious to find the traces of this custom existing, though in
+a softened form, in Christian times. Still, I admit that there is little
+confidence to be placed in the mere concurrence of the Venetian
+Chroniclers, who, for the most part, copied from each other: but the
+best and most complete account I have read, is that quoted by
+Galliciolli from the "Matricola de' Casseleri," written in 1449; and, in
+that account, the words are quite unmistakable. "It was anciently the
+custom of Venice, that _all the brides_ (novizze) of Venice, when they
+married, should be married by the bishop, in the Church of S. Pietro di
+Castello, on St. Mark's day, which is the 31st of January." Rogers quotes
+Navagiero to the same effect; and Sansovino is more explicit still. "It
+was the custom to contract marriages openly; and when the deliberations
+were completed, the damsels assembled themselves in St. Pietro di
+Castello, for the feast of St. Mark, in February."
+
+
+9. CHARACTER OF THE VENETIAN ARISTOCRACY.
+
+The following noble answer of a Venetian ambassador, Giustiniani, on the
+occasion of an insult offered him at the court of Henry the Eighth, is
+as illustrative of the dignity which there yet remained in the character
+and thoughts of the Venetian noble, as descriptive, in few words, of the
+early faith and deeds of his nation. He writes thus to the Doge, from
+London, on the 15th of April, 1516:
+
+"By my last, in date of the 30th ult., I informed you that the
+countenances of some of these lords evinced neither friendship nor
+goodwill, and that much language had been used to me of a nature
+bordering not merely on arrogance, but even on outrage; and not having
+specified this in the foregoing letters, I think fit now to mention it
+in detail. Finding myself at the court, and talking familiarly about
+other matters, two lay lords, great personages in this kingdom, inquired
+of me 'whence it came that your Excellency was of such slippery faith,
+now favoring one party and then the other?' Although these words ought
+to have irritated me, I answered them with all discretion, 'that you did
+keep, and ever had kept your faith; the maintenance of which has placed
+you in great trouble, and subjected you to wars of longer duration than
+you would otherwise have experienced; descending to particulars in
+justification of your Sublimity.' Whereupon one of them replied, '_Isti
+Veneti sunt piscatores._'[64] Marvellous was the command I then had over
+myself in not giving vent to expressions which might have proved
+injurious to your Signory; and with extreme moderation I rejoined, 'that
+had he been at Venice, and seen our Senate, and the Venetian nobility,
+he perhaps would not speak thus; and moreover, were he well read in our
+history, both concerning the origin of our city and the grandeur of your
+Excellency's feats, neither the one nor the other would seem to him
+those of fishermen; yet,' said I, 'did fishermen found the Christian
+faith, and we have been those fishermen who defended it against the
+forces of the Infidel, our fishing-boats being galleys and ships, our
+hooks the treasure of St. Mark, and our bait the life-blood of our
+citizens, who died for the Christian faith.'"
+
+I take this most interesting passage from a volume of despatches
+addressed from London to the Signory of Venice, by the ambassador
+Giustiniani, during the years 1516-1519; despatches not only full of
+matters of historical interest, but of the most delightful every-day
+description of all that went on at the English court. They were
+translated by Mr. Brown from the original letters, and will, I believe,
+soon be published, and I hope also, read and enjoyed: for I cannot close
+these volumes without expressing a conviction, which has long been
+forcing itself upon my mind, that _restored_ history is of little more
+value than restored painting or architecture; that the only history
+worth reading is that written at the time of which it treats, the
+history of what was done and seen, heard out of the mouths of the men
+who did and saw. One fresh draught of such history is worth more than a
+thousand volumes of abstracts, and reasonings, and suppositions, and
+theories; and I believe that, as we get wiser, we shall take little
+trouble about the history of nations who have left no distinct records
+of themselves, but spend our time only in the examination of the
+faithful documents which, in any period of the world, have been left,
+either in the form of art or literature, portraying the scenes, or
+recording the events, which in those days were actually passing before
+the eyes of men.
+
+
+10. FINAL APPENDIX.
+
+The statements respecting the dates of Venetian buildings made
+throughout the preceding pages, are founded, as above stated, on careful
+and personal examination of all the mouldings, or other features
+available as evidence, of every palace of importance in the city. Three
+parts, at least, of the time occupied in the completion of the work have
+been necessarily devoted to the collection of these evidences, of which
+it would be quite useless to lay the mass before the reader; but of
+which the leading points must be succinctly stated, in order to show the
+nature of my authority for any of the conclusions expressed in the text.
+
+I have therefore collected in the plates which illustrate this article
+of the Appendix, for the examination of any reader who may be interested
+by them, as many examples of the evidence-bearing details as are
+sufficient for the proof required, especially including all the
+exceptional forms; so that the reader may rest assured that if I had
+been able to lay before him all the evidence in my possession, it would
+have been still more conclusive than the portion now submitted to him.
+
+[Illustration: Plate V.
+               BYZANTINE BASES.]
+
+We must examine in succession the Bases, Doorways and Jambs, Capitals,
+Archivolts, Cornices, and Tracery Bars, of Venetian architecture.
+
+
+  _I. Bases._
+
+The principal points we have to notice are the similarity and simplicity
+of the Byzantine bases in general, and the distinction between those of
+Torcello and Murano, and of St. Mark's, as tending to prove the early
+dates attributed in the text to the island churches. I have sufficiently
+illustrated the forms of the Gothic bases in Plates X., XI., and XIII.
+of the first volume, so that I here note chiefly the Byzantine or
+Romanesque ones, adding two Gothic forms for the sake of comparison.
+
+The most characteristic examples, then, are collected in Plate V.
+opposite; namely:
+
+            1, 2, 3, 4. In the upper gallery of apse of Murano.
+            5. Lower shafts of apse. Murano.
+            6. Casa Falier.
+            7. Small shafts of panels. Casa Farsetti.
+            8. Great shafts and plinth. Casa Farsetti.
+            9. Great lower shafts. Fondaco de' Turchi.
+           10. Ducal Palace, upper arcade.
+ PLATE V.  11. General late Gothic form.
+ Vol. III. 12. Tomb of Dogaressa Vital Michele, in St. Mark's atrium.
+           13. Upper arcade of Madonnetta House.
+           14. Rio-Foscari House.
+           15. Upper arcade. Terraced House.
+           16, 17, 18. Nave. Torcello.
+           19, 20. Transepts. St. Mark's.
+           21. Nave. St. Mark's.
+           22. External pillars of northern portico. St. Mark's.
+           23, 24. Clustered pillars of northern portico. St. Mark's.
+           25, 26. Clustered pillars of southern portico. St. Mark's.
+
+Now, observe, first, the enormous difference in style between the bases
+1 to 5, and the rest in the upper row, that is to say, between the bases
+of Murano and the twelfth and thirteenth century bases of Venice; and,
+secondly, the difference between the bases 16 to 20 and the rest in the
+lower row, that is to say, between the bases of Torcello (with those of
+St. Mark's which belong to the nave, and which may therefore be supposed
+to be part of the earlier church), and the later ones of the St. Mark's
+Façade.
+
+Secondly: Note the fellowship between 5 and 6, one of the evidences of
+the early date of the Casa Falier.
+
+Thirdly: Observe the slurring of the upper roll into the cavetto, in 13,
+14, and 15, and the consequent relationship established between three
+most important buildings, the Rio-Foscari House, Terraced House, and
+Madonnetta House.
+
+Fourthly: Byzantine bases, if they have an incision between the upper
+roll and cavetto, are very apt to approach the form of fig. 23, in which
+the upper roll is cut out of the flat block, and the ledge beneath it is
+sloping. Compare Nos. 7, 8, 9, 21, 22, 23, 24, 25, 26. On the other
+hand, the later Gothic base, 11, has always its upper roll well
+developed, and, generally, the fillet between it and the cavetto
+vertical. The sloping fillet is indeed found down to late periods; and
+the vertical fillet, as in No. 12, in Byzantine ones; but still, when a
+base has such a sloping fillet and peculiarly graceful sweeping cavetto,
+as those of No. 10, looking as if they would run into one line with each
+other, it is strong presumptive evidence of its belonging to an early,
+rather than a late period.
+
+The base 12 is the boldest example I could find of the exceptional form
+in early times; but observe, in this, that the upper roll is larger than
+the lower. This is _never_ the case in late Gothic, where the proportion
+is always as in fig. 11. Observe that in Nos. 8 and 9 the upper rolls
+are at least as large as the lower, an important evidence of the dates
+of the Casa Farsetti and Fondaco de' Turchi.
+
+Lastly: Note the peculiarly steep profile of No. 22, with reference to
+what is said of this base in Vol. II. Appendix 9.
+
+
+  _II. Doorways and Jambs._
+
+The entrances to St. Mark's consist, as above mentioned, of great
+circular or ogee porches; underneath which the real open entrances, in
+which the valves of the bronze doors play, are square headed.
+
+[Illustration: Fig. I.]
+
+The mouldings of the jambs of these doors are highly curious, and the
+most characteristic are therefore represented in one view. The outsides
+of the jambs are lowest.
+
+  _a_. Northern lateral door.
+  _b_. First northern door of the façade.
+  _c_. Second door of the façade.
+  _d_. Fourth door of the façade.
+  _e_. Central door of the façade.
+
+I wish the reader especially to note the arbitrary character of the
+curves and incisions; all evidently being drawn by hand, none being
+segments of circles, none like another, none influenced by any visible
+law. I do not give these mouldings as beautiful; they are, for the most
+part, very poor in effect, but they are singularly characteristic of the
+free work of the time.
+
+The kind of door to which these mouldings belong, is shown, with the
+other groups of doors, in Plate XIV. Vol. II. fig. 6 _a_. Then 6 _b_, 6
+_c_, 6 _d_ represent the groups of doors in which the Byzantine
+influence remained energetic, admitting slowly the forms of the pointed
+Gothic; 7 _a_, with the gable above, is the intermediate group between
+the Byzantine and Gothic schools; 7 _b_, 7 _c_, 7 _d_, 7 _e_ are the
+advanced guards of the Gothic and Lombardic invasions, representative of
+a large number of thirteenth century arcades and doors. Observe that 6
+_d_ is shown to be of a late school by its finial, and 6 _e_ of the
+latest school by its finial, complete ogee arch (instead of round or
+pointed), and abandonment of the lintel.
+
+These examples, with the exception of 6 _a_, which is a general form,
+are all actually existing doors; namely:
+
+  6 _b._ In the Fondamenta Venier, near St. Maria della Salute.
+  6 _c._ In the Calle delle Botteri, between the Rialto and San Cassan.
+  6 _d._ Main door of San Gregorio.
+  6 _e._ Door of a palace in Rio San Paternian.
+  7 _a._ Door of a small courtyard near house of Marco Polo.
+  7 _b._ Arcade in narrow canal, at the side of Casa Barbaro.
+  7 _c._ At the turn of the canal, close to the Ponte dell' Angelo.
+  7 _d._ In Rio San Paternian (a ruinous house).
+  7 _e._ At the turn of the canal on which the Sotto Portico della Stua
+           opens, near San Zaccaria.
+
+If the reader will take a magnifying glass to the figure 6 _d_, he will
+see that its square ornaments, of which, in the real door, each contains
+a rose, diminish to the apex of the arch; a very interesting and
+characteristic circumstance, showing the subtle feeling of the Gothic
+builders. They must needs diminish the ornamentation, in order to
+sympathize with the delicacy of the point of the arch. The magnifying
+glass will also show the Bondumieri shield in No. 7 _d_, and the Leze
+shield in No. 7 _e_, both introduced on the keystones in the grand early
+manner. The mouldings of these various doors will be noticed under the
+head Archivolt.
+
+[Illustration: Plate VI.
+               BYZANTINE JAMBS.]
+
+Now, throughout the city we find a number of doors resembling the square
+doors of St. Mark, and occurring with rare exceptions either in
+buildings of the Byzantine period, or imbedded in restored houses;
+never, in a single instance, forming a connected portion of any late
+building; and they therefore furnish a most important piece of evidence,
+wherever they are part of the original structure of a _Gothic_ building,
+that such building is one of the advanced guards of the Gothic school,
+and belongs to its earliest period.
+
+On Plate VI., opposite, are assembled all the important examples I could
+find in Venice of these mouldings. The reader will see at a glance their
+peculiar character, and unmistakable likeness to each other. The
+following are the references:
+
+            1. Door in Calle Mocenigo.
+            2. Angle of tomb of Dogaressa Vital Michele.
+            3. Door in Sotto Portico, St. Apollonia (near Ponte di
+                  Canonica).
+            4. Door in Calle della Verona (another like it is close by).
+            5. Angle of tomb of Doge Marino Morosini.
+            6, 7. Door in Calle Mocenigo.
+            8. Door in Campo S. Margherita.
+ Plate VI.  9. Door at Traghetto San Samuele, on south side of Grand
+ Vol. III.       Canal.
+           10. Door at Ponte St. Toma.
+           11. Great door of Church of Servi.
+           12. In Calle della Chiesa, Campo San Filippo e Giacomo.
+           13. Door of house in Calle di Rimedio (Vol. II.).
+           14. Door in Fondaco de' Turchi.
+           15. Door in Fondamenta Malcanton, near Campo S. Margherita.
+           16. Door in south side of Canna Reggio.
+           17, 18. Doors in Sotto Portico dei Squellini.
+
+The principal points to be noted in these mouldings are their curious
+differences of level, as marked by the dotted lines, more especially in
+14, 15, 16, and the systematic projection of the outer or lower
+mouldings in 16, 17, 18. Then, as points of evidence, observe that 1 is
+the jamb and 6 the archivolt (7 the angle on a larger scale) of the
+brick door given in my folio work from Ramo di rimpetto Mocenigo, one of
+the evidences of the early date of that door; 8 is the jamb of the door
+in Campo Santa Margherita (also given in my folio work), fixing the
+early date of that also; 10 is from a Gothic door opening off the Ponte
+St. Toma; and 11 is also from a Gothic building. All the rest are from
+Byzantine work, or from ruins. The angle of the tomb of Marino Morosini
+(5) is given for comparison only.
+
+The doors with the mouldings 17, 18, are from the two ends of a small
+dark passage, called the Sotto Portico dei Squellini, opening near Ponte
+Cappello, on the Rio-Marin: 14 is the outside one, arranged as usual,
+and at _a_, in the rough stone, are places for the staples of the door
+valve; 15, at the other end of the passage, opening into the little
+Corte dei Squellini, is set with the part _a_ outwards, it also having
+places for hinges; but it is curious that the rich moulding should be
+set in towards the dark passage, though natural that the doors should
+both open one way.
+
+[Illustration: Plate VII.
+               GOTHIC JAMBS.]
+
+The next Plate, VII., will show the principal characters of the Gothic
+jambs, and the total difference between them and the Byzantine ones. Two
+more Byzantine forms, 1 and 2, are given here for the sake of
+comparison; then 3, 4, and 5 are the common profiles of simple jambs of
+doors in the Gothic period; 6 is one of the jambs of the Frari windows,
+continuous into the archivolt, and meeting the traceries, where the line
+is set upon it at the extremity of its main slope; 7 and 8 are jambs of
+the Ducal Palace windows, in which the great semicircle is the half
+shaft which sustains the traceries, and the rest of the profile is
+continuous in the archivolt; 17, 18, and 19 are the principal piers of
+the Ducal Palace; and 20, from St. Fermo of Verona, is put with them in
+order to show the step of transition from the Byzantine form 2 to the
+Gothic chamfer, which is hardly represented at Venice. The other
+profiles on the plate are all late Gothic, given to show the gradual
+increase of complexity without any gain of power. The open lines in 12,
+14, 16, etc., are the parts of the profile cut into flowers or cable
+mouldings; and so much incised as to show the constant outline of the
+cavetto or curve beneath them. The following are the references:
+
+             1. Door in house of Marco Polo.
+             2. Old door in a restored church of St. Cassan.
+             3, 4, 5. Common jambs of Gothic doors.
+             6. Frari windows.
+             7, 8. Ducal Palace windows.
+             9. Casa Priuli, great entrance.
+            10. San Stefano, great door.
+ PLATE VII. 11. San Gregorio, door opening to the water.
+ Vol. III.  12. Lateral door, Frari.
+            13. Door of Campo San Zaccaria.
+            14. Madonna dell'Orto.
+            15. San Gregorio, door in the façade.
+            16. Great lateral door, Frari.
+            17. Pilaster at Vine angle, Ducal Palace.
+            18. Pier, inner cortile, Ducal Palace.
+            19. Pier, under the medallion of Venice, on the Piazetta
+                  façade of the Ducal Palace.
+
+
+  _III. Capitals._
+
+I shall here notice the various facts I have omitted in the text of the
+work.
+
+First, with respect to the Byzantine Capitals represented in Plate VII.
+Vol. II., I omitted to notice that figs. 6 and 7 represent two sides of
+the same capital at Murano (though one is necessarily drawn on a smaller
+scale than the other). Fig. 7 is the side turned to the light, and fig.
+6 to the shade, the inner part, which is quite concealed, not being
+touched at all.
+
+We have here a conclusive proof that these capitals were cut for their
+place in the apse; therefore I have always considered them as tests of
+Venetian workmanship, and, on the strength of that proof, have
+occasionally spoken of capitals as of true Venetian work, which M.
+Lazari supposes to be of the Lower Empire. No. 11, from St. Mark's, was
+not above noticed. The way in which the cross is gradually left in
+deeper relief as the sides slope inwards and away from it, is highly
+picturesque and curious.
+
+No. 9 has been reduced from a larger drawing, and some of the life and
+character of the curves lost in consequence. It is chiefly given to show
+the irregular and fearless freedom of the Byzantine designers, no two
+parts of the foliage being correspondent; in the original it is of white
+marble, the ground being colored blue.
+
+Plate X. Vol. II. represents the four principal orders of Venetian
+capitals in their greatest simplicity, and the profiles of the most
+interesting examples of each. The figures 1 and 4 are the two great
+concave and convex groups, and 2 and 3 the transitional. Above each type
+of form I have put also an example of the group of flowers which
+represent it in nature: fig. 1 has a lily; fig. 2 a variety of the
+Tulipa sylvestris; figs. 3 and 4 forms of the magnolia. I prepared this
+plate in the early spring, when I could not get any other examples,[65]
+or I would rather have had two different species for figs. 3 and 4; but
+the half-open magnolia will answer the purpose, showing the beauty of
+the triple curvature in the sides.
+
+I do not say that the forms of the capitals are actually taken from
+flowers, though assuredly so in some instances, and partially so in the
+decoration of nearly all. But they were designed by men of pure and
+natural feeling for beauty, who therefore instinctively adopted the
+forms represented, which are afterwards proved to be beautiful by their
+frequent occurrence in common flowers.
+
+The convex forms, 3 and 4, are put lowest in the plate only because they
+are heaviest; they are the earliest in date, and have already been
+enough examined.
+
+I have added a plate to this volume (Plate XII.), which should have
+appeared in illustration of the fifth chapter of Vol. II., but was not
+finished in time. It represents the central capital and two of the
+lateral ones of the Fondaco de' Turchi, the central one drawn very
+large, in order to show the excessive simplicity of its chiselling,
+together with the care and sharpness of it, each leaf being expressed by
+a series of sharp furrows and ridges. Some slight errors in the large
+tracings from which the engraving was made have, however, occasioned a
+loss of spring in the curves, and the little fig. 4 of Plate X. Vol. II.
+gives a truer idea of the distant effect of the capital.
+
+The profiles given in Plate X. Vol. II. are the following:
+
+       1. _a._ Main capitals, upper arcade, Madonnetta House.
+          _b._ Main capitals, upper arcade, Casa Falier.
+          _c._ Lateral capitals, upper arcade, Fondaco de' Turchi.
+          _d._ Small pillars of St. Mark's Pulpit.
+          _e._ Casa Farsetti.
+          _f._ Inner capitals of arcade of Ducal Palace.
+          _g._ Plinth of the house[66] at Apostoli.
+          _h._ Main capitals of house at Apostoli.
+          _i._ Main capitals, upper arcade, Fondaco de' Turchi.
+       2. _a._ Lower arcade, Fondaco de' Turchi.
+          _b, c._ Lower pillars, house at Apostoli.
+          _d._ San Simeon Grande.
+ PLATE X. _e._ Restored house on Grand Canal. Three of the old arches left.
+ vol. II. _f._ Upper arcade, Ducal Palace.
+          _g._ Windows of third order, central shaft, Ducal Palace.
+          _h._ Windows of third order, lateral shaft, Ducal Palace.
+          _i._ Ducal Palace, main shafts.
+          _k._ Piazzetta shafts.
+       3. _a._ St. Mark's Nave.
+          _b, c._ Lily capitals, St. Mark's.
+       4. _a._ Fondaco de' Turchi, central shaft, upper arcade.
+          _b._ Murano, upper arcade.
+          _c._ Murano, lower arcade.
+          _d._ Tomb of St. Isidore.
+          _e._ General late Gothic profile.
+
+The last two sections are convex in effect, though not in reality; the
+bulging lines being carved into bold flower-work.
+
+The capitals belonging to the groups 1 and 2, in the Byzantine times,
+have already been illustrated in Plate VIII. Vol. II.; we have yet to
+trace their succession in the Gothic times. This is done in Plate II. of
+this volume, which we will now examine carefully. The following are the
+capitals represented in that plate:
+
+           1. Small shafts of St. Mark's Pulpit.
+           2. From the transitional house in the Calle di Rimedio (conf.
+                Vol. II.).
+           3. General simplest form of the middle Gothic capital.
+           4. Nave of San Giacomo de Lorio.
+           5. Casa Falier.
+           6. Early Gothic house in Campo Sta. M^a. Mater Domini.
+ PLATE II. 7. House at the Apostoli.
+ Vol. III. 8. Piazzetta shafts.
+           9. Ducal Palace, upper arcade.
+          10. Palace of Marco Querini.
+          11. Fondaco de' Turchi.
+          12. Gothic palaces in Campo San Polo.
+          13. Windows of fourth order, Plate XVI. Vol. II.
+          14. Nave of Church of San Stefano.
+          15. Late Gothic Palace at the Miracoli.
+
+The two lateral columns form a consecutive series: the central column is
+a group of exceptional character, running parallel with both. We will
+take the lateral ones first. 1. Capital of pulpit of St. Mark's
+(representative of the simplest concave forms of the Byzantine period).
+Look back to Plate VIII. Vol. II., and observe that while all the forms
+in that plate are contemporaneous, we are now going to follow a series
+_consecutive_ in time, which begins from fig. 1, either in that plate or
+in this; that is to say, with the simplest possible condition to be
+found at the time; and which proceeds to develope itself into gradually
+increasing richness, while the _already rich_ capitals of the old school
+die at its side. In the forms 14 and 15 (Plate VIII.) the Byzantine
+school expired; but from the Byzantine simple capital (1, Plate II.
+above) which was coexistent with them, sprang another hardy race of
+capitals, whose succession we have now to trace.
+
+The form 1, Plate II. is evidently the simplest conceivable condition of
+the truncated capital, long ago represented generally in Vol. I., being
+only rounded a little on its side to fit it to the shaft. The next step
+was to place a leaf beneath each of the truncations (fig. 4, Plate II.,
+San Giacomo de Lorio), the end of the leaf curling over at the top in a
+somewhat formal spiral, partly connected with the traditional volute of
+the Corinthian capital. The sides are then enriched by the addition of
+some ornament, as a shield (fig. 7) or rose (fig. 10), and we have the
+formed capital of the early Gothic. Fig. 10, being from the palace of
+Marco Querini, is certainly not later than the middle of the thirteenth
+century (see Vol. II.), and fig. 7, is, I believe, of the same date; it
+is one of the bearing capitals of the lower story of the palace at the
+Apostoli, and is remarkably fine in the treatment of its angle leaves,
+which are not deeply under-cut, but show their magnificent sweeping
+under surface all the way down, not as a leaf surface, but treated like
+the gorget of a helmet, with a curved line across it like that where the
+gorget meets the mail. I never saw anything finer in simple design. Fig.
+10 is given chiefly as a certification of date, and to show the
+treatment of the capitals of this school on a small scale. Observe the
+more expansive head in proportion to the diameter of the shaft, the
+leaves being drawn from the angles, as if gathered in the hand, till
+their edges meet; and compare the rule given in Vol. I. Chap. IX. § XIV.
+The capitals of the remarkable house, of which a portion is represented
+in Fig. XXXI. Vol. II., are most curious and pure examples of this
+condition; with experimental trefoils, roses, and leaves introduced
+between their volutes. When compared with those of the Querini Palace,
+they form one of the most important evidences of the date of the
+building.
+
+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.
+
+Nothing can be more beautiful or original than the adaptation of these
+broad bearing abaci; but as they have nothing to do with the capital
+itself, and could not easily be brought into the space, they are omitted
+in Plate II., where fig. 8 shows the bell of the capital only. Its
+profile is curiously subtle,--apparently concave everywhere, but in
+reality concave (all the way down) only on the angles, and slightly
+convex at the sides (the profile through the side being 2 _k_, Plate X.
+Vol. II.); in this subtlety of curvature, as well as in the simple
+cross, showing the influence of early times.
+
+The leaf on the angle, of which more presently, is fig. 5, Plate XX.
+Vol. II.
+
+Connected with this school of transitional capitals we find a form in
+the later Gothic, such as fig. 14, from the Church of San Stefano; but
+which appears in part derived from an old and rich Byzantine type, of
+which fig. 11, from the Fondaco de' Turchi, is a characteristic example.
+
+I must now take the reader one step farther, and ask him to examine,
+finally, the treatment of the leaves, down to the cutting of their most
+minute lobes, in the series of capitals of which we have hitherto only
+sketched the general forms.
+
+In all capitals with nodding leaves, such as 6 and 9 in Plate II., the
+real form of the leaf is not to be seen, except in perspective; but, in
+order to render the comparison more easy, I have in Plate XX. Vol. II.
+opened all the leaves out, as if they were to be dried in a herbarium,
+only leaving the furrows and sinuosities of surface, but laying the
+outside contour nearly flat upon the page, except for a particular
+reason in figs. 2, 10, 11, and 15.
+
+I shall first, as usual, give the references, and then note the points
+of interest.
+
+           1, 2, 3. Fondaco de' Turchi, upper arcade.
+           4. Greek pillars brought from St. Jean d'Acre.
+           5. Piazzetta shafts.
+           6. Madonnetta House.
+ PLATE XX. 7. Casa Falier.
+  Vol. II. 8. Palace near St. Eustachio.
+           9. Tombs, outside of St. John and Paul.
+          10. Tomb of Giovanni Soranzo.
+          11. Tomb of Andrea Dandolo.
+          12, 13, 14. Ducal Palace.
+
+N.B. The upper row, 1 to 4, is Byzantine, the next transitional, the
+last two Gothic.
+
+Fig. 1. The leaf of the capital No. 6, Plate VIII. Vol. II. Each lobe of
+the leaf has a sharp furrow up to its point, from its root.
+
+Fig. 2. The leaf of the capital on the right hand, at the top of Plate
+XII. in this volume. The lobes worked in the same manner, with deep
+black drill holes between their points.
+
+Fig. 3. One of the leaves of fig. 14, Plate VIII. Vol. II. fully
+unfolded. The lobes worked in the same manner, but left shallow, so as
+not to destroy the breadth of light; the central line being drawn by
+drill holes, and the interstices between lobes cut black and deep.
+
+Fig. 4. Leaf with flower; pure Byzantine work, showing whence the
+treatment of all the other leaves has been derived.
+
+Fig. 6. For the sake of symmetry, this is put in the centre: it is the
+earliest of the three in this row; taken from the Madonnetta House,
+where the capitals have leaves both at their sides and angles. The tall
+angle leaf, with its two lateral ones, is given in the plate; and there
+is a remarkable distinction in the mode of workmanship of these leaves,
+which, though found in a palace of the Byzantine period, is indicative
+of a tendency to transition; namely, that the sharp furrow is now drawn
+_only to the central lobe_ of each division of the leaf, and the rest of
+the surface of the leaf is left nearly flat, a slight concavity only
+marking the division of the extremities. At the base of these leaves
+they are perfectly flat, only cut by the sharp and narrow furrow, as an
+elevated table-land is by ravines.
+
+Fig. 5. A more advanced condition; the fold at the recess, between each
+division of the leaf, carefully expressed, and the concave or depressed
+portions of the extremities marked more deeply, as well as the central
+furrow, and a rib added in the centre.
+
+Fig. 7. A contemporary, but more finished form; the sharp furrows
+becoming softer, and the whole leaf more flexible.
+
+Fig. 8. An exquisite form of the same period, but showing still more
+advanced naturalism, from a very early group of third order windows,
+near the Church of St. Eustachio on the Grand Canal.
+
+Fig. 9. Of the same time, from a small capital of an angle shaft of the
+sarcophagi at the _side_ of St. John and Paul, in the little square
+which is adorned by the Colleone statue. This leaf is very quaint and
+pretty in giving its midmost lateral divisions only two lobes each,
+instead of the usual three or four.
+
+Fig. 10. Leaf employed in the cornice of the tomb of the Doge Giovanni
+Soranzo, who died in 1312. It nods over, and has three ribs on its upper
+surface; thus giving us the completed ideal form of the leaf, but its
+execution is still very archaic and severe.
+
+Now the next example, fig. 11, is from the tomb of the Doge Andrea
+Dandolo, and therefore executed between 1354 and 1360; and this leaf
+shows the Gothic naturalism and refinement of curvature fully developed.
+In this forty years' interval, then, the principal advance of Gothic
+sculpture is to be placed.
+
+I had prepared a complete series of examples, showing this advance, and
+the various ways in which the separations of the ribs, a most
+characteristic feature, are more and more delicately and scientifically
+treated, from the beginning to the middle of the fourteenth century, but
+I feared that no general reader would care to follow me into these
+minutiæ, and have cancelled this portion of the work, at least for the
+present, the main point being, that the reader should feel the full
+extent of the change, which he can hardly fail to do in looking from
+fig. 10 to figs. 11 and 12. I believe that fig. 12 is the earlier of the
+two; and it is assuredly the finer, having all the elasticity and
+simplicity of the earliest forms, with perfect flexibility added. In
+fig. 11 there is a perilous element beginning to develope itself into
+one feature, namely, the extremities of the leaves, which, instead of
+merely nodding over, now curl completely round into a kind of ball. This
+occurs early, and in the finest Gothic work, especially in cornices and
+other running mouldings: but it is a fatal symptom, a beginning of the
+intemperance of the later Gothic, and it was followed out with singular
+avidity; the ball of coiled leafage increasing in size and complexity,
+and at last becoming the principal feature of the work; the light
+striking on its vigorous projection, as in fig. 14. Nearly all the
+Renaissance Gothic of Venice depends upon these balls for effect, a late
+capital being generally composed merely of an upper and lower range of
+leaves terminating in this manner.
+
+It is very singular and notable how, in this loss of _temperance_, there
+is loss of _life_. For truly healthy and living leaves do not bind
+themselves into knots at the extremities. They bend, and wave, and nod,
+but never curl. It is in disease, or in death, by blight, or frost, or
+poison only, that leaves in general assume this ingathered form. It is
+the flame of autumn that has shrivelled them, or the web of the
+caterpillar that has bound them: and thus the last forms of the Venetian
+leafage set forth the fate of Venetian pride; and, in their utmost
+luxuriance and abandonment, perish as if eaten of worms.
+
+And now, by glancing back to Plate X. Vol. II, the reader will see in a
+moment the kind of evidence which is found of the date of capitals in
+their profiles merely. Observe: we have seen that the treatment of the
+leaves in the Madonnetta House seemed "indicative of a tendency to
+transition." Note their profile, 1_a_, and its close correspondence with
+1 _h_, which is actually of a transitional capital from the upper arcade
+of second order windows in the Apostoli Palace; yet both shown to be
+very close to the Byzantine period, if not belonging to it, by their
+fellowship with the profile _i_, from the Fondaco de' Turchi. Then note
+the close correspondence of all the other profiles in that line, which
+belong to the concave capitals or plinths of the Byzantine palaces, and
+note their composition, the abacus being, in idea, merely an echo or
+reduplication of the capital itself; as seen in perfect simplicity in
+the profile _f_, which is a roll under a _tall_ concave curve forming
+the bell of the capital, with a roll and _short_ concave curve for its
+abacus. This peculiar abacus is an unfailing test of early date; and our
+finding this simple profile used for the Ducal Palace (_f_), is strongly
+confirmatory of all our former conclusions.
+
+Then the next row, 2, are the Byzantine and early Gothic semi-convex
+curves, in their pure forms, having no roll below; but often with a roll
+added, as at _f_, and in certain early Gothic conditions curiously fused
+into it, with a cavetto between, as _b_, _c_, _d_. But the more archaic
+form is as at _f_ and _k_; and as these two profiles are from the Ducal
+Palace and Piazzetta shafts, they join again with the rest of the
+evidence of their early date. The profiles _i_ and _k_ are both most
+beautiful; _i_ is that of the great capitals of the Ducal Palace, and
+the small profiles between it and _k_ are the varieties used on the
+fillet at its base. The profile _i_ should have had leaves springing
+from it, as 1 _h_ has, only more boldly, but there was no room for them.
+
+The reader cannot fail to discern at a glance the fellowship of the
+whole series of profiles, 2 _a_ to _k_, nor can he but with equal ease
+observe a marked difference in 4 _d_ and 4 _e_ from any others in the
+plate; the bulging outlines of leafage being indicative of the luxuriant
+and flowing masses, no longer expressible with a simple line, but to be
+considered only as confined within it, of the later Gothic. Now _d_ is a
+dated profile from the tomb of St. Isidore, 1355, which by its dog-tooth
+abacus and heavy leafage distinguishes itself from all the other
+profiles, and therefore throws them back into the first half of the
+century. But, observe, it still retains the noble swelling root. This
+character soon after vanishes; and, in 1380, the profile _e_, at once
+heavy, feeble, and ungraceful, with a meagre and valueless abacus hardly
+discernible, is characteristic of all the capitals of Venice.
+
+Note, finally, this contraction of the abacus. Compare 4 _c_, which is
+the earliest form in the plate, from Murano, with 4 _e_, which is the
+latest. The other profiles show the gradual process of change; only
+observe, in 3_a_ the abacus is not drawn; it is so bold that it would
+not come into the plate without reducing the bell curve to too small a
+scale.
+
+So much for the evidence derivable from the capitals; we have next to
+examine that of the archivolts or arch mouldings.
+
+[Illustration: Plate VIII.
+               BYZANTINE ARCHIVOLTS.]
+
+
+  _IV. Archivolts._
+
+In Plate VIII., opposite, are arranged in one view all the conditions of
+Byzantine archivolt employed in Venice, on a large scale. It will be
+seen in an instant that there can be no mistaking the manner of their
+masonry. The soffit of the arch is the horizontal line at the bottom of
+all these profiles, and each of them (except 13, 14) is composed of two
+slabs of marble, one for the soffit, another for the face of the arch;
+the one on the soffit is worked on the edge into a roll (fig. 10) or
+dentil (fig. 9), and the one on the face is bordered on the other side
+by another piece let edgeways into the wall, and also worked into a roll
+or dentil: in the richer archivolts a cornice is added to this roll, as
+in figs. 1 and 4, or takes its place, as in figs. 1, 3, 5, and 6; and in
+such richer examples the facestone, and often the soffit, are
+sculptured, the sculpture being cut into their surfaces, as indicated in
+fig. 11. The concavities cut in the facestones of 1, 2, 4, 5, 6 are all
+indicative of sculpture in effect like that of Fig. XXVI. Vol. II., of
+which archivolt fig. 5, here, is the actual profile. The following are
+the references to the whole:
+
+             1. Rio-Foscari House.
+             2. Terraced House, entrance door.
+             3. Small Porticos of St. Mark's, external arches.
+             4. Arch on the canal at Ponte St. Toma.
+             5. Arch of Corte del Remer.
+             6. Great outermost archivolt of central door, St. Mark's.
+ PLATE VIII. 7. Inner archivolt of southern porch, St. Mark's Façade.
+  Vol. III.  8. Inner archivolt of central entrance, St. Mark's.
+             9. Fondaco de' Turchi, main arcade.
+            10. Byzantine restored house on Grand Canal, lower arcade.
+            11. Terraced House, upper arcade.
+            12. Inner archivolt of northern porch of façade, St. Mark's.
+            13 and 14. Transitional forms.
+
+[Illustration: Plate IX.
+               GOTHIC ARCHIVOLTS.]
+
+There is little to be noted respecting these forms, except that, in fig.
+1, the two lower rolls, with the angular projections between, represent
+the fall of the mouldings of two proximate arches on the abacus of the
+bearing shaft; their two cornices meeting each other, and being
+gradually narrowed into the little angular intermediate piece, their
+sculptures being slurred into the contracted space, a curious proof of
+the earliness of the work. The real archivolt moulding is the same as
+fig. 4 _c c_, including only the midmost of the three rolls in fig. 1.
+
+It will be noticed that 2, 5, 6, and 8 are sculptured on the soffits as
+well as the faces; 9 is the common profile of arches decorated only with
+colored marble, the facestone being colored, the soffit white. The
+effect of such a moulding is seen in the small windows at the right hand
+of Fig. XXVI. Vol. II.
+
+The reader will now see that there is but little difficulty in
+identifying Byzantine work, the archivolt mouldings being so similar
+among themselves, and so unlike any others. We have next to examine the
+Gothic forms.
+
+Figs. 13 and 14 in Plate VIII. represent the first brick mouldings of
+the transitional period, occurring in such instances as Fig. XXIII. or
+Fig. XXXIII. Vol. II. (the soffit stone of the Byzantine mouldings being
+taken away), and this profile, translated into solid stone, forms the
+almost universal moulding of the windows of the second order. These two
+brick mouldings are repeated, for the sake of comparison, at the top of
+Plate IX. opposite; and the upper range of mouldings which they
+commence, in that plate, are the brick mouldings of Venice in the early
+Gothic period. All the forms below are in stone; and the moulding 2,
+translated into stone, forms the universal archivolt of the early
+pointed arches of Venice, and windows of second and third orders. The
+moulding 1 is much rarer, and used for the most part in doors only.
+
+The reader will see at once the resemblance of character in the various
+flat brick mouldings, 3 to 11. They belong to such arches as 1 and 2 in
+Plate XVII. Vol. II.; or 6 _b_, 6 _c_, in Plate XIV. Vol. II., 7 and 8
+being actually the mouldings of those two doors; the whole group being
+perfectly defined, and separate from all the other Gothic work in
+Venice, and clearly the result of an effort to imitate, in brickwork,
+the effect of the flat sculptured archivolts of the Byzantine times.
+(See Vol. II. Chap. VII. § XXXVII.)
+
+Then comes the group 14 to 18 in stone, derived from the mouldings 1 and
+2; first by truncation, 14; then by beading the truncated angle, 15, 16.
+The occurrence of the profile 16 in the three beautiful windows
+represented in the uppermost figure of Plate XVIII. Vol. I. renders that
+group of peculiar interest, and is strong evidence of its antiquity.
+Then a cavetto is added, 17; first shallow and then deeper, 18, which is
+the common archivolt moulding of the central Gothic door and window:
+but, in the windows of the early fourth order, this moulding is
+complicated by various additions of dog-tooth mouldings under the
+dentil, as in 20; or the _gabled_ dentil (see fig. 20, Plate IX. Vol.
+I), as fig. 21; or both, as figs 23, 24. All these varieties expire in
+the advanced period, and the established moulding for windows is 29. The
+intermediate group, 25 to 28, I found only in the high windows of the
+third order in the Ducal Palace, or in the Chapter-house of the Frari,
+or in the arcades of the Ducal Palace; the great outside lower arcade of
+the Ducal Palace has the profile 31, the left-hand side being the
+innermost.
+
+Now observe, all these archivolts, without exception, assume that the
+spectator looks from the outside only: none are complete on both sides;
+they are essentially _window_ mouldings, and have no resemblance to
+those of our perfect Gothic arches prepared for traceries. If they were
+all completely drawn in the plate, they should be as fig. 25, having a
+great depth of wall behind the mouldings, but it was useless to
+represent this in every case. The Ducal Palace begins to show mouldings
+on both sides, 28, 31; and 35 is a _complete_ arch moulding from the
+apse of the Frari. That moulding, though so perfectly developed, is
+earlier than the Ducal Palace, and with other features of the building,
+indicates the completeness of the Gothic system, which made the
+architect of the Ducal Palace found his work principally upon that
+church.
+
+The other examples in this plate show the various modes of combination
+employed in richer archivolts. The triple change of slope in 38 is very
+curious. The references are as follows:
+
+            1. Transitional to the second order.
+            2. Common second order.
+            3. Brick, at Corte del Forno, Round arch.
+            4. Door at San Giovanni Grisostomo.
+            5. Door at Sotto Portico della Stua.
+            6. Door in Campo St. Luca, of rich brickwork.
+            7. Round door at Fondamenta Venier.
+            8. Pointed door. Fig. 6_c_, Plate XIV. Vol. II.
+            9. Great pointed arch, Salizzada San Lio.
+           10. Round door near Fondaco de' Turchi.
+           11. Door with Lion, at Ponte della Corona.
+           12. San Gregorio, Façade.
+           13. St. John and Paul, Nave.
+           14. Rare early fourth order, at San Cassan.
+           15. General early Gothic archivolt.
+           16. Same, from door in Rio San G. Grisostomo.
+           17. Casa Vittura.
+           18. Casa Sagredo, Unique thirds. Vol. II.
+           19. Murano Palace, Unique fourths.[67]
+ PLATE IX. 20. Pointed door of Four-Evangelist House.[68]
+ Vol. III. 21. Keystone door in Campo St. M. Formosa.
+           22. Rare fourths, at St. Pantaleon.
+           23. Rare fourths, Casa Papadopoli.
+           24. Rare fourths, Chess house.[69]
+           25. Thirds of Frari Cloister.
+           26. Great pointed arch of Frari Cloister.
+           27. Unique thirds, Ducal Palace.
+           28. Inner Cortile, pointed arches, Ducal Palace.
+           29. Common fourth and fifth order Archivolt.
+           30. Unique thirds, Ducal Palace.
+           31. Ducal Palace, lower arcade.
+           32. Casa Priuli, arches in the inner court.
+           33. Circle above the central window, Ducal Palace.
+           34. Murano apse.
+           35. Acute-pointed arch, Frari.
+           36. Door of Accademia delle belle Arti.
+           37. Door in Calle Tiossi, near Four-Evangelist House.
+           38. Door in Campo San Polo.
+           39. Door of palace at Ponte Marcello.
+           40. Door of a palace close to the Church of the Miracoli.
+
+
+  _V. Cornices._
+
+Plate X. represents, in one view, the cornices or string-courses of
+Venice, and the abaci of its capitals, early and late; these two
+features being inseparably connected, as explained in Vol. I.
+
+The evidence given by these mouldings is exceedingly clear. The two
+upper lines in the Plate, 1-11, 12-24, are all plinths from Byzantine
+buildings. The reader will at once observe their unmistakable
+resemblances. The row 41 to 50 are contemporary abaci of capitals; 52,
+53, 54, 56, are examples of late Gothic abaci; and observe, especially,
+these are all rounded at the _top_ of the cavetto, but the Byzantine
+abaci are rounded, if at all, at the _bottom_ of the cavetto (see 7, 8,
+9, 10, 20, 28, 46). Consider what a valuable test of date this is, in
+any disputable building.
+
+Again, compare 28, 29, one from St. Mark's, the other from the Ducal
+Palace, and observe the close resemblance, giving farther evidence of
+early date in the palace.
+
+25 and 50 are drawn to the same scale. The former is the wall-cornice,
+the latter the abacus of the great shafts, in the Casa Loredan; the one
+passing into the other, as seen in Fig. XXVIII. Vol. I. It is curious to
+watch the change in proportion, while the moulding, all but the lower
+roll, remains the same.
+
+[Illustration: Plate X.
+               CORNICES AND ABACI.]
+
+The following are the references:
+
+            1. Common plinth of St. Mark's.
+            2. Plinth above lily capitals, St. Mark's.
+            3, 4. Plinths in early surface Gothic.
+            5. Plinth of door in Campo St. Luca.
+            6. Plinth of treasury door, St. Mark's.
+            7. Archivolts of nave, St. Mark's.
+            8. Archivolts of treasury door, St. Mark's.
+            9. Moulding of circular window in St. John and Paul.
+           10. Chief decorated narrow plinth, St. Mark's.
+           11. Plinth of door, Campo St. Margherita.
+           12. Plinth of tomb of Doge Vital Falier.
+           13. Lower plinth, Fondaco de' Turchi, and Terraced House.
+           14. Running plinth of Corte del Remer.
+           15. Highest plinth at top of Fondaco de' Turchi.
+           16. Common Byzantine plinth.
+           17. Running plinth of Casa Falier.
+           18. Plinth of arch at Ponte St. Toma.
+           19, 20, 21. Plinths of tomb of Doge Vital Falier.
+           22. Plinth of window in Calle del Pistor.
+           23. Plinth of tomb of Dogaressa Vital Michele.
+           24. Archivolt in the Frari.
+           25. Running plinth, Casa Loredan.
+           26. Running plinth, under pointed arch, in Salizzada San Lio.
+           27. Running plinth, Casa Erizzo.
+ PLATE X.  28. Circles in portico of St. Mark's.
+ Vol. III. 29. Ducal Palace cornice, lower arcade.
+           30. Ducal Palace cornice, upper arcade.
+           31. Central Gothic plinth.
+           32. Late Gothic plinth.
+           33. Late Gothic plinth, Casa degli Ambasciatori.
+           34. Late Gothic plinth, Palace near the Jesuiti.
+           35, 36. Central balcony cornice.
+           37. Plinth of St. Mark's balustrade.
+           38. Cornice of the Frari, in brick, cabled.
+           39. Central balcony plinth.
+           40. Uppermost cornice, Ducal Palace.
+           41. Abacus of lily capitals, St. Mark's.
+           42. Abacus, Fondaco de' Turchi.
+           43. Abacus, large capital of Terraced House.
+           44. Abacus, Fondaco de' Turchi.
+           45. Abacus, Ducal Palace, upper arcade.
+           46. Abacus, Corte del Remer.
+           47. Abacus, small pillars, St. Mark's pulpit.
+           48. Abacus, Murano and Torcello.
+           49. Abacus, Casa Farsetti.
+           50. Abacus, Casa Loredan, lower story.
+           51. Abacus, capitals of Frari.
+           52. Abacus, Casa Cavalli (plain).
+           53. Abacus, Casa Priuli (flowered).
+           54. Abacus, Casa Foscari (plain).
+           55. Abacus, Casa Priuli (flowered).
+           56. Abacus, Plate II. fig. 15.
+           57. Abacus, St. John and Paul.
+           58. Abacus, St. Stefano.
+
+It is only farther to be noted, that these mouldings are used in various
+proportions, for all kinds of purposes: sometimes for true cornices;
+sometimes for window-sills; sometimes, 3 and 4 (in the Gothic time)
+especially, for dripstones of gables: 11 and such others form little
+plinths or abaci at the spring of arches, such as those shown at _a_,
+Fig. XXIII. Vol. II. Finally, a large number of superb Byzantine
+cornices occur, of the form shown at the top of the arch in Plate V.
+Vol. II., having a profile like 16 or 19 here; with nodding leaves of
+acanthus thrown out from it, being, in fact, merely one range of the
+leaves of a Byzantine capital unwrapped, and formed into a continuous
+line. I had prepared a large mass of materials for the illustration of
+these cornices, and the Gothic ones connected with them; but found the
+subject would take up another volume, and was forced, for the present,
+to abandon it. The lower series of profiles, 7 to 12 in Plate XV. Vol.
+I, shows how the leaf-ornament is laid on the simple early cornices.
+
+
+  _VI. Traceries._
+
+We have only one subject more to examine, the character of the early and
+late Tracery Bars.
+
+The reader may perhaps have been surprised at the small attention given
+to traceries in the course of the preceding volumes: but the reason is,
+that there are no _complicated_ traceries at Venice belonging to the
+good Gothic time, with the single exception of those of the Casa
+Cicogna; and the magnificent arcades of the Ducal Palace Gothic are so
+simple as to require little explanation.
+
+There are, however, two curious circumstances in the later traceries;
+the first, that they are universally considered by the builder (as the
+old Byzantines considered sculptured surfaces of stone) as material out
+of which a certain portion is _to be cut_, to fill his window. A fine
+Northern Gothic tracery is a complete and systematic arrangement of
+arches and foliation, _adjusted_ to the form of the window; but a
+Venetian tracery is a piece of a larger composition, cut to the shape of
+the window. In the Porta della Carta, in the Church of the Madonna
+dell'Orto, in the Casa Bernardo on the Grand Canal, in the old Church of
+the Misericordia, and wherever else there are rich traceries in Venice,
+it will always be found that a certain arrangement of quatrefoils and
+other figures has been planned as if it were to extend indefinitely into
+miles of arcade; and out of this colossal piece of marble lace, a piece
+in the shape of a window is cut, mercilessly and fearlessly: whatever
+fragments and odd shapes of interstice, remnants of this or that figure
+of the divided foliation, may occur at the edge of the window, it
+matters not; all are cut across, and shut in by the great outer
+archivolt.
+
+It is very curious to find the Venetians treating what in other
+countries became of so great individual importance, merely as a kind of
+diaper ground, like that of their chequered colors on the walls. There
+is great grandeur in the idea, though the system of their traceries was
+spoilt by it: but they always treated their buildings as masses of color
+rather than of line; and the great traceries of the Ducal Palace itself
+are not spared any more than those of the minor palaces. They are cut
+off at the flanks in the middle of the quatrefoils, and the terminal
+mouldings take up part of the breadth of the poor half of a quatrefoil
+at the extremity.
+
+One other circumstance is notable also. In good Northern Gothic the
+tracery bars are of a constant profile, the same on both sides; and if
+the plan of the tracery leaves any interstices so small that there is
+not room for the full profile of the tracery bar all round them, those
+interstices are entirely closed, the tracery bars being supposed to have
+met each other. But in Venice, if an interstice becomes anywhere
+inconveniently small, the tracery bar is sacrificed; cut away, or in
+some way altered in profile, in order to afford more room for the light,
+especially in the early traceries, so that one side of a tracery bar is
+often quite different from the other. For instance, in the bars 1 and 2,
+Plate XI., from the Frari and St. John and Paul, the uppermost side is
+towards a great opening, and there was room for the bevel or slope to
+the cusp; but in the other side the opening was too small, and the bar
+falls vertically to the cusp. In 5 the uppermost side is to the narrow
+aperture, and the lower to the small one; and in fig. 9, from the Casa
+Cicogna, the uppermost side is to the apertures of the tracery, the
+lowermost to the arches beneath, the great roll following the design of
+the tracery; while 13 and 14 are left without the roll at the base of
+their cavettos on the uppermost sides, which are turned to narrow
+apertures. The earliness of the Casa Cicogna tracery is seen in a moment
+by its being moulded on the face only. It is in fact nothing more than a
+series of quatrefoiled apertures in the solid wall of the house, with
+mouldings on their faces, and magnificent arches of pure pointed fifth
+order sustaining them below.
+
+[Illustration: Plate XI.
+               TRACERY BARS.]
+
+The following are the references to the figures in the plate:
+
+            1. Frari.
+            2. Apse, St. John and Paul.
+            3. Frari.
+            4. Ducal Palace, inner court, upper window.
+            5. Madonna dell'Orto.
+            6. St. John and Paul.
+            7. Casa Bernardo.
+            8. Casa Contarini Fasan.
+            9. Casa Cicogna.
+           10. 11. Frari.
+           12. Murano Palace (see note, p. 265).
+ PLATE XI. 13. Misericordia.
+ Vol. III. 14. Palace of the younger Foscari.[70]
+           15. Casa d'Oro; great single windows.
+           16. Hotel Danieli.
+           17. Ducal Palace.
+           18. Casa Erizzo, on Grand Canal.
+           19. Main story, Casa Cavalli.
+           20. Younger Foscari.
+           21. Ducal Palace, traceried windows.
+           22. Porta della Carta.
+           23. Casa d'Oro.
+           24. Casa d'Oro, upper story.
+           25. Casa Facanon.
+           26. Casa Cavalli, near Post-Office.
+
+It will be seen at a glance that, except in the very early fillet
+traceries of the Frari and St. John and Paul, Venetian work consists of
+roll traceries of one general pattern. It will be seen also, that 10 and
+11 from the Frari, furnish the first examples of the form afterwards
+completely developed in 17, the tracery bar of the Ducal Palace; but
+that this bar differs from them in greater strength and squareness, and
+in adding a recess between its smaller roll and the cusp. Observe, that
+this is done for strength chiefly; as, in the contemporary tracery (21)
+of the upper windows, no such additional thickness is used.
+
+Figure 17 is slightly inaccurate. The little curved recesses behind the
+smaller roll are not equal on each side; that next the cusp is smallest,
+being about 5/8 of an inch, while that next the cavetto is about 7/8; to
+such an extent of subtlety did the old builders carry their love of
+change.
+
+The return of the cavetto in 21, 23, and 26, is comparatively rare, and
+is generally a sign of later date.
+
+[Illustration: Fig. II.]
+
+[Illustration: Fig. III.]
+
+The reader must observe that the great sturdiness of the form of the
+bars, 5, 9, 17, 24, 25, is a consequence of the peculiar office of
+Venetian traceries in supporting the mass of the building above, already
+noticed in Vol. II.; and indeed the forms of the Venetian Gothic are,
+in many other ways, influenced by the difficulty of obtaining stability
+on sandy foundations. One thing is especially noticeable in all their
+arrangements of traceries; namely, the endeavor to obtain equal and
+horizontal pressure along the whole breadth of the building, not the
+divided and local pressures of Northern Gothic. This object is
+considerably aided by the structure of the balconies, which are of great
+service in knitting the shafts together, forming complete tie-beams of
+marble, as well as a kind of rivets, at their bases. For instance, at
+_b_, Fig. II., is represented the masonry of the base of the upper
+arcade of the Ducal Palace, showing the root of one of its main shafts,
+with the binding balconies. The solid stones which form the foundation
+are much broader than the balcony shafts, so that the socketed
+arrangement is not seen: it is shown as it would appear in a
+longitudinal section. The balconies are not let into the circular
+shafts, but fitted to their circular curves, so as to grasp them, and
+riveted with metal; and the bars of stone which form the tops of the
+balconies are of great strength and depth, the small trefoiled arches
+being cut out of them as in Fig. III., so as hardly to diminish their
+binding power. In the lighter independent balconies they are often cut
+deeper; but in all cases the bar of stone is nearly independent of the
+small shafts placed beneath it, and would stand firm though these were
+removed, as at _a_, Fig. II., supported either by the main shafts of
+the traceries, or by its own small pilasters with semi-shafts at their
+sides, of the plan _d_, Fig. II., in a continuous balcony, and _e_ at
+the angle of one.
+
+There is one more very curious circumstance illustrative of the Venetian
+desire to obtain horizontal pressure. In all the Gothic staircases with
+which I am acquainted, out of Venice, in which vertical shafts are used
+to support an inclined line, those shafts are connected by arches rising
+each above the other, with a little bracket above the capitals, on the
+side where it is necessary to raise the arch; or else, though less
+gracefully, with a longer curve to the lowest side of the arch.
+
+But the Venetians seem to have had a morbid horror of arches which were
+not _on a level_. They could not endure the appearance of the roof of
+one arch bearing against the side of another; and rather than introduce
+the idea of obliquity into bearing curves, they abandoned the arch
+principle altogether; so that even in their richest Gothic staircases,
+where trefoiled arches, exquisitely decorated, are used on the landings,
+they ran the shafts on the sloping stair simply into the bar of stone
+above them, and used the excessively ugly and valueless arrangement of
+Fig. II., rather than sacrifice the sacred horizontality of their arch
+system.
+
+[Illustration: Fig. IV.]
+
+It will be noted, in Plate XI., that the form and character of the
+tracery bars themselves are independent of the position or projection of
+the cusps on their flat sides. In this respect, also, Venetian traceries
+are peculiar, the example 22 of the Porta della Carta being the only one
+in the plate which is subordinated according to the Northern system. In
+every other case the form of the aperture is determined, either by a
+flat and solid cusp as in 6, or by a pierced cusp as in 4. The effect of
+the pierced cusp is seen in the uppermost figure, Plate XVIII. Vol. II.;
+and its derivation from the solid cusp will be understood, at once, from
+the woodcut Fig. IV., which represents a series of the flanking stones
+of any arch of the fifth order, such as _f_ in Plate III. Vol. I.
+
+[Illustration: Fig. V.]
+
+The first on the left shows the condition of cusp in a perfectly simple
+and early Gothic arch, 2 and 3 are those of common arches of the fifth
+order, 4 is the condition in more studied examples of the Gothic
+advanced guard, and 5 connects them all with the system of traceries.
+Introducing the common archivolt mouldings on the projecting edge of 2
+and 3, we obtain the bold and deep fifth order window, used down to the
+close of the fourteenth century or even later, and always grand in its
+depth of cusp, and consequently of shadow; but the narrow cusp 4 occurs
+also in very early work, and is piquant when set beneath a bold flat
+archivolt, as in Fig. V., from the Corte del Forno at Santa Marina. The
+pierced cusp gives a peculiar lightness and brilliancy to the window,
+but is not so sublime. In the richer buildings the surface of the flat
+and solid cusp is decorated with a shallow trefoil (see Plate VIII. Vol.
+I.), or, when the cusp is small, with a triangular incision only, as
+seen in figs. 7 and 8, Plate XI. The recesses on the sides of the other
+cusps indicate their single or double lines of foliation. The cusp of
+the Ducal Palace has a fillet only round its edge, and a ball of red
+marble on its truncated point, and is perfect in its grand simplicity;
+but in general the cusps of Venice are far inferior to those of Verona
+and of the other cities of Italy, chiefly because there was always some
+confusion in the mind of the designer between true cusps and the mere
+bending inwards of the arch of the fourth order. The two series, 4 _a_
+to 4 _e_, and 5 _a_ to 5 _e_, in Plate XIV. Vol. II., are arranged so as
+to show this connexion, as well as the varieties of curvature in the
+trefoiled arches of the fourth and fifth orders, which, though
+apparently slight on so small a scale, are of enormous importance in
+distant effect; a house in which the joints of the cusps project as much
+as in 5 _c_, being quite piquant and grotesque when compared with one in
+which the cusps are subdued to the form 5 _b_. 4 _d_ and 4 _e_ are
+Veronese forms, wonderfully effective and spirited; the latter occurs at
+Verona only, but the former at Venice also. 5 _d_ occurs in Venice, but
+is very rare; and 5 _e_ I found only once, on the narrow canal close to
+the entrance door of the Hotel Danieli. It was partly walled up, but I
+obtained leave to take down the brickwork and lay open one side of the
+arch, which may still be seen.
+
+       *       *       *       *       *
+
+The above particulars are enough to enable the reader to judge of the
+distinctness of evidence which the details of Venetian architecture bear
+to its dates. Farther explanation of the plates would be vainly tedious:
+but the architect who uses these volumes in Venice will find them of
+value, in enabling him instantly to class the mouldings which may
+interest him; and for this reason I have given a larger number of
+examples than would otherwise have been sufficient for my purpose.
+
+
+FOOTNOTES:
+
+  [58] "Olim _magistri_ prothi palatii nostri novi."--_Cadorin_, p. 127.
+
+  [59] A print, dated 1585, barbarously inaccurate, as all prints were
+    at that time, but still in some respects to be depended upon,
+    represents all the windows on the façade full of traceries; and the
+    circles above, between them, occupied by quatrefoils.
+
+  [60] "Lata tanto, quantum est ambulum existens super columnis versus
+    canale respicientibus."
+
+  [61] Bettio, p. 28.
+
+  [62] In the bombardment of Venice in 1848, hardly a single palace
+    escaped without three or four balls through its roof: three came
+    into the Scuola di San Rocco, tearing their way through the pictures
+    of Tintoret, of which the ragged fragments were still hanging from
+    the ceiling in 1851; and the shells had reached to within a hundred
+    yards of St. Mark's Church itself, at the time of the capitulation.
+
+  [63] A _Mohammedan_ youth is punished, I believe, for such
+    misdemeanors, by being _kept away_ from prayers.
+
+  [64] "Those Venetians are fishermen."
+
+  [65] I am afraid that the kind friend, Lady Trevelyan, who helped me
+    to finish this plate, will not like to be thanked here; but I cannot
+    let her send into Devonshire for magnolias, and draw them for me,
+    _without_ thanking her.
+
+  [66] That is, the house in the parish of the Apostoli, on the Grand
+    Canal, noticed in Vol. II.; and see also the Venetian Index, under
+    head "Apostoli."
+
+  [67] Close to the bridge over the main channel through Murano is a
+    massive foursquare Gothic palace, containing some curious traceries,
+    and many _unique_ transitional forms of window, among which these
+    windows of the fourth order occur, with a roll within their dentil
+    band.
+
+  [68] Thus, for the sake of convenience, we may generally call the
+    palace with the emblems of the Evangelists on its spandrils, Vol.
+    II.
+
+  [69] The house with chequers like a chess-board on its spandrils,
+    given in my folio work.
+
+  [70] The palace next the Casa Foscari, on the Grand Canal, sometimes
+    said to have belonged to the son of the Doge.
+
+
+
+
+INDICES.
+
+   I. PERSONAL INDEX.  |  III. TOPICAL INDEX.
+  II. LOCAL INDEX.     |   IV. VENETIAN INDEX.
+
+The first of the following Indices contains the names of persons; the
+second those of places (not in Venice) alluded to in the body of the
+work. The third Index consists of references to the subjects touched
+upon. In the fourth, called the Venetian Index, I have named every
+building of importance in the city of Venice itself, or near it;
+supplying, for the convenience of the traveller, short notices of those
+to which I had no occasion to allude in the text of the work; and making
+the whole as complete a guide as I could, with such added directions as
+I should have given to any private friend visiting the city. As,
+however, in many cases, the opinions I have expressed differ widely from
+those usually received; and, in other instances, subjects which may be
+of much interest to the traveller have not come within the scope of my
+inquiry; the reader had better take Lazari's small Guide in his hand
+also, as he will find in it both the information I have been unable to
+furnish, and the expression of most of the received opinions upon any
+subject of art.
+
+Various inconsistencies will be noticed in the manner of indicating the
+buildings, some being named in Italian, some in English, and some half
+in one, and half in the other. But these inconsistencies are permitted
+in order to save trouble, and make the Index more practically useful.
+For instance, I believe the traveller will generally look for "Mark,"
+rather than for "Marco," when he wishes to find the reference to St.
+Mark's Church; but I think he will look for Rocco, rather than for Roch,
+when he is seeking for the account of the Scuola di San Rocco. So also I
+have altered the character in which the titles of the plates are
+printed, from the black letter in the first volume, to the plain Roman
+in the second and third; finding experimentally that the former
+character was not easily legible, and conceiving that the book would be
+none the worse for this practical illustration of its own principles, in
+a daring sacrifice of symmetry to convenience.
+
+These alphabetical Indices will, however, be of little use, unless
+another, and a very different kind of Index, be arranged in the mind of
+the reader; an Index explanatory of the principal purposes and contents
+of the various parts of this essay. It is difficult to analyze the
+nature of the reluctance with which either a writer or painter takes it
+upon him to explain the meaning of his own work, even in cases where,
+without such explanation, it must in a measure remain always disputable:
+but I am persuaded that this reluctance is, in most instances, carried
+too far; and that, wherever there really is a serious purpose in a book
+or a picture, the author does wrong who, either in modesty or vanity
+(both feelings have their share in producing the dislike of personal
+interpretation), trusts entirely to the patience and intelligence of the
+readers or spectators to penetrate into their significance. At all
+events, I will, as far as possible, spare such trouble with respect to
+these volumes, by stating here, finally and clearly, both what they
+intend and what they contain; and this the rather because I have lately
+noticed, with some surprise, certain reviewers announcing as a
+discovery, what I thought had lain palpably on the surface of the book,
+namely, that "if Mr. Ruskin be right, all the architects, and all the
+architectural teaching of the last three hundred years, must have been
+wrong." That is indeed precisely the fact; and the very thing I meant to
+say, which indeed I thought I had said over and over again. I believe
+the architects of the last three centuries to have been wrong; wrong
+without exception; wrong totally, and from the foundation. This is
+exactly the point I have been endeavoring to prove, from the beginning
+of this work to the end of it. But as it seems not yet to have been
+stated clearly enough, I will here try to put my entire theorem into an
+unmistakable form.
+
+The various nations who attained eminence in the arts before the time of
+Christ, each of them, produced forms of architecture which in their
+various degrees of merit were almost exactly indicative of the degrees
+of intellectual and moral energy of the nations which originated them;
+and each reached its greatest perfection at the time when the true
+energy and prosperity of the people who had invented it were at their
+culminating point. Many of these various styles of architecture were
+good, considered in relation to the times and races which gave birth to
+them; but none were absolutely good or perfect, or fitted for the
+practice of all future time.
+
+The advent of Christianity for the first time rendered possible the full
+development of the soul of man, and therefore the full development of
+the arts of man.
+
+Christianity gave birth to a new architecture, not only immeasurably
+superior to all that had preceded it, but demonstrably the best
+architecture that _can_ exist; perfect in construction and decoration,
+and fit for the practice of all time.
+
+This architecture, commonly called "Gothic," though in conception
+perfect, like the theory of a Christian character, never reached an
+actual perfection, having been retarded and corrupted by various adverse
+influences; but it reached its highest perfection, hitherto manifested,
+about the close of the thirteenth century, being then indicative of a
+peculiar energy in the Christian mind of Europe.
+
+In the course of the fifteenth century, owing to various causes which I
+have endeavored to trace in the preceding pages, the Christianity of
+Europe was undermined; and a Pagan architecture was introduced, in
+imitation of that of the Greeks and Romans.
+
+The architecture of the Greeks and Romans themselves was not good, but
+it was natural; and, as I said before, good in some respects, and for a
+particular time.
+
+But the imitative architecture introduced first in the fifteenth
+century, and practised ever since, was neither good nor natural. It was
+good in no respect, and for no time. All the architects who have built
+in that style have built what was worthless; and therefore the greater
+part of the architecture which has been built for the last three hundred
+years, and which we are now building, is worthless. We must give up this
+style totally, despise it and forget it, and build henceforward only in
+that perfect and Christian style hitherto called Gothic, which is
+everlastingly the best.
+
+This is the theorem of these volumes.
+
+In support of this theorem, the first volume contains, in its first
+chapter, a sketch of the actual history of Christian architecture, up to
+the period of the Reformation; and, in the subsequent chapters, an
+analysis of the entire system of the laws of architectural construction
+and decoration, deducing from those laws positive conclusions as to the
+best forms and manners of building for all time.
+
+The second volume contains, in its first five chapters, an account of
+one of the most important and least known forms of Christian
+architecture, as exhibited in Venice, together with an analysis of its
+nature in the fourth chapter; and, which is a peculiarly important part
+of this section, an account of the power of color over the human mind.
+
+The sixth chapter of the second volume contains an analysis of the
+nature of Gothic architecture, properly so called, and shows that in its
+external form it complies precisely with the abstract laws of structure
+and beauty, investigated in the first volume. The seventh and eighth
+chapters of the second volume illustrate the nature of Gothic
+architecture by various Venetian examples. The third volume
+investigates, in its first chapter, the causes and manner of the
+corruption of Gothic architecture; in its second chapter, defines the
+nature of the Pagan architecture which superseded it; in the third
+chapter, shows the connexion of that Pagan architecture with the various
+characters of mind which brought about the destruction of the Venetian
+nation; and, in the fourth chapter, points out the dangerous tendencies
+in the modern mind which the practice of such an architecture indicates.
+
+Such is the intention of the preceding pages, which I hope will no more
+be doubted or mistaken. As far as regards the manner of its fulfilment,
+though I hope, in the course of other inquiries, to add much to the
+elucidation of the points in dispute, I cannot feel it necessary to
+apologize for the imperfect handling of a subject which the labor of a
+long life, had I been able to bestow it, must still have left
+imperfectly treated.
+
+
+
+
+I.
+
+PERSONAL INDEX.
+
+
+    A
+
+  Alberti, Duccio degli, his tomb, iii. 74, 80.
+  Alexander III., his defence by Venetians, i. 7.
+  Ambrose, St., his verbal subtleties, ii. 320.
+  Angelico, Frà, artistical power of, i. 400; his influence on
+    Protestants, ii. 105; his coloring, ii. 145.
+  Aristotle, his evil influence on the modern mind, ii. 319.
+  Averulinus, his book on architecture, iii. 63.
+
+
+    B
+
+  Barbaro, monuments of the family, iii. 125.
+  Barbarossa, Emperor, i. 7, 9.
+  Baseggio, Pietro, iii. 199.
+  Bellini, John, i. 11; his kindness to Albert Durer, i. 383; general
+    power of, see Venetian Index, under head "Giovanni Grisostomo;"
+    Gentile, his brother, iii. 21.
+  Berti, Bellincion, ii. 263.
+  Browning, Elizabeth B., her poetry, ii. 206.
+  Bunsen, Chevalier, his work on Romanesque Churches, ii. 381.
+  Bunyan, John, his portraiture of constancy, ii. 333; of patience, ii.
+    334; of vanity, ii. 346; of sin, iii. 147.
+
+
+    C
+
+  Calendario, Filippo, iii. 199.
+  Canaletto, i. 24; and see Venetian Index under head "Carità."
+  Canova, i. 217; and see Venetian Index under head "Frari."
+  Cappello, Vincenzo, his tomb, iii. 122.
+  Caracci, school of the, i. 24.
+  Cary, his translation of Dante, ii. 264.
+  Cavalli, Jacopo, his tomb, iii. 82.
+  Cicero, influence of his philosophy, ii. 317, 318.
+  Claude Lorraine, i. 24.
+  Comnenus, Manuel, ii. 263.
+  Cornaro, Marco, his tomb, iii. 79.
+  Correggio, ii. 192.
+  Crabbe, naturalism in his poetry, ii. 195.
+
+
+    D
+
+  Dandolo, Andrea, tomb of, ii. 70; Francesco, tomb of, iii. 74;
+    character of, iii. 76; Simon, tomb of, iii. 79.
+  Dante, his central position, ii. 340, iii. 158; his system of virtue,
+    ii. 323; his portraiture of sin, iii. 147.
+  Daru, his character as a historian, iii. 213.
+  Dolci, Carlo, ii. 105.
+  Dolfino, Giovanni, tomb of, iii. 78.
+  Durer, Albert, his rank as a landscape painter, i. 383; his power in
+    grotesque, iii. 145.
+
+
+    E
+
+  Edwin, King, his conversion, iii. 62.
+
+
+    F
+
+  Faliero, Bertuccio, his tomb, iii. 94; Marino, his house, ii. 254;
+    Vitale, miracle in his time, ii. 61.
+  Fergusson, James, his system of beauty, i. 388.
+  Foscari, Francesco, his reign, i. 4, iii. 165; his tomb, iii. 84; his
+    countenance, iii. 86.
+
+
+    G
+
+  Garbett, answer to Mr., i. 403.
+  Ghiberti, his sculpture, i. 217.
+  Giotto, his system of the virtues, ii. 323, 329, 341; his rank as a
+    painter, ii. 188, iii. 172.
+  Giulio Romano, i. 23.
+  Giustiniani, Marco, his tomb, i. 315; Sebastian, ambassador to
+    England, iii. 224.
+  Godfrey of Bouillon, his piety, iii. 62.
+  Gozzoli, Benozzo, ii. 195.
+  Gradenigo, Pietro, ii. 290.
+  Grande, Can, della Scala, his tomb, i. 268 (the cornice _g_ in Plate
+    XVI. is taken from it), iii. 71.
+  Guariento, his Paradise, ii. 296.
+  Guercino, ii. 105.
+
+
+    H
+
+  Hamilton, Colonel, his paper on the Serapeum, ii. 220.
+  Hobbima, iii. 184.
+  Hunt, William, his painting of peasant boys, ii. 192; of still life,
+    ii. 394.
+  Hunt, William Holman, relation of his works to modern and ancient
+    art, iii. 185.
+
+
+    K
+
+  Knight, Gally, his work on Architecture, i. 378.
+
+
+    L
+
+  Leonardo da Vinci, ii. 171.
+  Louis XI., iii. 194.
+
+
+    M
+
+  Martin, John, ii. 104.
+  Mastino, Can, della Scala, his tomb, ii. 224, iii. 72.
+  Maynard, Miss, her poems, ii. 397.
+  Michael Angelo, ii. 134, 188, iii. 56, 90, 99, 158.
+  Millais, John E., relation of his works to older art, iii. 185;
+    aerial perspective in his "Huguenot," iii. 47.
+  Milton, how inferior to Dante, iii. 147.
+  Mocenigo, Tomaso, his character, i. 4; his speech on rebuilding the
+    Ducal Palace, ii. 299; his tomb, i. 26, iii. 84.
+  Morosini, Carlo, Count, note on Daru's History by, iii. 213.
+  Morosini, Marino, his tomb, iii. 93.
+  Morosini, Michael, his character, iii. 213;
+     his tomb, iii. 80.
+  Murillo, his sensualism, ii. 192.
+
+
+    N
+
+  Napoleon, his genius in civil administration, i. 399.
+  Niccolo Pisano, i. 215.
+
+
+    O
+
+  Orcagna, his system of the virtues, ii. 329.
+  Orseolo, Pietro (Doge), iii. 120.
+  Otho the Great, his vow at Murano, ii. 32.
+
+
+    P
+
+  Palladio, i. 24, 146; and see Venetian Index, under head "Giorgio
+    Maggiore."
+  Participazio, Angelo, founds the Ducal Palace, ii. 287.
+  Pesaro, Giovanni, tomb of, iii. 92; Jacopo, tomb of, iii. 91.
+  Philippe de Commynes, i. 12.
+  Plato, influence of his philosophy, ii. 317, 338; his playfulness,
+    iii. 127.
+  Poussin, Nicolo and Gaspar, i. 23.
+  Procaccini, Camillo, ii. 188.
+  Prout, Samuel, his style, i. 250, iii. 19, 134.
+  Pugin, Welby, his rank as an architect, i. 385.
+
+
+    Q
+
+  Querini, Marco, his palace, ii. 255.
+
+
+    R
+
+  Raffaelle, ii. 188, iii. 56, 108, 136.
+  Reynolds, Sir J., his painting at New College, ii. 323; his general
+    manner, iii. 184.
+  Rogers, Samuel, his works, ii. 195, iii. 113.
+  Rubens, intellectual rank of, i. 400;
+     coarseness of, ii. 145.
+
+
+    S
+
+  Salvator Rosa, i. 24, ii. 105, 145, 188.
+  Scaligeri, tombs of, at Verona; see "Grande," "Mastino," "Signorio;"
+    palace of, ii. 257.
+  Scott, Sir W., his feelings of romance, iii. 191.
+  Shakspeare, his "Seven Ages," whence derived, ii. 361.
+  Sharpe, Edmund, his works, i. 342, 408.
+  Signorio, Can, della Scala, his tomb, character, i. 268, iii. 73.
+  Simplicius, St., ii. 356.
+  Spenser, value of his philosophy, ii. 327, 341; his personifications
+    of the months, ii. 272; his system of the virtues, ii. 326; scheme of
+    the first book of the Faërie Queen, iii. 205.
+  Steno, Michael, ii. 306; his tomb, ii. 296.
+  Stothard (the painter), his works, ii. 187, 195.
+  Symmachus, St., ii. 357.
+
+
+    T
+
+  Teniers, David, ii. 188.
+  Tiepolo, Jacopo and Lorenzo, their tombs, iii. 69; Bajamonte, ii.
+    255.
+  Tintoret, i. 12; his genius and function, ii. 149; his Paradise, ii.
+    304, 372; his rank among the men of Italy, iii. 158.
+  Titian, i. 12; his function and fall, ii. 149, 187.
+  Turner, his rank as a landscape painter, i. 382, ii. 187.
+
+
+    U
+
+  Uguccione, Benedetto, destroys Giotto's façade at Florence, i. 197.
+
+
+    V
+
+  Vendramin, Andrea (Doge), his tomb, i. 27, iii. 88.
+  Verocchio, Andrea, iii. 11, 13.
+  Veronese, Paul, artistical rank of, i. 400; his designs of
+    balustrades, ii. 247; and see in Venetian Index, "Ducal Palace,"
+    "Pisani," "Sebastian," "Redentore," "Accademia."
+
+
+    W
+
+  West, Benjamin, ii. 104.
+  Wordsworth, his observation of nature, i. 247 (note).
+
+
+    Z
+
+  Zeno, Carlo, i. 4, iii. 80.
+  Ziani, Sebastian (Doge), builds Ducal Palace, ii. 289.
+
+
+
+
+II.
+
+LOCAL INDEX.
+
+
+    A
+
+  Abbeville, door of church at, ii. 225; parapet at, ii. 245.
+  Alexandria, Church at, i. 381.
+  Alhambra, ornamentation of, i. 429.
+  Alps, how formed for distant effect, i. 247; how seen from Venice,
+    ii. 2, 28.
+  Amiens, pillars of Cathedral at, i. 102.
+  Arqua, hills of, how seen from Venice, ii. 2.
+  Assisi, Giotto's paintings at, ii. 323.
+
+
+    B
+
+  Beauvais, piers of Cathedral at, i. 93; grandeur of its buttress
+    structure, i. 170.
+  Bergamo, Duomo at, i. 275.
+  Bologna, Palazzo Pepoli at, i. 275.
+  Bourges, Cathedral at, i. 43, 102, 228, 271, 299; ii. 92, 186; house
+    of Jacques Coeur at, i. 346.
+
+
+    C
+
+  Chamouni, glacier forms at, i. 222.
+  Como, Broletto of, i. 141, 339.
+
+
+    D
+
+  Dijon, pillars in Church of Notre Dame at, i. 102; tombs of Dukes of
+    Burgundy, iii. 68.
+
+
+    E
+
+  Edinburgh, college at, i. 207.
+
+
+    F
+
+  Falaise (St. Gervaise at), piers of, i. 103.
+  Florence, Cathedral of, i. 197, iii. 13.
+
+
+    G
+
+  Gloucester, Cathedral of, i. 192.
+
+
+    L
+
+  Lombardy, geology of, ii. 5.
+  London, Church in Margaret Street, Portland Place, iii. 196; Temple
+    Church, i. 412; capitals in Belgrave and Grosvenor Squares, i. 330;
+    Bank of England, base of, i. 283; wall of, typical of accounts, i.
+    295; statue in King William Street, i. 210; shops in Oxford Street,
+    i. 202; Arthur Club-house, i. 295; Athenæum Club-house, i. 157, 283;
+    Duke of York's Pillar, i. 283; Treasury, i. 205; Whitehall, i. 205;
+    Westminster, fall of houses at, ii. 268; Monument, i. 82, 283; Nelson
+    Pillar, i. 216; Wellington Statue, i. 257.
+  Lucca, Cathedral of, ii. 275; San Michele at, i. 375.
+  Lyons, porch of cathedral at, i. 379.
+
+
+    M
+
+  Matterhorn (Mont Cervin), structure of, i. 58; lines of, applied to
+    architecture, i. 308, 310, 332.
+  Mestre, scene in street of, i. 355.
+  Milan, St. Ambrogio, piers of, i. 102; capital of, i. 324; St.
+    Eustachio, tomb of St. Peter Martyr, i. 218.
+  Moulins, brickwork at, i. 296.
+  Murano, general aspect of, ii. 29; Duomo of, ii. 32; balustrades of,
+    ii. 247; inscriptions at, ii. 384.
+
+
+    N
+
+  Nineveh, style of its decorations, i. 234, 239; iii. 159.
+
+
+    O
+
+  Orange (South France), arch at, i. 250.
+  Orleans, Cathedral of, i. 95.
+
+
+    P
+
+  Padua, Arena chapel at, ii. 324; St. Antonio at, i. 135; St. Sofia
+    at, i. 327; Eremitani, Church of, at, i. 135.
+  Paris, Hotel des Invalides, i. 214; Arc de l'Etoile, i. 291; Colonne
+    Vendome, i. 212.
+  Pavia, St. Michele at, piers of, i. 102, 337; ornaments of, i. 376.
+  Pisa, Baptistery of, ii. 275.
+  Pistoja, San Pietro at, i. 295.
+
+
+    R
+
+  Ravenna, situation of, ii. 6.
+  Rouen, Cathedral, piers of, i. 103, 153; pinnacles of, ii. 213; St.
+    Maclou at, sculptures of, ii. 197.
+
+
+    S
+
+  Salisbury Cathedral, piers of, i. 102; windows at, ii. 224.
+  Sens, Cathedral of, i. 135.
+  Switzerland, cottage architecture of, i. 156, 203, iii. 133.
+
+
+    V
+
+  Verona, San Fermo at, i. 136, ii. 259; Sta. Anastasia at, i. 142;
+    Duomo of, i. 373; St. Zeno at, i. 373; balconies at, ii. 247;
+    archivolt at, i. 335; tombs at, see in Personal Index, "Grande,"
+    "Mastino," "Signorio."
+  Vevay, architecture of, i. 136.
+  Vienne (South France), Cathedral of, i. 274.
+
+
+    W
+
+  Warwick, Guy's tower at, i. 168.
+  Wenlock (Shropshire), Abbey of, i. 270.
+  Winchester, Cathedral of, i. 192.
+
+
+    Y
+
+  York, Minster of, i. 205, 313.
+
+
+
+
+III.
+
+TOPICAL INDEX.
+
+
+    A
+
+  Abacus, defined, i. 107; law of its proportion, i. 111-115; its
+    connection with cornices, i. 116; its various profiles, i. 319-323;
+    iii. 243-248.
+  Acanthus, leaf of, its use in architecture, i. 233; how treated at
+    Torcello, ii. 15.
+  Alabaster, use of, in incrustation, ii. 86.
+  Anachronism, necessity of, in the best art, ii. 198.
+  Anatomy, a disadvantageous study for artists, iii. 47.
+  Angels, use of their images in Venetian heraldry, ii. 278; statues
+    of, on the Ducal Palace, ii. 311.
+  Anger, how symbolically represented, ii. 344.
+  Angles, decoration of, i. 260; ii. 305; of Gothic Palaces, ii. 238;
+    of Ducal Palace, ii. 307.
+  Animal character in northern and southern climates, ii. 156; in
+    grotesque art, iii. 149.
+  Apertures, analysis of their structure, i. 50; general forms of, i.
+    174.
+  Apse, forms of, in southern and northern churches compared, i. 170.
+  Arabesques of Raffaelle, their baseness, iii. 136.
+  Arabian architecture, i. 18, 234, 235, 429; ii. 135.
+  Arches, general structure of, i. 122; moral characters of, i. 126;
+    lancet, round, and depressed, i. 129; four-centred, i. 130; ogee, i.
+    131; non-concentric, i. 133, 341; masonry of, i. 133, ii. 218; load
+    of, i. 144; are not derived from vegetation, ii. 201.
+  Architects, modern, their unfortunate position, i. 404, 407.
+  Architecture, general view of its divisions, i. 47-51; how to judge
+    of it, ii. 173; adaptation of, to requirements of human mind, iii.
+    192; richness of early domestic, ii. 100, iii. 2; manner of its
+    debasement in general, iii. 3.
+  Archivolts, decoration of, i. 334; general families of, i. 335; of
+    Murano, ii. 49; of St. Mark's, ii. 95; in London, ii. 97; Byzantine,
+    ii. 138; profiles of, iii. 244.
+  Arts, relative dignity of, i. 395; how represented in Venetian
+    sculpture, ii. 355; what relation exists between them and their
+    materials, ii. 394; art divided into the art of facts, of design, and
+    of both, ii. 183; into purist, naturalist, and sensualist, ii. 187;
+    art opposed to inspiration, iii. 151; defined, iii. 170;
+    distinguished from science, iii. 35; how to enjoy that of the
+    ancients, iii. 188.
+  Aspiration, not the primal motive of Gothic work, i. 151.
+  Astrology, judicial, representation of its doctrines in Venetian
+    sculpture, ii. 352.
+  Austrian government in Italy, iii. 209.
+  Avarice, how represented figuratively, ii. 344.
+
+
+    B
+
+  Backgrounds, diapered, iii. 20.
+  Balconies, of Venice, ii. 243; general treatment of, iii. 254; of
+    iron, ii. 247.
+  Ballflower, its use in ornamentation, i. 279.
+  Balustrades. See "Balconies."
+  Bases, general account of, iii. 225; of walls, i. 55; of piers, i.
+    73; of shafts, i. 84; decoration of, i. 281; faults of Gothic
+    profiles of, i. 285; spurs of, i. 286; beauty of, in St. Mark's, i.
+    290; Lombardie, i. 292; ought not to be richly decorated, i. 292;
+    general effect of, ii. 387.
+  Battlements, i. 162; abuse of, in ornamentation, i. 219.
+  Beauty and ornament, relation of the terms, i. 404.
+  Bellstones of capitals defined, i. 108.
+  Birds, use of in ornamentation, i. 234, ii. 140.
+  Bishops, their ancient authority, ii. 25.
+  Body, its relation to the soul, i. 41, 395.
+  Brackets, division of, i. 161; ridiculous forms of, i. 161.
+  Breadth in Byzantine design, ii. 133.
+  Brickwork, ornamental, i. 296; in general, ii. 241, 260, 261.
+  Brides of Venice, legend of the, iii. 113, 116.
+  Buttresses, general structure of, i. 166; flying, i. 192; supposed
+    sanctity of, i. 173.
+  Bull, symbolical use of, in representing rivers, i. 418, 421, 424.
+  Byzantine style, analysis of, ii. 75; ecclesiastical fitness of, ii.
+    97; centralization in, ii. 236; palaces built in, ii. 118; sculptures
+    in, ii. 137, 140.
+
+
+    C
+
+  Candlemas, ancient symbols of, ii. 272.
+  Capitals, general structure of, i. 105; bells of, i. 107; just
+    proportions of, i. 114; various families of, i. 13, 65, 324, ii. 129,
+    iii. 231; are necessary to shafts in good architecture, i. 119;
+    Byzantine, ii. 131, iii. 231; Lily, of St. Mark's, ii. 137; of
+    Solomon's temple, ii. 137.
+  Care, how symbolized, ii. 348. See "Sorrow."
+  Caryatides, i. 302.
+  Castles, English, entrances of, i. 177.
+  Cathedrals, English, effect of, ii. 63.
+  Ceilings, old Venetian, ii. 280.
+  Centralization in design, ii. 237.
+  Chalet of Switzerland, its character, i. 203.
+  Chamfer defined, i. 263; varieties of, i. 262, 429.
+  Changefulness, an element of Gothic, ii. 172.
+  Charity, how symbolized, ii. 327, 339.
+  Chartreuse, Grande, morbid life in, iii. 190.
+  Chastity, how symbolized, ii. 328.
+  Cheerfulness, how symbolized, ii. 326, 348; virtue of, ii. 326.
+  Cherries, cultivation of, at Venice, ii. 361.
+  Christianity, how mingled with worldliness, iii. 109; how imperfectly
+    understood, iii. 168; influence of, in liberating workmen, ii. 159,
+    i. 243; influence of, on forms, i. 99.
+  Churches, wooden, of the North, i. 381; considered as ships, ii. 25;
+    decoration of, how far allowable, ii. 102.
+  Civilization, progress of, iii. 168; twofold danger of, iii. 169.
+  Classical literature, its effect on the modern mind, iii. 12.
+  Climate, its influence on architecture, i. 151, ii. 155, 203.
+  Color, its importance in early work, ii. 38, 40, 78, 91; its
+    spirituality, ii. 145, 396; its relation to music, iii. 186;
+    quartering of, iii. 20; how excusing realization, iii. 186.
+  Commerce, how regarded by Venetians, i. 6.
+  Composition, definition of the term, ii. 182.
+  Constancy, how symbolized, ii. 333.
+  Construction, architectural, how admirable, i. 36.
+  Convenience, how consulted by Gothic architecture, ii. 179.
+  Cornices, general divisions of, i. 63, iii. 248; of walls, i. 60; of
+    roofs, i. 149; ornamentation of, i. 305; curvatures of, i. 310;
+    military, i. 160; Greek, i. 157.
+  Courses in walls, i. 60.
+  Crockets, their use in ornamentation, i. 346; their abuse at Venice,
+    iii. 109.
+  Crosses, Byzantine, ii. 139.
+  Crusaders, character of the, ii. 263.
+  Crystals, architectural appliance of, i. 225.
+  Cupid, representation of, in early and later art, ii. 342.
+  Curvature, on what its beauty depends, i. 222, iii. 5.
+  Cusps, definition of, i. 135; groups of, i. 138; relation of, to
+    vegetation, ii. 219; general treatment of, iii. 255; earliest
+    occurrence of, ii. 220.
+
+
+    D
+
+  Daguerreotype, probable results of, iii. 169.
+  Darkness, a character of early churches, ii. 18; not an abstract
+    evil, iii. 220.
+  Death, fear of, in Renaissance times, iii. 65, 90, 92; how anciently
+    regarded, iii. 139, 156.
+  Decoration, true nature of, i. 405; how to judge of, i. 44, 45. See
+    "Ornament."
+  Demons, nature of, how illustrated by Milton and Dante, iii. 147.
+  Dentil, Venetian, defined, i. 273, 275.
+  Design, definition of the term, ii. 183; its relations to naturalism,
+    ii. 184.
+  Despair, how symbolized, ii. 334.
+  Diaper patterns in brick, i. 296; in color, iii. 21, 22.
+  Discord, how symbolized, ii. 333.
+  Discs, decoration by means of, i. 240, 416; ii. 147, 264.
+  Division of labor, evils of, ii. 165.
+  Doge of Venice, his power, i. 3, 360.
+  Dogtooth moulding defined, i. 269.
+  Dolphins, moral disposition of, i. 230; use of, in symbolic
+    representation of sea, i. 422, 423.
+  Domestic architecture, richness of, in middle ages, ii. 99.
+  Doors, general structure of, i. 174, 176; smallness of in English
+    cathedrals, i. 176; ancient Venetian, ii. 277, iii. 227.
+  Doric architecture, i. 157, 301, 307; Christian Doric, i. 308, 315.
+  Dragon, conquered by St. Donatus, ii. 33; use of, in ornamentation,
+    ii. 219.
+  Dreams, how resembled by the highest arts, iii. 153; prophetic, in
+    relation to the Grotesque, iii. 156.
+  Dress, its use in ornamentation, i. 212; early Venetian, ii. 383;
+    dignity of, iii. 191; changes in modern dress, iii. 192.
+  Duties of buildings, i. 47.
+
+
+    E
+
+  Earthquake of 1511, ii. 242.
+  Eastern races, their power over color, ii. 147.
+  Eaves, construction of, i. 156.
+  Ecclesiastical architecture in Venice, i. 20; no architecture
+    exclusively ecclesiastical, ii. 99.
+  Edge decoration, i. 268.
+  Education, University, i. 391; iii. 110; evils of, with respect to
+    architectural workmen, ii. 107; how to be successfully undertaken,
+    ii. 165, 214; modern education in general, how mistaken, iii. 110,
+    234; system of, in Plato, ii. 318; of Persian kings, ii. 318; not to
+    be mistaken for erudition, iii. 219; ought to be universal, iii. 220.
+  Egg and arrow mouldings, i. 314.
+  Egyptian architecture, i. 99, 239; ii. 203.
+  Elgin marbles, ii. 171.
+  Encrusted architecture, i. 271, 272; general analysis of, ii. 76.
+  Energy of Northern Gothic, i. 371; ii. 16, 204.
+  English (early) capitals, faults of, i. 100, 411; English mind, its
+    mistaken demands of perfection, ii. 160.
+  Envy, how set forth, ii. 346.
+  Evangelists, types of, how explicable, iii. 155.
+
+
+    F
+
+  Faërie Queen, Spenser's, value of, theologically, ii. 328.
+  Faith, influence of on art, ii. 104, 105; Titian's picture of, i. 11;
+    how symbolized, ii. 337.
+  Falsehood, how symbolized, ii. 349.
+  Fatalism, how expressed in Eastern architecture, ii. 205.
+  Fear, effect of, on human life, iii. 137; on Grotesque art, iii. 142.
+  Feudalism, healthy effects of, i. 184.
+  Fig-tree, sculpture of, on Ducal Palace, ii. 307.
+  Fillet, use of, in ornamentation, i. 267.
+  Finials, their use in ornamentation, i. 346; a sign of decline in
+    Venetian architecture, iii. 109.
+  Finish in workmanship, when to be required, ii. 165; dangers of, iii.
+    170, ii. 162.
+  Fir, spruce, influence of, on architecture, i. 152.
+  Fire, forms of, in ornamentation, i. 228.
+  Fish, use of, in ornamentation, i. 229.
+  Flamboyant Gothic, i. 278, ii. 225.
+  Flattery, common in Renaissance times, iii. 64.
+  Flowers, representation of, how desirable, i. 340; how represented in
+    mosaic, iii. 179.
+  Fluting of columns, a mistake, i. 301.
+  Foils, definition of, ii. 221.
+  Foliage, how carved in declining periods, iii. 8, 17. See "Vegetation."
+  Foliation defined, ii. 219; essential to Gothic architecture, ii. 222.
+  Folly, how symbolized, ii. 325, 348.
+  Form of Gothic, defined, ii. 209.
+  Fortitude, how symbolized, ii. 337.
+  Fountains, symbolic representations of, i. 427.
+  French architecture, compared with Italian, ii. 226.
+  Frivolity, how exhibited in Grotesque art, iii. 143.
+  Fruit, its use in ornamentation, i. 232.
+
+
+    G
+
+  Gable, general structure of, i. 124; essential to Gothic, ii. 210, 217.
+  Gardens, Italian, iii. 136.
+  Generalization, abuses of, iii. 176.
+  Geology of Lombardy, ii. 5.
+  Glass, its capacities in architecture, i. 409; manufacture of, ii.
+    166; true principles of working in, ii. 168, 395.
+  Gluttony, how symbolized, ii. 343.
+  Goldsmiths' work, a high form of art, ii. 166.
+  Gondola, management of, ii. 375.
+  Gothic architecture, analysis of, ii. 151; not derived from vegetable
+    structure, i. 121; convenience of, ii. 178; divisions of, ii. 215;
+    surface and linear, ii. 226; Italian and French, ii. 226; flamboyant,
+    i. 278, ii. 225; perpendicular, i. 192, ii. 223, 227; early English,
+    i. 109; how to judge of it, ii. 228; how fitted for domestic
+    purposes, ii. 269, iii. 195; how first corrupted, iii. 3; how to be
+    at present built, iii. 196; early Venetian, ii. 248; ecclesiastical
+    Venetian, i. 21; central Venetian, ii. 231; how adorned by color in
+    Venice, iii. 23.
+  Government of Venice, i. 2, ii. 366.
+  Grammar, results of too great study of it, iii. 55, 106.
+  Greek architecture, general character of, i. 240, ii. 215, iii. 159.
+  Grief. See "Sorrow."
+  Griffins, Lombardic, i. 292, 387.
+  Grotesque, analysis of, iii. 132; in changes of form, i. 317; in
+    Venetian painting, iii. 162; symbolical, iii. 155; its character in
+    Renaissance work, iii. 113, 121, 136, 143.
+  Gutters of roofs, i. 151.
+
+
+    H
+
+  Heathenism, typified in ornament, i. 317. See "Paganism."
+  Heaven and Hell, proofs of their existence in natural phenomena, iii.
+    138.
+  History, how to be written and read, iii. 224.
+  Hobbima, iii. 184.
+  Honesty, how symbolized, ii. 349.
+  Hope, how symbolized, ii. 341.
+  Horseshoe arches, i. 129, ii. 249, 250.
+  Humanity, spiritual nature of, i. 41; divisions of, with respect to
+    art, i. 394.
+  Humility, how symbolized, ii. 339.
+
+
+    I
+
+  Idleness, how symbolized, ii. 345.
+  Idolatry, proper sense of the term, ii. 388; is no encourager of art,
+    ii. 110. See "Popery."
+  Imagination, its relation to art, iii. 182.
+  Imitation of precious stones, &c., how reprehensible, iii. 26, 30.
+  Imposts, continuous, i. 120.
+  Infidelity, how symbolized, ii. 335; an element of the Renaissance
+    spirit, iii. 100.
+  Injustice, how symbolized, ii. 349.
+  Inlaid ornamentation, i. 369; perfection of, in early Renaissance,
+    iii. 26.
+  Inscriptions at Murano, ii. 47, 54; use of, in early times, ii. 111.
+  Insects, use of, in ornamentation, i. 230.
+  Inspiration, how opposed to art, iii. 151, 171.
+  Instinct, its dignity, iii. 171.
+  Intellect, how variable in dignity, iii. 173.
+  Involution, delightfulness of, in ornament, ii. 136.
+  Iron, its use in architecture, i. 184, 410.
+  Italians, modern character of, iii. 209.
+  Italy, how ravaged by recent war, iii. 209.
+
+
+    J
+
+  Jambs, Gothic, iii. 137.
+  Jesting, evils of, iii. 129.
+  Jesuits, their restricted power in Venice, i. 366.
+  Jewels, their cutting, a bad employment, ii. 166.
+  Judgments, instinctive, i. 399.
+  Job, book of, its purpose, iii. 53.
+
+
+    K
+
+  Keystones, how mismanaged in Renaissance work. See Venetian Index,
+    under head "Libreria."
+  Knowledge, its evil consequences, iii. 40; how to be received, iii.
+    50, &c. See "Education."
+
+
+    L
+
+  Labor, manual, ornamental value of, i. 407; evils of its division,
+    ii. 165; is not a degradation, ii. 168.
+  Labyrinth, in Venetian streets, its clue, ii. 254.
+  Lagoons, Venetian, nature of, ii. 7, 8.
+  Landscape, lower schools of, i. 24; Venetian, ii. 149; modern love
+    of, ii. 175, iii. 123.
+  Laws of right in architecture, i. 32; laws in general, how
+    permissibly violated, i. 255, ii. 210; their position with respect to
+    art, iii. 96; and to religion, iii. 205.
+  Leaves, use of, in ornamentation, i. 232 (see "Vegetation");
+    proportion of, ii. 128.
+  Liberality, how symbolized, ii. 333.
+  Life in Byzantine architecture, ii. 133.
+  Lilies, beautiful proportions of, ii. 128; used for parapet
+    ornaments, ii. 242; lily capitals, ii. 137.
+  Limitation of ornament, i. 254.
+  Lines, abstract use of, in ornament, i. 221.
+  Lintel, its structure, i. 124, 126.
+  Lion, on piazzetta shafts, iii. 238.
+  Load, of arches, i. 133.
+  Logic, a contemptible science, iii. 105.
+  Lombardic architecture, i. 17.
+  Lotus leaf, its use in architecture, i. 233.
+  Love, its power over human life, iii. 137.
+  Lusts, their power over human nature, how symbolized by Spenser, ii.
+    328.
+  Luxury, how symbolized, ii. 342; how traceable in ornament, iii. 4;
+    of Renaissance schools, iii. 61.
+
+
+    M
+
+  Madonna, Byzantine representations of, ii. 53.
+  Magnitude, vulgar admiration of, iii. 64.
+  Malmsey, use of, in Feast of the Maries, iii. 117.
+  Marble, its uses, iii. 27.
+  Maries, Feast of the, iii. 117.
+  Mariolatry, ancient and modern, ii. 55.
+  Marriages of Venetians, iii. 116.
+  Masonry, Mont-Cenisian, i. 132; of walls, i. 61; of arches, i. 133.
+  Materials, invention of new, how injurious to art, iii. 42.
+  Misery, how symbolized, ii. 347.
+  Modesty, how symbolized, ii. 335.
+  Monotony, its place in art, ii. 176.
+  Months, personifications of, in ancient art, ii. 272.
+  Moroseness, its guilt, iii. 130.
+  Mosaics at Torcello, ii. 18, 19; at St. Mark's, ii. 70, 112; early
+    character of, ii. 110, iii. 175, 178.
+  Music, its relation to color, iii. 186.
+  Mythology of Venetian painters, ii. 150; ancient, how injurious to
+    the Christian mind, iii. 107.
+
+
+    N
+
+  Natural history, how necessary a study, iii. 54.
+  Naturalism, general analysis of it with respect to art, ii. 181, 190;
+    its advance in Gothic art, iii. 6; not to be found in the encrusted
+    style, ii. 89; its presence in the noble Grotesque, iii. 144.
+  Nature (in the sense of material universe) not improvable by art, i.
+    350; its relation to architecture, i. 351.
+  Niches, use of, in Northern Gothic, i. 278; in Venetian, ii. 240; in
+    French and Veronese, ii. 227.
+  Norman hatchet-work, i. 297; zigzag, i. 339.
+  Novelty, its necessity to the human mind, ii. 176.
+
+
+    O
+
+  Oak-tree, how represented in symbolical art, iii. 185.
+  Obedience, how symbolized, ii. 334.
+  Oligarchical government, its effect on the Venetians, i. 5.
+  Olive-tree, neglect of, by artists, iii. 175; general expression of,
+    iii. 176, 177; representations of, in mosaic, iii. 178.
+  Order, uses and disadvantages of, ii. 172.
+  Orders, Doric and Corinthian, i. 13; ridiculous divisions of, i. 157,
+    370; ii. 173, 249; iii. 99.
+  Ornament, material of, i. 211; the best, expresses man's delight in
+    God's work, i. 220; not in his own, i. 211; general treatment of, i.
+    236; is necessarily imperfect, i. 237, 240; divided into servile,
+    subordinate, and insubordinate, i. 242, ii. 158; distant effect of,
+    i. 248; arborescent, i. 252; restrained within limits, i. 255; cannot
+    be overcharged if good, i. 406.
+  Oxford, system of education at, i. 391.
+
+
+    P
+
+  Paganism, revival of its power in modern times, iii. 105, 107, 122.
+  Painters, their power of perception, iii. 37; influence of society
+    on, iii. 41; what they should know, iii. 41; what is their business,
+    iii. 187.
+  Palace, the Crystal, merits of, i. 409.
+  Palaces, Byzantine, ii. 118, 391; Gothic, ii. 231.
+  Papacy. See "Popery."
+  Parapets, i. 162, ii. 240.
+  Parthenon, curves of, ii. 127.
+  Patience, how symbolized, ii. 334.
+  Pavements, ii. 52.
+  Peacocks, sculpture of, i. 240.
+  Pedestals of shafts, i. 82; and see Venetian Index under head
+    "Giorgio Maggiore."
+  Perception opposed to knowledge, iii. 37.
+  Perfection, inordinate desire of, destructive of art, i. 237; ii.
+    133, 158, 169.
+  Perpendicular style, i. 190, 253; ii. 223, 227.
+  Personification, evils of, ii. 322.
+  Perspective, aerial, ridiculous exaggerations of, iii. 45; ancient
+    pride in, iii. 57; absence of, in many great works, see in Venetian
+    Index the notice of Tintoret's picture of the Pool of Bethesda, under
+    head "Rocco."
+  Phariseeism and Liberalism, how opposed, iii. 97.
+  Philology, a base science, iii. 54.
+  Piazzetta at Venice, plan of, ii. 283; shafts of, ii. 233.
+  Pictures, judgment of, how formed, ii. 371; neglect of, in Venice,
+    ii. 372; how far an aid to religion, ii. 104, 110.
+  Picturesque, definition of term, iii. 134.
+  Piers, general structure of, i. 71, 98, 118.
+  Pilgrim's Progress. See "Bunyan."
+  Pine of Italy, its effect on architecture, i. 152; of Alps, effect in
+    distance, i. 245. See "Fir."
+  Pinnacles are of little practical service, i. 170; their effect on
+    common roofs, i. 347.
+  Play, its relation to Grotesque art, iii. 126.
+  Pleasure, its kinds and true uses, iii. 189.
+  Popery, how degraded in contest with Protestantism, i. 34, iii. 103;
+    its influence on art, i. 23, 34, 35, 384, 432, ii. 51; typified in
+    ornament, i. 316; power of Pope in Venice, i. 362; arts used in
+    support of Popery, ii. 74.
+  Porches, i. 195.
+  Portraiture, power of, in Venice, iii. 164.
+  Posture-making in Renaissance art, iii. 90.
+  Prayers, ancient and modern, difference between, ii. 315, 390.
+  Pre-Raphaelitism, iii. 90; present position of, iii. 168, 174, 188.
+  Pride, how symbolized, ii. 343, iii. 207; of knowledge, iii. 35; of
+    state, iii. 59; of system, iii. 95.
+  Priests, restricted power of, in Venice, i. 366.
+  Proportions, subtlety of, in early work, ii. 38, 121, 127.
+  Protestantism, its influence on art, i. 23; typified in ornament, i.
+    316; influence of, on prosperity of nations, i. 368; expenditure in
+    favor of, i. 434; is incapable of judging of art, ii. 105; how
+    expressed in art, ii. 205; its errors in opposing Romanism, iii, 102,
+    103, 104; its shame of religious confession, ii. 278.
+  Prudence, how symbolized, ii. 340.
+  Pulpits, proper structure of, ii. 22, 380.
+  Purism in art, its nature and definition, ii. 189.
+  Purity, how symbolized, iii. 20.
+
+
+    Q
+
+  Quadrupeds, use of in ornamentation, i. 234.
+  Quantity of ornament, its regulation, i. 23.
+
+
+    R
+
+  Rationalism, its influence on art, i. 23.
+  Realization, how far allowable in noble art, iii. 182, 186.
+  Recesses, decoration of, i. 278.
+  Recumbent statues, iii. 72.
+  Redundance, an element of Gothic, ii. 206.
+  Religion, its influence on Venetian policy, i. 6; how far aided by
+    pictorial art, ii. 104, 109; contempt of, in Renaissance times, iii.
+    122.
+  Renaissance architecture, nature of, iii. 33; early, iii. 1;
+    Byzantine, iii. 15; Roman, iii. 32; Grotesque, iii. 112;
+    inconsistencies of, iii. 42, etc.
+  Reptiles, how used in ornamentation, i. 230.
+  Resistance, line of, in arches, i. 126.
+  Restraint, ornamental, value of, i. 255.
+  Reverence, how ennobling to humanity, ii. 163.
+  Rhetoric, a base study, iii. 106.
+  Rigidity, an element of Gothic, ii. 203.
+  Rivers, symbolical representation of, i. 419, 420.
+  Rocks, use of, in ornamentation, i. 224; organization of, i. 246;
+    curvatures of, i. 58, 224.
+  Roll-mouldings, decoration of, i. 276.
+  Romance, modern errors of, ii. 4; how connected with dress, iii. 192.
+  Romanesque style, i. 15, 19, 145; ii. 215. See "Byzantine," and
+    "Renaissance."
+  Romanism. See "Popery."
+  Roofs, analysis of, i. 46, 148; ii. 212, 216; domed, i. 149; Swiss,
+    i. 149, 345; steepness of, conducive to Gothic character, i. 151, ii.
+    209; decoration of, i. 343.
+  Rustication, is ugly and foolish, i. 65; natural objects of which it
+    produces a resemblance, i. 296.
+
+
+    S
+
+  Salvia, its leaf applied to architecture, i. 287, 306.
+  Sarcophagi, Renaissance treatment of, iii. 90; ancient, iii. 69, 93.
+  Satellitic shafts, i. 95.
+  Satire in Grotesque art, iii. 126, 145.
+  Savageness, the first element of Gothic, ii. 155; in Grotesque art,
+    iii. 159.
+  Science opposed to art, iii. 36.
+  Sculpture, proper treatment of, i. 216, &c.
+  Sea, symbolical representations of, i. 352, 421; natural waves of, i.
+    351.
+  Sensualism in art, its nature and definition, ii. 189; how redeemed
+    by color, ii. 145.
+  Serapeum at Memphis, cusps of, ii. 220.
+  Sermons, proper manner of regarding them, ii. 22; mode of their
+    delivery in Scotch church, ii. 381.
+  Serrar del Consiglio, ii. 291.
+  Shafts, analysis of, i. 84; vaulting shafts, i. 145; ornamentation
+    of, i. 300; twisted, by what laws regulated, i. 303; strength of, i.
+    402; laws by which they are regulated in encrusted style, ii. 82.
+  Shields, use of, on tombs, ii. 224, iii. 87.
+  Shipping, use of, in ornamentation, i. 215.
+  Shops in Venice, ii. 65.
+  Sight, how opposed to thought, iii. 39.
+  Simplicity of life in thirteenth century, ii. 263.
+  Sin, how symbolized in Grotesque art, iii. 141.
+  Slavery of Greeks and Egyptians, ii. 158; of English workmen, ii.
+    162, 163.
+  Society, unhealthy state of, in modern times, ii. 163.
+  Sorrow, how sinful, ii. 325; how symbolized, ii. 347.
+  Soul, its development in art, iii. 173, 188; its connection with the
+    body, i. 41, 395.
+  Spandrils, structure of, i. 146; decoration of, i. 297.
+  Spirals, architectural value of, i. 222, ii. 16.
+  Spurs of bases, i. 79.
+  Staircases, i. 208; of Gothic palaces, ii. 280.
+  Stucco, when admissible, iii. 21.
+  Subordination of ornament, i. 240.
+  Superimposition of buildings, i. 200; ii. 386.
+  Surface-Gothic, explanation of term, ii. 225, 227.
+  Symbolism, i. 417; how opposed to personification, ii. 322.
+  System, pride of, how hurtful, iii. 95, 99.
+
+
+    T
+
+  Temperance, how symbolized, ii. 338; temperance in color and
+    curvature, iii. 420.
+  Theology, opposed to religion, iii. 216; of Spencer, iii. 205.
+  Thirteenth century, its high position with respect to art, ii. 263.
+  Thought, opposed to sight, iii. 39.
+  Tombs at Verona, i. 142, 412; at Venice, ii. 69; early Christian,
+    iii. 67; Gothic, iii. 71; Renaissance treatment of, iii. 84.
+  Towers, proper character of, i. 204; of St. Mark's, i 207.
+  Traceries, structure of, i. 184, 185; flamboyant, i. 189; stump, i.
+    189; English perpendicular, i 190, ii. 222; general character of, ii.
+    220; strength of, in Venetian Gothic, ii. 234, iii. 253; general
+    forms of tracery bars, iii. 250.
+  Treason, how detested by Dante, ii. 327.
+  Trees, use of, in ornamentation, i. 231.
+  Trefoil, use of, in ornamentation, ii. 42.
+  Triangles, used for ornaments at Murano, ii. 43.
+  Tribune at Torcello, ii. 24.
+  Triglyphs, ugliness of, i, 43.
+  Trunkmakers, their share in recovery of Brides of Venice, iii. 117, 118.
+  Truth, relation of, to religion, in Spenser's "Faërie Queen," iii,
+    205; typified by stones, iii. 31.
+  Tympanum, decoration of, i. 299.
+
+
+    U
+
+  Unity of Venetian nobility, i. 10.
+
+
+    V
+
+  Vain glory, speedy punishment of, iii. 122.
+  Vanity, how symbolized, ii. 346.
+  Variety in ornamental design, importance of, ii. 43, 133, 142, 172.
+  Vegetation, use of, in ornamentation, i. 232; peculiar meaning of, in
+    Gothic, ii. 199; how connected with cusps, ii. 219.
+  Veil (wall veil), construction of, i. 58; decoration of, i. 294.
+  Vine, Lombardic sculpture of, i. 375; at Torcello, ii. 15; use of, in
+    ornamentation, ii. 141; in symbolism, ii. 143; sculpture of, on Ducal
+    Palace, ii. 308.
+  Virtues, how symbolized in sepulchral monuments, iii. 82, 86; systems
+    of, in Pagan and Christian philosophy, ii. 312; cardinal, ii. 317,
+    318, 320; of architecture, i. 36, 44.
+  Voussoirs defined, i. 125; contest between them and architraves, i.
+    336.
+
+
+    W
+
+  Walls, general analysis of their structure, i. 48; bases of, i. 52,
+    53; cornices of, i. 63; rustication of, i. 61, 338; decoration of, i.
+    294; courses in, i. 61, 295.
+  Water, its use in ornamentation, i. 226; ancient representations of,
+    i. 417.
+  Weaving, importance of associations connected with, ii. 136.
+  Wells, old Venetian, ii. 279.
+  Windows, general forms of, i. 179; Arabian, i. 180, ii. 135;
+    square-headed, ii. 211, 269; development of, in Venice, ii. 235;
+    orders of, in Venice, ii. 248; advisable form of, in modern
+    buildings, ii. 269.
+  Winds, how symbolized at Venice, ii. 367.
+  Wooden architecture, i. 381.
+  Womanhood, virtues of, as given by Spenser, ii. 326.
+
+
+    Z
+
+  Zigzag, Norman, i. 339.
+
+
+
+
+IV.
+
+VENETIAN INDEX.
+
+
+I have endeavored to make the following index as useful as possible to
+the traveller, by indicating only the objects which are really worth his
+study. A traveller's interest, stimulated as it is into strange vigor by
+the freshness of every impression, and deepened by the sacredness of the
+charm of association which long familiarity with any scene too fatally
+wears away,[71] is too precious a thing to be heedlessly wasted; and as
+it is physically impossible to see and to understand more than a certain
+quantity of art in a given time, the attention bestowed on second-rate
+works, in such a city as Venice, is not merely lost, but actually
+harmful,--deadening the interest and confusing the memory with respect
+to those which it is a duty to enjoy, and a disgrace to forget. The
+reader need not fear being misled by any omissions; for I have
+conscientiously pointed out every characteristic example, even of the
+styles which I dislike, and have referred to Lazari in all instances in
+which my own information failed: but if he is in any wise willing to
+trust me, I should recommend him to devote his principal attention, if
+he is fond of paintings, to the works of Tintoret, Paul Veronese, and
+John Bellini; not of course neglecting Titian, yet remembering that
+Titian can be well and thoroughly studied in almost any great European
+gallery, while Tintoret and Bellini can be judged of _only_ in Venice,
+and Paul Veronese, though gloriously represented by the two great
+pictures in the Louvre, and many others throughout Europe, is yet not to
+be fully estimated until he is seen at play among the fantastic chequers
+of the Venetian ceilings.
+
+I have supplied somewhat copious notices of the pictures of Tintoret,
+because they are much injured, difficult to read, and entirely neglected
+by other writers on art. I cannot express the astonishment and
+indignation I felt on finding, in Kugler's handbook, a paltry cenacolo,
+painted probably in a couple of hours for a couple of zecchins, for the
+monks of St. Trovaso, quoted as characteristic of this master; just as
+foolish readers quote separate stanzas of Peter Bell or the Idiot Boy,
+as characteristic of Wordsworth. Finally, the reader is requested to
+observe, that the dates assigned to the various buildings named in the
+following index, are almost without exception conjectural; that is to
+say, founded exclusively on the internal evidence of which a portion has
+been given in the Final Appendix. It is likely, therefore, that here and
+there, in particular instances, further inquiry may prove me to have
+been deceived; but such occasional errors are not of the smallest
+importance with respect to the general conclusions of the preceding
+pages, which will be found to rest on too broad a basis to be disturbed.
+
+
+    A
+
+ ACCADEMIA DELLE BELLE ARTI. Notice above the door the two bas-reliefs
+   of St. Leonard and St. Christopher, chiefly remarkable for their rude
+   cutting at so late a date as 1377; but the niches under which they
+   stand are unusual in their bent gables, and in little crosses within
+   circles which fill their cusps. The traveller is generally too much
+   struck by Titian's great picture of the "Assumption," to be able to
+   pay proper attention to the other works in this gallery. Let him,
+   however, ask himself candidly, how much of his admiration is
+   dependent merely upon the picture being larger than any other in the
+   room, and having bright masses of red and blue in it: let him be
+   assured that the picture is in reality not one whit the better for
+   being either large, or gaudy in color; and he will then be better
+   disposed to give the pains necessary to discover the merit of the more
+   profound and solemn works of Bellini and Tintoret. One of the most
+   wonderful works in the whole gallery is Tintoret's "Death of Abel," on
+   the left of the "Assumption;" the "Adam and Eve," on the right of it,
+   is hardly inferior; and both are more characteristic examples of the
+   master, and in many respects better pictures, than the much vaunted
+   "Miracle of St. Mark." All the works of Bellini in this room are of
+   great beauty and interest. In the great room, that which contains
+   Titian's "Presentation of the Virgin," the traveller should examine
+   carefully all the pictures by Vittor Carpaccio and Gentile Bellini,
+   which represent scenes in ancient Venice; they are full of interesting
+   architecture and costume. Marco Basaiti's "Agony in the Garden" is a
+   lovely example of the religious school. The Tintorets in this room are
+   all second rate, but most of the Veronese are good, and the large ones
+   are magnificent.
+
+ ALIGA. See GIORGIO.
+
+ ALVISE, CHURCH OF ST. I have never been in this church, but Lazari
+   dates its interior, with decision, as of the year 1388, and it may be
+   worth a glance, if the traveller has time.
+
+ ANDREA, CHURCH OF ST. Well worth visiting for the sake of the
+   peculiarly sweet and melancholy effect of its little grass-grown
+   campo, opening to the lagoon and the Alps. The sculpture over the
+   door, "St. Peter walking on the Water," is a quaint piece of
+   Renaissance work. Note the distant rocky landscape, and the oar of the
+   existing gondola floating by St. Andrew's boat. The church is of the
+   later Gothic period, much defaced, but still picturesque. The lateral
+   windows are bluntly trefoiled, and good of their time.
+
+ ANGELI, CHURCH DELGLI, at Murano. The sculpture of the "Annunciation"
+   over the entrance-gate is graceful. In exploring Murano, it is worth
+   while to row up the great canal thus far for the sake of the opening
+   to the lagoon.
+
+ ANTONINO, CHURCH OF ST. Of no importance.
+
+ APOLLINARE, CHURCH OF ST. Of no importance.
+
+ APOSTOLI, CHURCH OF THE. The exterior is nothing. There is said to be
+   a picture by Veronese in the interior, "The Fall of the Manna." I have
+   not seen it; but, if it be of importance, the traveller should compare
+   it carefully with Tintoret's, in the Scuola di San Rocco, and San
+   Giorgio Maggiore.
+
+ APOSTOLI, PALACE AT, II. 253, on the Grand Canal, near the Rialto,
+   opposite the fruit-market. A most important transitional palace. Its
+   sculpture in the first story is peculiarly rich and curious; I think
+   Venetian, in imitation of Byzantine. The sea story and first floor are
+   of the first half of the thirteenth century, the rest modern. Observe
+   that only one wing of the sea story is left, the other half having
+   been modernized. The traveller should land to look at the capital
+   drawn in Plate II. of Vol. III. fig. 7.
+
+ ARSENAL. Its gateway is a curiously picturesque example of Renaissance
+   workmanship, admirably sharp and expressive in its ornamental
+   sculpture; it is in many parts like some of the best Byzantine work.
+   The Greek lions in front of it appear to me to deserve more praise
+   than they have received; though they are awkwardly balanced between
+   conventional and imitative representation, having neither the severity
+   proper to the one, nor the veracity necessary for the other.
+
+
+    B
+
+ BADOER, PALAZZO, in the Campo San Giovanni in Bragola. A magnificent
+   example of the fourteenth century Gothic, circa 1310-1320, anterior to
+   the Ducal Palace, and showing beautiful ranges of the fifth order
+   window, with fragments of the original balconies, and the usual
+   lateral window larger than any of the rest. In the centre of its
+   arcade on the first floor is the inlaid ornament drawn in Plate VIII.
+   Vol. I. The fresco painting on the walls is of later date; and I
+   believe the heads which form the finials have been inserted afterwards
+   also, the original windows having been pure fifth order.
+
+   The building is now a ruin, inhabited by the lowest orders; the first
+   floor, when I was last in Venice, by a laundress.
+
+ BAFFO, PALAZZO, in the Campo St. Maurizio. The commonest late
+   Renaissance. A few olive leaves and vestiges of two figures still
+   remain upon it, of the frescoes by Paul Veronese, with which it was
+   once adorned.
+
+ BALBI, PALAZZO, in Volta di Canal. Of no importance.
+
+ BARBARIGO, PALAZZO, on the Grand Canal, next the Casa Pisani. Late
+   Renaissance; noticeable only as a house in which some of the best
+   pictures of Titian were allowed to be ruined by damp, and out of which
+   they were then sold to the Emperor of Russia.
+
+ BARBARO, PALAZZO, on the Grand Canal, next the Palazzo Cavalli. These
+   two buildings form the principal objects in the foreground of the view
+   which almost every artist seizes on his first traverse of the Grand
+   Canal, the Church of the Salute forming a most graceful distance.
+   Neither is, however, of much value, except in general effect; but the
+   Barbaro is the best, and the pointed arcade in its side wall, seen
+   from the narrow canal between it and the Cavalli, is good Gothic, of
+   the earliest fourteenth century type.
+
+ BARNABA, CHURCH OF ST. Of no importance.
+
+ BARTOLOMEO, CHURCH OF ST. I did not go to look at the works of
+   Sebastian del Piombo which it contains, fully crediting M. Lazari's
+   statement, that they have been "Barbaramente sfigurati da mani
+   imperite, che pretendevano ristaurarli." Otherwise the church is of no
+   importance.
+
+ BASSO, CHURCH OF ST. Of no importance.
+
+ BATTAGIA, PALAZZO, on the Grand Canal. Of no importance.
+
+ BECCHERIE. See QUERINI.
+
+ BEMBO, PALAZZO, on the Grand Canal, next the Casa Manin. A noble
+   Gothic pile, circa 1350-1380, which, before it was painted by the
+   modern Venetians with the two most valuable colors of Tintoret, Bianco
+   e Nero, by being whitewashed above, and turned into a coal warehouse
+   below, must have been among the most noble in effect on the whole
+   Grand Canal. It still forms a beautiful group with the Rialto, some
+   large shipping being generally anchored at its quay. Its sea story and
+   entresol are of earlier date, I believe, than the rest; the doors of
+   the former are Byzantine (see above, Final Appendix, under head
+   "Jambs"); and above the entresol is a beautiful Byzantine cornice,
+   built into the wall, and harmonizing well with the Gothic work.
+
+ BEMBO, PALAZZO, in the Calle Magno, at the Campo de' due Pozzi, close
+   to the Arsenal. Noticed by Lazari and Selvatico as having a very
+   interesting staircase. It is early Gothic, circa 1330, but not a whit
+   more interesting than many others of similar date and design. See
+   "Contarini Porta de Ferro," "Morosini," "Sanudo," and "Minelli."
+
+ BENEDETTO, CAMPO OF ST. Do not fail to see the superb, though
+   partially ruinous, Gothic palace fronting this little square. It is
+   very late Gothic, just passing into Renaissance; unique in Venice, in
+   masculine character, united with the delicacy of the incipient style.
+   Observe especially the brackets of the balconies, the flower-work on
+   the cornices, and the arabesques on the angles of the balconies
+   themselves.
+
+ BENEDETTO, CHURCH OF ST. Of no importance.
+
+ BERNARDO, PALAZZO, on the Grand Canal. A very noble pile of early
+   fifteenth century Gothic, founded on the Ducal Palace. The traceries
+   in its lateral windows are both rich and unusual.
+
+ BERNARDO, PALAZZO, at St. Polo. A glorious palace, on a narrow canal,
+   in a part of Venice now inhabited by the lower orders only. It is
+   rather late Central Gothic, circa 1380-1400, but of the finest kind,
+   and superb in its effect of color when seen from the side. A capital
+   in the interior court is much praised by Selvatico and Lazari, because
+   its "foglie d'acanto" (anything by the by, _but_ acanthus), "quasi
+   agitate de vento si attorcigliano d'intorno alla campana, _concetto
+   non indegno della bell'epoca greca_!" Does this mean "epoca
+   Bisantina?" The capital is simply a translation into Gothic sculpture
+   of the Byzantine ones of St. Mark's and the Fondaco de' Turchi (see
+   Plate VIII. Vol. I. fig. 14), and is far inferior to either. But,
+   taken as a whole, I think that, after the Ducal Palace, this is the
+   noblest in effect of all in Venice.
+
+ BRENTA, Banks of the, I. 354. Villas on the, I. 354.
+
+ BUSINELLO, CASA, II. 391.
+
+ BYZANTINE PALACES generally, II. 118.
+
+
+    C
+
+ CAMERLENGHI, PALACE OF THE, beside the Rialto. A graceful work of the
+   early Renaissance (1525) passing into Roman Renaissance. Its details
+   are inferior to most of the work of the school. The "Camerlenghi,"
+   properly "Camerlenghi di Comune," were the three officers or ministers
+   who had care of the administration of public expenses.
+
+ CANCELLARIA, II. 293.
+
+ CANCIANO, CHURCH OF ST. Of no importance.
+
+ CAPPELLO, PALAZZO, at St. Aponal. Of no interest. Some say that Bianca
+   Cappello fled from it; but the tradition seems to fluctuate between
+   the various houses belonging to her family.
+
+ CARITÀ, CHURCH OF THE. Once an interesting Gothic church of the
+   fourteenth century, lately defaced, and applied to some of the usual
+   important purposes of the modern Italians. The effect of its ancient
+   façade may partly be guessed at from the pictures of Canaletto, but
+   only guessed at; Canaletto being less to be trusted for renderings of
+   details, than the rudest and most ignorant painter of the thirteenth
+   century.
+
+ CARMINI, CHURCH OF THE. A most interesting church of late thirteenth
+   century work, but much altered and defaced. Its nave, in which the
+   early shafts and capitals of the pure truncate form are unaltered, is
+   very fine in effect; its lateral porch is quaint and beautiful,
+   decorated with Byzantine circular sculptures (of which the central one
+   is given in Vol. II. Plate XI. fig. 5), and supported on two shafts
+   whose capitals are the most archaic examples of the pure Rose form
+   that I know in Venice.
+
+   There is a glorious Tintoret over the first altar on the right in
+   entering; the "Circumcision of Christ." I do not know an aged head
+   either more beautiful or more picturesque than that of the high
+   priest. The cloister is full of notable tombs, nearly all dated; one,
+   of the fifteenth century, to the left on entering, is interesting from
+   the color still left on the leaves and flowers of its sculptured
+   roses.
+
+ CASSANO, CHURCH OF ST. This church must on no account be missed, as it
+   contains three Tintorets, of which one, the "Crucifixion," is among
+   the finest in Europe. There is nothing worth notice in the building
+   itself, except the jamb of an ancient door (left in the Renaissance
+   buildings, facing the canal), which has been given among the examples
+   of Byzantine jambs; and the traveller may, therefore, devote his
+   entire attention to the three pictures in the chancel.
+
+   1. _The Crucifixion._ (On the left of the high altar.) It is
+   refreshing to find a picture taken care of, and in a bright though not
+   a good light, so that such parts of it as are seen at all are seen
+   well. It is also in a better state than most pictures in galleries,
+   and most remarkable for its new and strange treatment of the subject.
+   It seems to have been painted more for the artist's own delight, than
+   with any labored attempt at composition; the horizon is so low that
+   the spectator must fancy himself lying at full length on the grass, or
+   rather among the brambles and luxuriant weeds, of which the foreground
+   is entirely composed. Among these, the seamless robe of Christ has
+   fallen at the foot of the cross; the rambling briars and wild grasses
+   thrown here and there over its folds of rich, but pale, crimson.
+   Behind them, and seen through them, the heads of a troop of Roman
+   soldiers are raised against the sky; and, above them, their spears and
+   halberds form a thin forest against the horizontal clouds. The three
+   crosses are put on the extreme right of the picture, and its centre is
+   occupied by the executioners, one of whom, standing on a ladder,
+   receives from the other at once the sponge and the tablet with the
+   letters INRI. The Madonna and St. John are on the extreme left,
+   superbly painted, like all the rest, but quite subordinate. In fact,
+   the whole mind of the painter seems to have been set upon making the
+   principals accessary, and the accessaries principal. We look first at
+   the grass, and then at the scarlet robe; and then at the clump of
+   distant spears, and then at the sky, and last of all at the cross. As
+   a piece of color, the picture is notable for its extreme modesty.
+   There is not a single very full or bright tint in any part, and yet
+   the color is delighted in throughout; not the slightest touch of it
+   but is delicious. It is worth notice also, and especially, because
+   this picture being in a fresh state we are sure of one fact, that,
+   like nearly all other great colorists, Tintoret was afraid of light
+   greens in his vegetation. He often uses dark blue greens in his
+   shadowed trees, but here where the grass is in full light, it is all
+   painted with various hues of sober brown, more especially where it
+   crosses the crimson robe. The handling of the whole is in his noblest
+   manner; and I consider the picture generally quite beyond all price.
+   It was cleaned, I believe, some years ago, but not injured, or at
+   least as little injured as it is possible for a picture to be which
+   has undergone any cleaning process whatsoever.
+
+   2. _The Resurrection._ (Over the high altar.) The lower part of this
+   picture is entirely concealed by a miniature temple, about five feet
+   high, on the top of the altar; certainly an insult little expected by
+   Tintoret, as, by getting on steps, and looking over the said temple,
+   one may see that the lower figures of the picture are the most
+   labored. It is strange that the painter never seemed able to conceive
+   this subject with any power, and in the present work he is
+   marvellously hampered by various types and conventionalities. It is
+   not a painting of the Resurrection, but of Roman Catholic saints,
+   _thinking_ about the Resurrection. On one side of the tomb is a bishop
+   in full robes, on the other a female saint, I know not who; beneath
+   it, an angel playing on an organ, and a cherub blowing it; and other
+   cherubs flying about the sky, with flowers; the whole conception being
+   a mass of Renaissance absurdities. It is, moreover, heavily painted,
+   over-done, and over-finished; and the forms of the cherubs utterly
+   heavy and vulgar. I cannot help fancying the picture has been restored
+   in some way or another, but there is still great power in parts of it.
+   If it be a really untouched Tintoret, it is a highly curious example
+   of failure from over-labor on a subject into which his mind was not
+   thrown: the color is hot and harsh, and felt to be so more painfully,
+   from its opposition to the grand coolness and chastity of the
+   "Crucifixion." The face of the angel playing the organ is highly
+   elaborated; so, also, the flying cherubs.
+
+   3. _The Descent into Hades._ (On the right-hand side of the high
+   altar.) Much injured and little to be regretted. I never was more
+   puzzled by any picture, the painting being throughout careless, and in
+   some places utterly bad, and yet not like modern work; the principal
+   figure, however, of Eve, has either been redone, or is scholar's work
+   altogether, as, I suspect, most of the rest of the picture. It looks
+   as if Tintoret had sketched it when he was ill, left it to a bad
+   scholar to work on with, and then finished it in a hurry; but he has
+   assuredly had something to do with it; it is not likely that anybody
+   else would have refused all aid from the usual spectral company with
+   which common painters fill the scene. Bronzino, for instance, covers
+   his canvas with every form of monster that his sluggish imagination
+   could coin. Tintoret admits only a somewhat haggard Adam, a graceful
+   Eve, two or three Venetians in court dress, seen amongst the smoke,
+   and a Satan represented as a handsome youth, recognizable only by the
+   claws on his feet. The picture is dark and spoiled, but I am pretty
+   sure there are no demons or spectres in it. This is quite in
+   accordance with the master's caprice, but it considerably diminishes
+   the interest of a work in other ways unsatisfactory. There may once
+   have been something impressive in the shooting in of the rays at the
+   top of the cavern, as well as in the strange grass that grows in the
+   bottom, whose infernal character is indicated by its all being knotted
+   together; but so little of these parts can be seen, that it is not
+   worth spending time on a work certainly unworthy of the master, and in
+   great part probably never seen by him.
+
+ CATTARINA, CHURCH OF ST., said to contain a _chef-d'oeuvre_ of Paul
+   Veronese, the "Marriage of St. Catherine." I have not seen it.
+
+ CAVALLI, PALAZZO, opposite the Academy of Arts. An imposing pile, on
+   the Grand Canal, of Renaissance Gothic, but of little merit in the
+   details; and the effect of its traceries has been of late destroyed by
+   the fittings of modern external blinds. Its balconies are good, of the
+   later Gothic type. See "BARBARO."
+
+ CAVALLI, PALAZZO, next the Casa Grimani (or Post-Office), but on the
+   other side of the narrow canal. Good Gothic, founded on the Ducal
+   Palace, circa 1380. The capitals of the first story are remarkably
+   rich in the deep fillets at the necks. The crests, heads of
+   sea-horses, inserted between the windows, appear to be later, but are
+   very fine of their kind.
+
+ CICOGNA, PALAZZO, at San Sebastiano, II. 265.
+
+ CLEMENTE, CHURCH OF ST. On an island to the south of Venice, from
+   which the view of the city is peculiarly beautiful. See "SCALZI."
+
+ CONTARINI PORTA DI FERRO, PALAZZO, near the Church of St. John and
+   Paul, so called from the beautiful ironwork on a door, which was some
+   time ago taken down by the proprietor and sold. Mr. Rawdon Brown
+   rescued some of the ornaments from the hands of the blacksmith, who
+   had bought them for old iron. The head of the door is a very
+   interesting stone arch of the early thirteenth century, already drawn
+   in my folio work. In the interior court is a beautiful remnant of
+   staircase, with a piece of balcony at the top, circa 1350, and one of
+   the most richly and carefully wrought in Venice. The palace, judging
+   by these remnants (all that are now left of it, except a single
+   traceried window of the same date at the turn of the stair), must once
+   have been among the most magnificent in Venice.
+
+ CONTARINI (DELLE FIGURE), PALAZZO, on the Grand Canal, III. 17.
+
+ CONTARINI DAI SCRIGNI, PALAZZO, on the Grand Canal. A Gothic building,
+   founded on the Ducal Palace. Two Renaissance statues in niches at the
+   sides give it its name.
+
+ CONTARINI FASAN, PALAZZO, on the Grand Canal, II. 244. The richest
+   work of the fifteenth century domestic Gothic in Venice, but notable
+   more for richness than excellence of design. In one respect, however,
+   it deserves to be regarded with attention, as showing how much beauty
+   and dignity may be bestowed on a very small and unimportant
+   dwelling-house by Gothic sculpture. Foolish criticisms upon it have
+   appeared in English accounts of foreign buildings, objecting to it on
+   the ground of its being "ill-proportioned;" the simple fact being,
+   that there was no room in this part of the canal for a wider house,
+   and that its builder made its rooms as comfortable as he could, and
+   its windows and balconies of a convenient size for those who were to
+   see through them, and stand on them, and left the "proportions"
+   outside to take care of themselves; which, indeed, they have very
+   sufficiently done; for though the house thus honestly confesses its
+   diminutiveness, it is nevertheless one of the principal ornaments of
+   the very noblest reach of the Grand Canal, and would be nearly as
+   great a loss, if it were destroyed, as the Church of La Salute itself.
+
+ CONTARINI, PALAZZO, at St. Luca. Of no importance.
+
+ CORNER DELLA CA' GRANDE, PALAZZO, on the Grand Canal. One of the worst
+   and coldest buildings of the central Renaissance, It is on a grand
+   scale, and is a conspicuous object, rising over the roofs of the
+   neighboring houses in the various aspects of the entrance of the Grand
+   Canal, and in the general view of Venice from San Clemente.
+
+ CORNER DELLA REGINA, PALAZZO. A late Renaissance building of no merit
+   or interest.
+
+ CORNER MOCENIGO, PALAZZO, at St. Polo. Of no interest.
+
+ CORNER SPINELLI, PALAZZO, on the Grand Canal. A graceful and
+   interesting example of the early Renaissance, remarkable for its
+   pretty circular balconies.
+
+ CORNER, RACCOLTA. I must refer the reader to M. Lazari's Guide for an
+   account of this collection, which, however, ought only to be visited
+   if the traveller is not pressed for time.
+
+
+    D
+
+ DANDOLO, PALAZZO, on the Grand Canal. Between the Casa Loredan and
+   Casa Bembo is a range of modern buildings, some of which occupy, I
+   believe, the site of the palace once inhabited by the Doge Henry
+   Dandolo. Fragments of early architecture of the Byzantine school may
+   still be traced in many places among their foundations, and two doors
+   in the foundation of the Casa Bembo itself belong to the same group.
+   There is only one existing palace, however, of any value, on this
+   spot, a very small but rich Gothic one of about 1300, with two groups
+   of fourth order windows in its second and third stories, and some
+   Byzantine circular mouldings built into it above. This is still
+   reported to have belonged to the family of Dandolo, and ought to be
+   carefully preserved, as it is one of the most interesting and ancient
+   Gothic palaces which yet remain.
+
+ DANIELI, ALBERGO. See Nani.
+
+ DA PONTE, PALAZZO. Of no interest.
+
+ DARIO, PALAZZO, I. 370; III. 211.
+
+ DOGANA DI MARE, at the separation of the Grand Canal from the Giudecca.
+   A barbarous building of the time of the Grotesque Renaissance (1676),
+   rendered interesting only by its position. The statue of Fortune,
+   forming the weathercock, standing on the world, is alike
+   characteristic of the conceits of the time, and of the hopes and
+   principles of the last days of Venice.
+
+ DONATO, CHURCH OF ST., at Murano, II. 31.
+
+ DONA', PALAZZO, on the Grand Canal. I believe the palace described under
+   this name as of the twelfth century, by M. Lazari, is that which I
+   have called the Braided House, II. 132, 392.
+
+ D'ORO CASA. A noble pile of very quaint Gothic, once superb in general
+   effect, but now destroyed by restorations. I saw the beautiful slabs
+   of red marble, which formed the bases of its balconies, and were
+   carved into noble spiral mouldings of strange sections, half a foot
+   deep, dashed to pieces when I was last in Venice; its glorious
+   interior staircase, by far the most interesting Gothic monument of the
+   kind in Venice, had been carried away, piece by piece, and sold for
+   waste marble, two years before. Of what remains, the most beautiful
+   portions are, or were, when I last saw them, the capitals of the
+   windows in the upper story, most glorious sculpture of the fourteenth
+   century. The fantastic window traceries are, I think, later; but the
+   rest of the architecture of this palace is anomalous, and I cannot
+   venture to give any decided opinion respecting it. Parts of its
+   mouldings are quite Byzantine in character, but look somewhat like
+   imitations.
+
+ DUCAL PALACE, I. 29; history of, II. 282, etc.; III. 199; plan and
+   section of, II. 282, 283; description of, II. 304, etc.; series of its
+   capitals, II. 332, etc.; spandrils of, I. 299, 415; shafts of, I. 413;
+   traceries of, derived from those of the Frari, II. 234; angles of, II.
+   239; main balcony of, II. 245; base of, III. 212; Rio Façade of, III.
+   25; paintings in, II. 372. The multitude of works by various masters,
+   which cover the walls of this palace is so great, that the traveller
+   is in general merely wearied and confused by them. He had better
+   refuse all attention except to the following works:
+
+   1. _Paradise_, by Tintoret; at the extremity of the Great Council
+   chamber. I found it impossible to count the number of figures in this
+   picture, of which the grouping is so intricate, that at the upper part
+   it is not easy to distinguish one figure from another; but I counted
+   150 important figures in one half of it alone; so that, as there are
+   nearly as many in subordinate position, the total number cannot be
+   under 500. I believe this is, on the whole, Tintoret's
+   _chef-d'oeuvre_; though it is so vast that no one takes the trouble
+   to read it, and therefore less wonderful pictures are preferred to it.
+   I have not myself been able to study except a few fragments of it, all
+   executed in his finest manner; but it may assist a hurried observer to
+   point out to him that the whole composition is divided into concentric
+   zones, represented one above another like the stories of a cupola,
+   round the figures of Christ and the Madonna, at the central and
+   highest point: both these figures are exceedingly dignified and
+   beautiful. Between each zone or belt of the nearer figures, the white
+   distances of heaven are seen filled with floating spirits. The picture
+   is, on the whole, wonderfully preserved, and the most precious thing
+   that Venice possesses. She will not possess it long; for the Venetian
+   academicians, finding it exceedingly unlike their own works, declare
+   it to want harmony, and are going to retouch it to their own ideas of
+   perfection.
+
+   2. _Siege of Zara_; the first picture on the right on entering the
+   Sala del Scrutinio. It is a mere battle piece, in which the figures,
+   like the arrows, are put in by the score. There are high merits in the
+   thing, and so much invention that it is possible Tintoret may have
+   made the sketch for it; but, if executed by him at all, he has done it
+   merely in the temper in which a sign-painter meets the wishes of an
+   ambitious landlord. He seems to have been ordered to represent all the
+   events of the battle at once; and to have felt that, provided he gave
+   men, arrows, and ships enough, his employers would be perfectly
+   satisfied. The picture is a vast one, some thirty feet by fifteen.
+
+   Various other pictures will be pointed out by the custode, in these
+   two rooms, as worthy of attention, but they are only historically, not
+   artistically, interesting. The works of Paul Veronese on the ceiling
+   have been repainted; and the rest of the pictures on the walls are by
+   second-rate men. The traveller must, once for all, be warned against
+   mistaking the works of Domenico Robusti (Domenico Tintoretto), a very
+   miserable painter, for those of his illustrious father, Jacopo.
+
+   3. _The Doge Grimani kneeling before Faith_, by Titian; in the Sala
+   delle quattro Porte. To be observed with care, as one of the most
+   striking examples of Titian's want of feeling and coarseness of
+   conception. (See above, Vol. I. p. 12.) As a work of mere art, it is,
+   however, of great value. The traveller who has been accustomed to
+   deride Turner's indistinctness of touch, ought to examine carefully
+   the mode of painting the Venice in the distance at the bottom of this
+   picture.
+
+   4. _Frescoes on the Roof of the Sala delle quattro Porte_, by
+   Tintoret. Once magnificent beyond description, now mere wrecks (the
+   plaster crumbling away in large flakes), but yet deserving of the most
+   earnest study.
+
+   5. _Christ taken down from the Cross_, by Tintoret; at the upper end
+   of the Sala dei Pregadi. One of the most interesting mythic pictures
+   of Venice, two doges being represented beside the body of Christ, and
+   a most noble painting; executed, however, for distant effect, and seen
+   best from the end of the room.
+
+   6. _Venice, Queen of the Sea_, by Tintoret. Central compartment of the
+   ceiling, in the Sala dei Pregadi. Notable for the sweep of its vast
+   green surges, and for the daring character of its entire conception,
+   though it is wild and careless, and in many respects unworthy of the
+   master. Note the way in which he has used the fantastic forms of the
+   sea weeds, with respect to what was above stated (III. 158), as to his
+   love of the grotesque.
+
+   7. _The Doge Loredano in Prayer to the Virgin_, by Tintoret; in the
+   same room. Sickly and pale in color, yet a grand work; to be studied,
+   however, more for the sake of seeing what a great man does "to order,"
+   when he is wearied of what is required from him, than for its own
+   merit.
+
+   8. _St. George and the Princess._ There are, besides the "Paradise,"
+   only six pictures in the Ducal Palace, as far as I know, which
+   Tintoret painted carefully, and those are all exceedingly fine: the
+   most finished of these are in the Anti-Collegio; but those that are
+   most majestic and characteristic of the master are two oblong ones,
+   made to fill the panels of the walls in the Anti-Chiesetta; these two,
+   each, I suppose, about eight feet by six, are in his most quiet and
+   noble manner. There is excessively little color in them, their
+   prevalent tone being a greyish brown opposed with grey, black, and a
+   very warm russet. They are thinly painted, perfect in tone, and quite
+   untouched. The first of them is "St. George and the Dragon," the
+   subject being treated in a new and curious way. The principal figure
+   is the princess, who sits astride on the dragon's neck, holding him by
+   a bridle of silken riband; St. George stands above and behind her,
+   holding his hands over her head as if to bless her, or to keep the
+   dragon quiet by heavenly power; and a monk stands by on the right,
+   looking gravely on. There is no expression or life in the dragon,
+   though the white flashes in its eye are very ghastly: but the whole
+   thing is entirely typical; and the princess is not so much represented
+   riding on the dragon, as supposed to be placed by St. George in an
+   attitude of perfect victory over her chief enemy. She has a full rich
+   dress of dull red, but her figure is somewhat ungraceful. St. George
+   is in grey armor and grey drapery, and has a beautiful face; his
+   figure entirely dark against the distant sky. There is a study for
+   this picture in the Manfrini Palace.
+
+   9. _St. Andrew and St. Jerome._ This, the companion picture, has even
+   less color than its opposite. It is nearly all brown and grey; the
+   fig-leaves and olive-leaves brown, the faces brown, the dresses brown,
+   and St. Andrew holding a great brown cross. There is nothing that can
+   be called color, except the grey of the sky, which approaches in some
+   places a little to blue, and a single piece of dirty brick-red in St.
+   Jerome's dress; and yet Tintoret's greatness hardly ever shows more
+   than in the management of such sober tints. I would rather have these
+   two small brown pictures, and two others in the Academy perfectly
+   brown also in their general tone--the "Cain and Abel" and the "Adam
+   and Eve,"--than all the other small pictures in Venice put together,
+   which he painted in bright colors, for altar pieces; but I never saw
+   two pictures which so nearly approached grisailles as these, and yet
+   were delicious pieces of color. I do not know if I am right in calling
+   one of the saints St. Andrew. He stands holding a great upright wooden
+   cross against the sky. St. Jerome reclines at his feet, against a
+   rock, over which some glorious fig leaves and olive branches are
+   shooting; every line of them studied with the most exquisite care, and
+   yet cast with perfect freedom.
+
+   10. _Bacchus and Ariadne._ The most beautiful of the four careful
+   pictures by Tintoret, which occupy the angles of the Anti-Collegio.
+   Once one of the noblest pictures in the world, but now miserably
+   faded, the sun being allowed to fall on it all day long. The design of
+   the forms of the leafage round the head of the Bacchus, and the
+   floating grace of the female figure above, will, however, always give
+   interest to this picture, unless it be repainted.
+
+   The other three Tintorets in this room are careful and fine, but far
+   inferior to the "Bacchus;" and the "Vulcan and the Cyclops" is a
+   singularly meagre and vulgar study of common models.
+
+   11. _Europa_, by Paul Veronese: in the same room. One of the very few
+   pictures which both possess and deserve a high reputation.
+
+   12. _Venice enthroned_, by Paul Veronese; on the roof of the same
+   room. One of the grandest pieces of frank color in the Ducal Palace.
+
+   13. _Venice, and the Doge Sebastian Venier_; at the upper end of the
+   Sala del Collegio. An unrivalled Paul Veronese, far finer even than
+   the "Europa."
+
+   14. _Marriage of St. Catherine_, by Tintoret; in the same room. An
+   inferior picture, but the figure of St. Catherine is quite exquisite.
+   Note how her veil falls over her form, showing the sky through it, as
+   an alpine cascade falls over a marble rock.
+
+   There are three other Tintorets on the walls of this room, but all
+   inferior, though full of power. Note especially the painting of the
+   lion's wings, and of the colored carpet, in the one nearest the
+   throne, the Doge Alvise Mocenigo adoring the Redeemer.
+
+   The roof is entirely by Paul Veronese, and the traveller who really
+   loves painting, ought to get leave to come to this room whenever he
+   chooses; and should pass the sunny summer mornings there again and
+   again, wandering now and then into the Anti-Collegio and Sala dei
+   Pregadi, and coming back to rest under the wings of the couched lion
+   at the feet of the "Mocenigo." He will no otherwise enter so deeply
+   into the heart of Venice.
+
+
+    E
+
+ EMO, PALAZZO, on the Grand Canal. Of no interest.
+
+ ERIZZO, PALAZZO, near the Arsenal, II. 262.
+
+ ERIZZO, PALAZZO, on the Grand Canal, nearly opposite the Fondaco
+   de'Turchi. A Gothic palace, with a single range of windows founded on
+   the Ducal traceries, and bold capitals. It has been above referred to
+   in the notice of tracery bars.
+
+ EUFEMIA, CHURCH OF ST. A small and defaced, but very curious, early
+   Gothic church on the Giudecca. Not worth visiting, unless the
+   traveller is seriously interested in architecture.
+
+ EUROPA, ALBERGO, ALL'. Once a Giustiniani Palace. Good Gothic, circa
+   1400, but much altered.
+
+ EVANGELISTI, CASA DEGLI, II. 265.
+
+ [Illustration: Plate XII.
+                CAPITALS OF FONDACO DE' TURCHI.]
+
+
+    F
+
+ FACANON, PALAZZO (ALLA FAVA). A fair example of the fifteenth century
+   Gothic, founded on Ducal Palace.
+
+ FALIER, PALAZZO, at the Apostoli. Above, II. 253.
+
+ FANTINO, CHURCH OF ST. Said to contain a John Bellini, otherwise of no
+   importance.
+
+ FARSETTI, PALAZZO, on the Grand Canal, II. 124, 393.
+
+ FAVA, CHURCH OF ST. Of no importance.
+
+ FELICE, CHURCH OF ST. Said to contain a Tintoret, which, if untouched,
+   I should conjecture, from Lazari's statement of its subject, St.
+   Demetrius armed, with one of the Ghisi family in prayer, must be very
+   fine. Otherwise the church is of no importance.
+
+ FERRO, PALAZZO, on the Grand Canal. Fifteenth century Gothic, very
+   hard and bad.
+
+ FLANGINI, PALAZZO, on the Grand Canal. Of no importance.
+
+ FONDACO DE' TURCHI, I. 328; II. 120, 121, 236. The opposite plate,
+   representing three of its capitals, has been several times referred
+   to.
+
+ FONDACO DE' TEDESCHI. A huge and ugly building near the Rialto,
+   rendered, however, peculiarly interesting by remnants of the frescoes
+   by Giorgione with which it was once covered. See Vol. II. 80, and III.
+   23.
+
+ FORMOSA, CHURCH OF SANTA MARIA, III. 113, 122,
+
+ FOSCA, CHURCH OF ST. Notable for its exceedingly picturesque
+   campanile, of late Gothic, but uninjured by restorations, and
+   peculiarly Venetian in being crowned by the cupola instead of the
+   pyramid, which would have been employed at the same period in any
+   other Italian city.
+
+ FOSCARI, PALAZZO, on the Grand Canal. The noblest example in Venice of
+   the fifteenth century Gothic, founded on the Ducal Palace, but lately
+   restored and spoiled, all but the stone-work of the main windows. The
+   restoration was necessary, however: for, when I was in Venice in 1845,
+   this palace was a foul ruin; its great hall a mass of mud, used as a
+   back receptacle of a stone-mason's yard; and its rooms whitewashed,
+   and scribbled over with indecent caricatures. It has since been
+   partially strengthened and put in order; but as the Venetian
+   municipality have now given it to the Austrians to be used as
+   barracks, it will probably soon be reduced to its former condition.
+   The lower palaces at the side of this building are said by some to
+   have belonged to the younger Foscari. See "GIUSTINIANI."
+
+ FRANCESCO DELLA VIGNA, CHURCH OF ST. Base Renaissance, but must be
+   visited in order to see the John Bellini in the Cappella Santa. The
+   late sculpture, in the Cappella Giustiniani, appears from Lazari's
+   statement to be deserving of careful study. This church is said also
+   to contain two pictures by Paul Veronese.
+
+ FRARI, CHURCH OF THE. Founded in 1250, and continued at various
+   subsequent periods. The apse and adjoining chapels are the earliest
+   portions, and their traceries have been above noticed (II. 234) as the
+   origin of those of the Ducal Palace. The best view of the apse, which
+   is a very noble example of Italian Gothic, is from the door of the
+   Scuola di San Rocco. The doors of the church are all later than any
+   other portion of it, very elaborate Renaissance Gothic. The interior
+   is good Gothic, but not interesting, except in its monuments. Of
+   these, the following are noticed in the text of this volume:
+
+   That of Duccio degli Alberti, at pages 74, 80; of the unknown Knight,
+   opposite that of Duccio, III. 74; of Francesco Foscari, III. 84; of
+   Giovanni Pesaro, 91; of Jacopo Pesaro, 92.
+
+   Besides these tombs, the traveller ought to notice carefully that of
+   Pietro Bernardo, a first-rate example of Renaissance work; nothing can
+   be more detestable or mindless in general design, or more beautiful in
+   execution. Examine especially the griffins, fixed in admiration of
+   bouquets, at the bottom. The fruit and flowers which arrest the
+   attention of the griffins may well arrest the traveller's also;
+   nothing can be finer of their kind. The tomb of Canova, _by_ Canova,
+   cannot be missed; consummate in science, intolerable in affectation,
+   ridiculous in conception, null and void to the uttermost in invention
+   and feeling. The equestrian statue of Paolo Savelli is spirited; the
+   monument of the Beato Pacifico, a curious example of Renaissance
+   Gothic with wild crockets (all in terra cotta). There are several good
+   Vivarini's in the church, but its chief pictorial treasure is the John
+   Bellini in the sacristy, the most finished and delicate example of the
+   master in Venice.
+
+
+    G
+
+ GEREMIA, CHURCH OF ST. Of no importance.
+
+ GESUATI, CHURCH OF THE. Of no importance.
+
+ GIACOMO DE LORIO, CHURCH OF ST., a most interesting church, of the early
+   thirteenth century, but grievously restored. Its capitals have been
+   already noticed as characteristic of the earliest Gothic; and it is
+   said to contain four works of Paul Veronese, but I have not examined
+   them. The pulpit is admired by the Italians, but is utterly worthless.
+   The verdantique pillar, in the south transept, is a very noble example
+   of the "Jewel Shaft." See the note at p. 83, Vol. II.
+
+ GIACOMO DI RIALTO, CHURCH OF ST. A picturesque little church, on the
+   Piazza di Rialto. It has been grievously restored, but the pillars and
+   capitals of its nave are certainly of the eleventh century; those of
+   its portico are of good central Gothic; and it will surely not be left
+   unvisited, on this ground, if on no other, that it stands on the site,
+   and still retains the name, of the first church ever built on that
+   Rialto which formed the nucleus of future Venice, and became
+   afterwards the mart of her merchants.
+
+ GIOBBE, CHURCH OF ST., near the Cana Reggio. Its principal entrance is
+   a very fine example of early Renaissance sculpture. Note in it,
+   especially, its beautiful use of the flower of the convolvulus. There
+   are said to be still more beautiful examples of the same period, in
+   the interior. The cloister, though much defaced, is of the Gothic
+   period, and worth a glance.
+
+ GIORGIO DE' GRECI, CHURCH OF ST. The Greek Church. It contains no
+   valuable objects of art, but its service is worth attending by those
+   who have never seen the Greek ritual.
+
+ GIORGIO DE' SCHIAVONI, CHURCH OF ST. Said to contain a very precious
+   series of paintings by Victor Carpaccio. Otherwise of no interest.
+
+ GIORGIO IN ALIGA (St. George in the seaweed), Church of St. Unimportant
+   in itself, but the most beautiful view of Venice at sunset is from a
+   point at about two thirds of the distance from the city to the island.
+
+ GIORGIO MAGGIORE, CHURCH OF ST. A building which owes its interesting
+   effect chiefly to its isolated position, being seen over a great space
+   of lagoon. The traveller should especially notice in its façade the
+   manner in which the central Renaissance architects (of whose style
+   this church is a renowned example) endeavored to fit the laws they had
+   established to the requirements of their age. Churches were required
+   with aisles and clerestories, that is to say, with a high central nave
+   and lower wings; and the question was, how to face this form with
+   pillars of one proportion. The noble Romanesque architects built story
+   above story, as at Pisa and Lucca; but the base Palladian architects
+   dared not do this. They must needs retain some image of the Greek
+   temple; but the Greek temple was all of one height, a low gable roof
+   being borne on ranges of equal pillars. So the Palladian builders
+   raised first a Greek temple with pilasters for shafts; and, _through
+   the middle of its roof, or horizontal beam_, that is to say, of the
+   cornice which externally represented this beam, they lifted another
+   temple on pedestals, adding these barbarous appendages to the shafts,
+   which otherwise would not have been high enough; fragments of the
+   divided cornice or tie-beam being left between the shafts, and the
+   great door of the church thrust in between the pedestals. It is
+   impossible to conceive a design more gross, more barbarous, more
+   childish in conception, more servile in plagiarism, more insipid in
+   result, more contemptible under every point of rational regard.
+
+   Observe, also, that when Palladio had got his pediment at the top of
+   the church, he did not know what to do with it; he had no idea of
+   decorating it except by a round hole in the middle. (The traveller
+   should compare, both in construction and decoration, the Church of the
+   Redentore with this of San Giorgio.) Now, a dark penetration is often
+   a most precious assistance to a building dependent upon color for its
+   effect; for a cavity is the only means in the architect's power of
+   obtaining certain and vigorous shadow; and for this purpose, a
+   circular penetration, surrounded by a deep russet marble moulding, is
+   beautifully used in the centre of the white field on the side of the
+   portico of St. Mark's. But Palladio had given up color, and pierced
+   his pediment with a circular cavity, merely because he had not wit
+   enough to fill it with sculpture. The interior of the church is like a
+   large assembly room, and would have been undeserving of a moment's
+   attention, but that it contains some most precious pictures, namely:
+
+   1. _Gathering the Manna._ (On the left hand of the high altar.) One of
+   Tintoret's most remarkable landscapes. A brook flowing through a
+   mountainous country, studded with thickets and palm trees; the
+   congregation have been long in the Wilderness, and are employed in
+   various manufactures much more than in gathering the manna. One group
+   is forging, another grinding manna in a mill, another making shoes,
+   one woman making a piece of dress, some washing; the main purpose of
+   Tintoret being evidently to indicate the _continuity_ of the supply of
+   heavenly food. Another painter would have made the congregation
+   hurrying to gather it, and wondering at it; Tintoret at once makes us
+   remember that they have been fed with it "by the space of forty
+   years." It is a large picture, full of interest and power, but
+   scattered in effect, and not striking except from its elaborate
+   landscape.
+
+   2. _The Last Supper._ (Opposite the former.) These two pictures have
+   been painted for their places, the subjects being illustrative of the
+   sacrifice of the mass. This latter is remarkable for its entire
+   homeliness in the general treatment of the subject; the entertainment
+   being represented like any large supper in a second-rate Italian inn,
+   the figures being all comparatively uninteresting; but we are reminded
+   that the subject is a sacred one, not only by the strong light shining
+   from the head of Christ, but because the smoke of the lamp which hangs
+   over the table turns, as it rises, into a multitude of angels, all
+   painted in grey, the color of the smoke; and so writhed and twisted
+   together that the eye hardly at first distinguishes them from the
+   vapor out of which they are formed, ghosts of countenances and filmy
+   wings filling up the intervals between the completed heads. The idea
+   is highly characteristic of the master. The picture has been
+   grievously injured, but still shows miracles of skill in the
+   expression of candle-light mixed with twilight; variously reflected
+   rays, and half tones of the dimly lighted chamber, mingled with the
+   beams of the lantern and those from the head of Christ, flashing along
+   the metal and glass upon the table, and under it along the floor, and
+   dying away into the recesses of the room.
+
+   3. _Martyrdom of various Saints._ (Altar piece of the third altar in
+   the South aisle.) A moderately sized picture, and now a very
+   disagreeable one, owing to the violent red into which the color that
+   formed the glory of the angel at the top is changed. It has been
+   hastily painted, and only shows the artist's power in the energy of
+   the figure of an executioner drawing a bow, and in the magnificent
+   ease with which the other figures are thrown together in all manner of
+   wild groups and defiances of probability. Stones and arrows are flying
+   about in the air at random.
+
+   4. _Coronation of the Virgin._ (Fourth altar in the same aisle.)
+   Painted more for the sake of the portraits at the bottom, than of the
+   Virgin at the top. A good picture, but somewhat tame for Tintoret, and
+   much injured. The principal figure, in black, is still, however, very
+   fine.
+
+   5. _Resurrection of Christ._ (At the end of the north aisle, in the
+   chapel beside the choir.) Another picture painted chiefly for the sake
+   of the included portraits, and remarkably cold in general conception;
+   its color has, however, been gay and delicate, lilac, yellow, and blue
+   being largely used in it. The flag which our Saviour bears in his
+   hand, has been once as bright as the sail of a Venetian fishing-boat,
+   but the colors are now all chilled, and the picture is rather crude
+   than brilliant; a mere wreck of what it was, and all covered with
+   droppings of wax at the bottom.
+
+   6. _Martyrdom of St. Stephen._ (Altar piece in the north transept.)
+   The Saint is in a rich prelate's dress, looking as if he had just been
+   saying mass, kneeling in the foreground, and perfectly serene. The
+   stones are flying about him like hail, and the ground is covered with
+   them as thickly as if it were a river bed. But in the midst of them,
+   at the saint's right hand, there is a book lying, crushed but open,
+   two or three stones which have torn one of its leaves lying upon it.
+   The freedom and ease with which the leaf is crumpled is just as
+   characteristic of the master as any of the grander features; no one
+   but Tintoret could have so crushed a leaf; but the idea is still more
+   characteristic of him, for the book is evidently meant for the Mosaic
+   History which Stephen had just been expounding, and its being crushed
+   by the stones shows how the blind rage of the Jews was violating their
+   own law in the murder of Stephen. In the upper part of the picture are
+   three figures,--Christ, the Father, and St. Michael. Christ of course
+   at the right hand of the Father, as Stephen saw him standing; but
+   there is little dignity in this part of the conception. In the middle
+   of the picture, which is also the middle distance, are three or four
+   men throwing stones, with Tintoret's usual vigor of gesture, and
+   behind them an immense and confused crowd; so that, at first, we
+   wonder where St. Paul is; but presently we observe that, in the front
+   of this crowd, and _almost exactly in the centre of the picture_,
+   there is a figure seated on the ground, very noble and quiet, and with
+   some loose garments thrown across its knees. It is dressed in vigorous
+   black and red. The figure of the Father in the sky above is dressed in
+   black and red also, and these two figures are the centres of color to
+   the whole design. It is almost impossible to praise too highly the
+   refinement of conception which withdrew the unconverted St. Paul into
+   the distance, so as entirely to separate him from the immediate
+   interest of the scene, and yet marked the dignity to which he was
+   afterward to be raised, by investing him with the colors which
+   occurred nowhere else in the picture except in the dress which veils
+   the form of the Godhead. It is also to be noted as an interesting
+   example of the value which the painter put upon color only; another
+   composer would have thought it necessary to exalt the future apostle
+   by some peculiar dignity of action or expression. The posture of the
+   figure is indeed grand, but inconspicuous; Tintoret does not depend
+   upon it, and thinks that the figure is quite ennobled enough by being
+   made a key-note of color.
+
+   It is also worth observing how boldly imaginative is the treatment
+   which covers the ground with piles of stones, and yet leaves the
+   martyr apparently unwounded. Another painter would have covered him
+   with blood, and elaborated the expression of pain upon his
+   countenance. Tintoret leaves us under no doubt as to what manner of
+   death he is dying; he makes the air hurtle with the stones, but he
+   does not choose to make his picture disgusting, or even painful. The
+   face of the martyr is serene, and exulting; and we leave the picture,
+   remembering only how "he fell asleep."
+
+ GIOVANELLI, PALAZZO, at the Ponte di Noale. A fine example of
+   fifteenth century Gothic, founded on the Ducal Palace.
+
+ GIOVANNI E PAOLO, CHURCH OF ST.[72] Foundation of, III. 69. An
+   impressive church, though none of its Gothic is comparable with that
+   of the North, or with that of Verona. The Western door is interesting
+   as one of the last conditions of Gothic design passing into
+   Renaissance, very rich and beautiful of its kind, especially the
+   wreath of fruit and flowers which forms its principal molding. The
+   statue of Bartolomeo Colleone, in the little square beside the church,
+   is certainly one of the noblest works in Italy. I have never seen
+   anything approaching it in animation, in vigor of portraiture, or
+   nobleness of line. The reader will need Lazari's Guide in making the
+   circuit of the church, which is full of interesting monuments: but I
+   wish especially to direct his attention to two pictures, besides the
+   celebrated Peter Martyr: namely,
+
+   1. _The Crucifixion_, by Tintoret; on the wall of the left-hand aisle,
+   just before turning into the transept. A picture fifteen feet long by
+   eleven or twelve high. I do not believe that either the "Miracle of
+   St. Mark," or the great "Crucifixion" in the Scuola di San Rocco, cost
+   Tintoret more pains than this comparatively small work, which is now
+   utterly neglected, covered with filth and cobwebs, and fearfully
+   injured. As a piece of color, and light and shade, it is altogether
+   marvellous. Of all the fifty figures which the picture contains, there
+   is not one which in any way injures or contends with another; nay,
+   there is not a single fold of garment or touch of the pencil which
+   could be spared; every virtue of Tintoret, as a painter, is there in
+   its highest degree,--color at once the most intense and the most
+   delicate, the utmost decision in the arrangement of masses of light,
+   and yet half tones and modulations of endless variety; and all
+   executed with a magnificence of handling which no words are energetic
+   enough to describe. I have hardly ever seen a picture in which there
+   was so much decision, and so little impetuosity, and in which so
+   little was conceded to haste, to accident, or to weakness. It is too
+   infinite a work to be describable; but among its minor passages of
+   extreme beauty, should especially be noticed the manner in which the
+   accumulated forms of the human body, which fill the picture from end
+   to end, are prevented from being felt heavy, by the grace and
+   elasticity of two or three sprays of leafage which spring from a
+   broken root in the foreground, and rise conspicuous in shadow against
+   an interstice filled by the pale blue, grey, and golden light in which
+   the distant crowd is invested, the office of this foliage being, in an
+   artistical point of view, correspondent to that of the trees set by
+   the sculptors of the Ducal Palace on its angles. But they have a far
+   more important meaning in the picture than any artistical one. If the
+   spectator will look carefully at the root which I have called broken,
+   he will find that in reality, it is not broken, but cut; the other
+   branches of the young tree having _lately been cut away_. When we
+   remember that one of the principal incidents in great San Rocco
+   Crucifixion is the ass feeding on withered palm leaves, we shall be at
+   no loss to understand the great painter's purpose in lifting the
+   branch of this mutilated olive against the dim light of the distant
+   sky; while, close beside it, St. Joseph of Arimathea drags along the
+   dust a white garment--observe, the principal light of the
+   picture,--stained with the blood of that King before whom, five days
+   before, his crucifiers had strewn their own garments in the way.
+
+   2. _Our Lady with the Camerlenghi._ (In the centre chapel of the three
+   on the right of the choir.) A remarkable instance of the theoretical
+   manner of representing Scriptural facts, which, at this time, as noted
+   in the second chapter of this volume, was undermining the belief of
+   the facts themselves. Three Venetian chamberlains desired to have
+   their portraits painted, and at the same time to express their
+   devotion to the Madonna; to that end they are painted kneeling before
+   her, and in order to account for their all three being together, and
+   to give a thread or clue to the story of the picture, they are
+   represented as the Three Magi; but lest the spectator should think it
+   strange that the Magi should be in the dress of Venetian chamberlains,
+   the scene is marked as a mere ideality, by surrounding the person of
+   the Virgin with saints who lived five hundred years after her. She has
+   for attendants St. Theodore, St. Sebastian, and St. Carlo (query St.
+   Joseph). One hardly knows whether most to regret the spirit which was
+   losing sight of the verities of religious history in imaginative
+   abstractions, or to praise the modesty and piety which desired rather
+   to be represented as kneeling before the Virgin than in the discharge
+   or among the insignia of important offices of state.
+
+   As an "Adoration of the Magi," the picture is, of course, sufficiently
+   absurd: the St. Sebastian leans back in the corner to be out of the
+   way; the three Magi kneel, without the slightest appearance of
+   emotion, to a Madonna seated in a Venetian loggia of the fifteenth
+   century, and three Venetian servants behind bear their offerings in a
+   very homely sack, tied up at the mouth. As a piece of portraiture and
+   artistical composition, the work is altogether perfect, perhaps the
+   best piece of Tintoret's portrait-painting in existence. It is very
+   carefully and steadily wrought, and arranged with consummate skill on
+   a difficult plan. The canvas is a long oblong, I think about eighteen
+   or twenty feet long, by about seven high; one might almost fancy the
+   painter had been puzzled to bring the piece into use, the figures
+   being all thrown into positions which a little diminish their height.
+   The nearest chamberlain is kneeling, the two behind him bowing
+   themselves slightly, the attendants behind bowing lower, the Madonna
+   sitting, the St. Theodore sitting still lower on the steps at her
+   feet, and the St. Sebastian leaning back, so that all the lines of the
+   picture incline more or less from right to left as they ascend. This
+   slope, which gives unity to the detached groups, is carefully
+   exhibited by what a mathematician would call coordinates,--the upright
+   pillars of the loggia and the horizontal clouds of the beautiful sky.
+   The color is very quiet, but rich and deep, the local tones being
+   brought out with intense force, and the cast shadows subdued, the
+   manner being much more that of Titian than of Tintoret. The sky
+   appears full of light, though it is as dark as the flesh of the faces;
+   and the forms of its floating clouds, as well as of the hills over
+   which they rise, are drawn with a deep remembrance of reality. There
+   are hundreds of pictures of Tintoret's more amazing than this, but I
+   hardly know one that I more love.
+
+   The reader ought especially to study the sculpture round the altar of
+   the Capella del Rosario, as an example of the abuse of the sculptor's
+   art; every accessory being labored out with as much ingenuity and
+   intense effort to turn sculpture into painting, the grass, trees, and
+   landscape being as far realized as possible, and in alto-relievo.
+   These bas-reliefs are by various artists, and therefore exhibit the
+   folly of the age, not the error of an individual.
+
+   The following alphabetical list of the tombs in this church which are
+   alluded to as described in the text, with references to the pages
+   where they are mentioned, will save some trouble:
+
+     Cavalli, Jacopo, III. 82.    |  Mocenigo, Pietro, III. 89.
+     Cornaro, Marco, III. 11.     |  Mocenigo, Tomaso, I. 8, 26, III. 84.
+     Dolfin, Giovanni, III. 78.   |  Morosini, Michele, III. 80.
+     Giustiniani, Marco, I. 315.  |  Steno, Michele, III. 83.
+     Mocenigo, Giovanni, III. 89. |  Vendramin, Andrea, I. 27, III. 88.
+
+ GIOVANNI GRISOSTOMO, CHURCH OF ST. One of the most important in
+   Venice. It is early Renaissance, containing some good sculpture, but
+   chiefly notable as containing a noble Sebastian del Piombo, and a John
+   Bellini, which a few years hence, unless it be "restored," will be
+   esteemed one of the most precious pictures in Italy, and among the
+   most perfect in the world. John Bellini is the only artist who appears
+   to me to have united, in equal and magnificent measures, justness of
+   drawing, nobleness of coloring, and perfect manliness of treatment,
+   with the purest religious feeling. He did, as far as it is possible to
+   do it, instinctively and unaffectedly, what the Caracci only pretended
+   to do. Titian colors better, but has not his piety. Leonardo draws
+   better, but has not his color. Angelico is more heavenly, but has not
+   his manliness, far less his powers of art.
+
+ GIOVANNI ELEMOSINARIO, CHURCH OF ST. Said to contain a Titian and a
+   Bonifazio. Of no other interest.
+
+ GIOVANNI IN BRAGOLA, CHURCH OF ST. A Gothic church of the fourteenth
+   century, small, but interesting, and said to contain some precious
+   works by Cima da Conegliano, and one by John Bellini.
+
+ GIOVANNI NOVO, CHURCH OF ST. Of no importance.
+
+ GIOVANNI, S., SCUOLA DI. A fine example of the Byzantine Renaissance,
+   mixed with remnants of good late Gothic. The little exterior cortile
+   is sweet in feeling, and Lazari praises highly the work of the
+   interior staircase.
+
+ GIUDECCA. The crescent-shaped island (or series of islands), which
+   forms the most northern extremity of the city of Venice, though
+   separated by a broad channel from the main city. Commonly said to
+   derive its name from the number of Jews who lived upon it; but Lazari
+   derives it from the word "Judicato," in Venetian dialect "Zudegà," it
+   having been in old time "adjudged" as a kind of prison territory to
+   the more dangerous and turbulent citizens. It is now inhabited only by
+   the poor, and covered by desolate groups of miserable dwellings,
+   divided by stagnant canals.
+
+   Its two principal churches, the Redentore and St. Eufemia, are named
+   in their alphabetical order.
+
+ GIULIANO, CHURCH OF ST. Of no importance.
+
+ GIUSEPPE DI CASTELLO, CHURCH OF ST. Said to contain a Paul Veronese:
+   otherwise of no importance.
+
+ GIUSTINA, CHURCH OF ST. Of no importance.
+
+ GIUSTINIANI PALAZZO, on the Grand Canal, now Albergo all' Europa. Good
+   late fourteenth century Gothic, but much altered.
+
+ GIUSTINIANI, PALAZZO, next the Casa Foscari, on the Grand Canal.
+   Lazari, I know not on what authority, says that this palace was built
+   by the Giustiniani family before 1428. It is one of those founded
+   directly on the Ducal Palace, together with the Casa Foscari at its
+   side: and there could have been no doubt of their date on this ground;
+   but it would be interesting, after what we have seen of the progress
+   of the Ducal Palace, to ascertain the exact year of the erection of
+   any of these imitations.
+
+   This palace contains some unusually rich detached windows, full of
+   tracery, of which the profiles are given in the Appendix, under the
+   title of the Palace of the Younger Foscari, it being popularly
+   reported to have belonged to the son of the Doge.
+
+ GIUSTINIAN LOLIN, PALAZZO, on the Grand Canal. Of no importance.
+
+ GRASSI PALAZZO, on the Grand Canal, now Albergo all' Imperator d'
+   Austria. Of no importance.
+
+ GREGORIO, CHURCH OF ST., on the Grand Canal. An important church of
+   the fourteenth century, now desecrated, but still interesting. Its
+   apse is on the little canal crossing from the Grand Canal to the
+   Giudecca, beside the Church of the Salute, and is very characteristic
+   of the rude ecclesiastical Gothic contemporary with the Ducal Palace.
+   The entrance to its cloisters, from the Grand Canal, is somewhat
+   later; a noble square door, with two windows on each side of it, the
+   grandest examples in Venice of the late window of the fourth order.
+
+   The cloister, to which this door gives entrance, is exactly
+   contemporary with the finest work of the Ducal Palace, circa 1350. It
+   is the loveliest cortile I know in Venice; its capitals consummate in
+   design and execution; and the low wall on which they stand showing
+   remnants of sculpture unique, as far as I know, in such application.
+
+ GRIMANI, PALAZZO, on the Grand Canal, III. 32.
+
+   There are several other palaces in Venice belonging to this family,
+   but none of any architectural interest.
+
+
+    J
+
+ JESUITI, CHURCH OF THE. The basest Renaissance; but worth a visit in
+   order to examine the imitations of curtains in white marble inlaid
+   with green.
+
+   It contains a Tintoret, "The Assumption," which I have not examined;
+   and a Titian, "The Martyrdom of St. Lawrence," originally, it seems to
+   me, of little value, and now, having been restored, of none.
+
+
+    L
+
+ LABIA PALAZZO, on the Canna Reggio. Of no importance.
+
+ LAZZARO DE' MENDICANTI, CHURCH OF ST. Of no importance.
+
+ LIBRERIA VECCHIA. A graceful building of the central Renaissance,
+   designed by Sansovino, 1536, and much admired by all architects of the
+   school. It was continued by Scamozzi, down the whole side of St.
+   Mark's Place, adding another story above it, which modern critics
+   blame as destroying the "eurithmia;" never considering that had the
+   two low stories of the Library been continued along the entire length
+   of the Piazza, they would have looked so low that the entire dignity
+   of the square would have been lost. As it is, the Library is left in
+   its originally good proportions, and the larger mass of the Procuratie
+   Nuove forms a more majestic, though less graceful, side for the great
+   square.
+
+   But the real faults of the building are not in its number of stories,
+   but in the design of the parts. It is one of the grossest examples of
+   the base Renaissance habit of turning _keystones_ into _brackets_,
+   throwing them out in bold projection (not less than a foot and a half)
+   beyond the mouldings of the arch; a practice utterly barbarous,
+   inasmuch as it evidently tends to dislocate the entire arch, if any
+   real weight were laid on the extremity of the keystone; and it is also
+   a very characteristic example of the vulgar and painful mode of
+   filling spandrils by naked figures in alto-relievo, leaning against
+   the arch on each side, and appearing as if they were continually in
+   danger of slipping off. Many of these figures have, however, some
+   merit in themselves; and the whole building is graceful and effective
+   of its kind. The continuation of the Procuratie Nuove, at the western
+   extremity of St. Mark's Place (together with various apartments in the
+   great line of the Procuratie Nuove) forms the "Royal Palace," the
+   residence of the Emperor when at Venice. This building is entirely
+   modern, built in 1810, in imitation of the Procuratie Nuove, and on
+   the site of Sansovino's Church of San Geminiano.
+
+   In this range of buildings, including the Royal Palace, the Procuratie
+   Nuove, the old Library, and the "Zecca" which is connected with them
+   (the latter being an ugly building of very modern date, not worth
+   notice architecturally), there are many most valuable pictures, among
+   which I would especially direct attention, first to those in the
+   Zecca, namely, a beautiful and strange Madonna, by Benedetto Diana;
+   two noble Bonifazios; and two groups, by Tintoret, of the Provveditori
+   della Zecca, by no means to be missed, whatever may be sacrificed to
+   see them, on account of the quietness and veracity of their unaffected
+   portraiture, and the absolute freedom from all vanity either in the
+   painter or in his subjects.
+
+   Next, in the "Antisala" of the old Library, observe the "Sapienza" of
+   Titian, in the centre of the ceiling; a most interesting work in the
+   light brilliancy of its color, and the resemblance to Paul Veronese.
+   Then, in the great hall of the old Library, examine the two large
+   Tintorets, "St. Mark saving a Saracen from Drowning," and the
+   "Stealing of his Body from Constantinople," both rude, but great (note
+   in the latter the dashing of the rain on the pavement, and running of
+   the water about the feet of the figures): then in the narrow spaces
+   between the windows, there are some magnificent single figures by
+   Tintoret, among the finest things of the kind in Italy, or in Europe.
+   Finally, in the gallery of pictures in the Palazzo Reale, among other
+   good works of various kinds, are two of the most interesting
+   Bonifazios in Venice, the "Children of Israel in their journeyings,"
+   in one of which, if I recollect right, the quails are coming in flight
+   across a sunset sky, forming one of the earliest instances I know of a
+   thoroughly natural and Turneresque effect being felt and rendered by
+   the old masters. The picture struck me chiefly from this circumstance;
+   but, the note-book in which I had described it and its companion
+   having been lost on my way home, I cannot now give a more special
+   account of them, except that they are long, full of crowded figures,
+   and peculiarly light in color and handling as compared with
+   Bonifazio's work in general.
+
+ LIO, CHURCH OF ST. Of no importance, but said to contain a spoiled
+   Titian.
+
+ LIO, SALIZZADA DI ST., windows in, II. 252, 257.
+
+ LOREDAN, PALAZZO, on the Grand Canal, near the Rialto, II. 123, 393.
+   Another palace of this name, on the Campo St. Stefano, is of no
+   importance.
+
+ LORENZO, CHURCH OF ST. Of no importance.
+
+ LUCA, CHURCH OF ST. Its campanile is of very interesting and quaint
+   early Gothic, and it is said to contain a Paul Veronese, "St Luke and
+   the Virgin." In the little Campiello St. Luca, close by, is a very
+   precious Gothic door, rich in brickwork, of the thirteenth century;
+   and in the foundations of the houses on the same side of the square,
+   but at the other end of it, are traceable some shafts and arches
+   closely resembling the work of the Cathedral of Murano, and evidently
+   having once belonged to some most interesting building.
+
+ LUCIA, CHURCH OF ST. Of no importance.
+
+
+    M
+
+ MADDALENA, CHURCH OF STA. MARIA. Of no importance.
+
+ MALIPIERO, PALAZZO, on the Campo St. M. Formosa, facing the canal at its
+   extremity. A very beautiful example of the Byzantine Renaissance. Note
+   the management of color in its inlaid balconies.
+
+ MANFRINI, PALAZZO. The architecture is of no interest; and as it is in
+   contemplation to allow the collection of pictures to be sold, I shall
+   take no note of them. But even if they should remain, there are few of
+   the churches in Venice where the traveller had not better spend his
+   time than in this gallery; as, with the exception of Titian's
+   "Entombment," one or two Giorgiones, and the little John Bellini (St.
+   Jerome), the pictures are all of a kind which may be seen elsewhere.
+
+ MANGILI VALMARANA, PALAZZO, on the Grand Canal. Of no importance.
+
+ MANIN, PALAZZO, on the Grand Canal. Of no importance.
+
+ MANZONI, PALAZZO, on the Grand Canal, near the Church of the Carità. A
+   perfect and very rich example of Byzantine Renaissance: its warm
+   yellow marbles are magnificent.
+
+ MARCILIAN, CHURCH OF ST. Said to contain a Titian, "Tobit and the
+   Angel:" otherwise of no importance.
+
+ MARIA, CHURCHES OF STA. See FORMOSA, MATER DOMINI, MIRACOLI, ORTO,
+   SALUTE, and ZOBENIGO.
+
+ MARCO, SCUOLA DI SAN, III. 16.
+
+ MARK, CHURCH OF ST., history of, II. 57; approach to, II. 71; general
+   teaching of, II. 112, 116; measures of façade of, II. 126; balustrades
+   of, II. 244, 247; cornices of, I. 311; horseshoe arches of, II. 249;
+   entrances of, II. 271, III. 245; shafts of, II. 384; base in
+   baptistery of, I. 290; mosaics in atrium of, II. 112; mosaics in
+   cupola of, II. 114, III. 192; lily capitals of, II. 137; Plates
+   illustrative of (Vol. II.), VI. VII. figs. 9, 10, 11, VIII. figs. 8,
+   9, 12, 13, 15, IX. XI. fig. 1, and Plate III. Vol. III.
+
+ MARK, SQUARE OF ST. (Piazza di San Marco), anciently a garden, II. 58;
+   general effect of, II. 66, 116; plan of, II. 282.
+
+ MARTINO, CHURCH OF ST. Of no importance.
+
+ MATER DOMINI, CHURCH OF ST. MARIA. It contains two important pictures:
+   one over the second altar on the right, "St. Christina," by Vincenzo
+   Catena, a very lovely example of the Venetian religious school; and,
+   over the north transept door, the "Finding of the Cross," by Tintoret,
+   a carefully painted and attractive picture, but by no means a good
+   specimen of the master, as far as regards power of conception. He does
+   not seem to have entered into his subject. There is no wonder, no
+   rapture, no entire devotion in any of the figures. They are only
+   interested and pleased in a mild way; and the kneeling woman who hands
+   the nails to a man stooping forward to receive them on the right hand,
+   does so with the air of a person saying, "You had better take care of
+   them; they may be wanted another time." This general coldness in
+   expression is much increased by the presence of several figures on the
+   right and left, introduced for the sake of portraiture merely; and
+   the reality, as well as the feeling, of the scene is destroyed by our
+   seeing one of the youngest and weakest of the women with a huge cross
+   lying across her knees, the whole weight of it resting upon her. As
+   might have been expected, where the conception is so languid, the
+   execution is little delighted in; it is throughout steady and
+   powerful, but in no place affectionate, and in no place impetuous. If
+   Tintoret had always painted in this way, he would have sunk into a
+   mere mechanist. It is, however, a genuine and tolerably well preserved
+   specimen, and its female figures are exceedingly graceful; that of St.
+   Helena very queenly, though by no means agreeable in feature. Among
+   the male portraits on the left there is one different from the usual
+   types which occur either in Venetian paintings or Venetian populace;
+   it is carefully painted, and more like a Scotch Presbyterian minister,
+   than a Greek. The background is chiefly composed of architecture,
+   white, remarkably uninteresting in color, and still more so in form.
+   This is to be noticed as one of the unfortunate results of the
+   Renaissance teaching at this period. Had Tintoret backed his Empress
+   Helena with Byzantine architecture, the picture might have been one of
+   the most gorgeous he ever painted.
+
+ MATER DOMINI, CAMPO DI STA. MARIA, II. 261. A most interesting little
+   piazza, surrounded by early Gothic houses, once of singular beauty;
+   the arcade at its extremity, of fourth order windows, drawn in my
+   folio work, is one of the earliest and loveliest of its kind in
+   Venice; and in the houses at the side is a group of second order
+   windows with their intermediate crosses, all complete, and well worth
+   careful examination.
+
+ MICHELE IN ISOLA, CHURCH OF ST. On the island between Venice and
+   Murano. The little Cappella Emiliana at the side of it has been much
+   admired, but it would be difficult to find a building more feelingless
+   or ridiculous. It is more like a German summer-house, or angle turret,
+   than a chapel, and may be briefly described as a bee-hive set on a low
+   hexagonal tower, with dashes of stone-work about its windows like the
+   flourishes of an idle penman.
+
+   The cloister of this church is pretty; and the attached cemetery is
+   worth entering, for the sake of feeling the strangeness of the quiet
+   sleeping ground in the midst of the sea.
+
+ MICHIEL DALLE COLONNE, PALAZZO. Of no importance.
+
+ MINELLI, PALAZZO. In the Corte del Maltese, at St. Paternian. It has a
+   spiral external staircase, very picturesque, but of the fifteenth
+   century and without merit.
+
+ MIRACOLI, CHURCH OF STA. MARIA DEI. The most interesting and finished
+   example in Venice of the Byzantine Renaissance, and one of the most
+   important in Italy of the cinque-cento style. All its sculptures
+   should be examined with great care, as the best possible examples of a
+   bad style. Observe, for instance, that in spite of the beautiful work
+   on the square pillars which support the gallery at the west end, they
+   have no more architectural effect than two wooden posts. The same kind
+   of failure in boldness of purpose exists throughout; and the building
+   is, in fact, rather a small museum of unmeaning, though refined
+   sculpture, than a piece of architecture.
+
+   Its grotesques are admirable examples of the base Raphaelesque design
+   examined above, III. 136. Note especially the children's heads tied up
+   by the hair, in the lateral sculptures at the top of the altar steps.
+   A rude workman, who could hardly have carved the head at all, might
+   have allowed this or any other mode of expressing discontent with his
+   own doings; but the man who could carve a child's head so perfectly
+   must have been wanting in all human feeling, to cut it off, and tie it
+   by the hair to a vine leaf. Observe, in the Ducal Palace, though far
+   ruder in skill, the heads always _emerge_ from the leaves, they are
+   never _tied_ to them.
+
+ MISERICORDIA, CHURCH OF. The church itself is nothing, and contains
+   nothing worth the traveller's time; but the Albergo de' Confratelli
+   della Misericordia at its side is a very interesting and beautiful
+   relic of the Gothic Renaissance. Lazari says, "del secolo xiv.;" but I
+   believe it to be later. Its traceries are very curious and rich, and
+   the sculpture of its capitals very fine for the late time. Close to
+   it, on the right-hand side of the canal which is crossed by the wooden
+   bridge, is one of the richest Gothic doors in Venice, remarkable for
+   the appearance of antiquity in the general design and stiffness of its
+   figures, though it bears its date 1505. Its extravagant crockets are
+   almost the only features which, but for this written date, would at
+   first have confessed its lateness; but, on examination, the figures
+   will be found as bad and spiritless as they are apparently archaic,
+   and completely exhibiting the Renaissance palsy of imagination.
+
+   The general effect is, however, excellent, the whole arrangement
+   having been borrowed from earlier work.
+
+   The action of the statue of the Madonna, who extends her robe to
+   shelter a group of diminutive figures, representative of the Society
+   for whose house the sculpture was executed, may be also seen in most
+   of the later Venetian figures of the Virgin which occupy similar
+   situations. The image of Christ is placed in a medallion on her
+   breast, thus fully, though conventionally, expressing the idea of
+   self-support which is so often partially indicated by the great
+   religious painters in their representations of the infant Jesus.
+
+ MOISÈ, CHURCH OF ST., III. 124. Notable as one of the basest examples
+   of the basest school of the Renaissance. It contains one important
+   picture, namely "Christ washing the Disciples' Feet," by Tintoret; on
+   the left side of the chapel, north of the choir. This picture has been
+   originally dark, is now much faded--in parts, I believe, altogether
+   destroyed--and is hung in the worst light of a chapel, where, on a
+   sunny day at noon, one could not easily read without a candle. I
+   cannot, therefore, give much information respecting it; but it is
+   certainly one of the least successful of the painter's works, and both
+   careless and unsatisfactory in its composition as well as its color.
+   One circumstance is noticeable, as in a considerable degree detracting
+   from the interest of most of Tintoret's representations of our Saviour
+   with his disciples. He never loses sight of the fact that all were
+   poor, and the latter ignorant; and while he never paints a senator, or
+   a saint once thoroughly canonized, except as a gentleman, he is very
+   careful to paint the Apostles, in their living intercourse with the
+   Saviour, in such a manner that the spectator may see in an instant, as
+   the Pharisee did of old, that they were unlearned and ignorant men;
+   and, whenever we find them in a room, it is always such a one as would
+   be inhabited by the lower classes. There seems some violation of this
+   practice in the dais, or flight of steps, at the top of which the
+   Saviour is placed in the present picture; but we are quickly reminded
+   that the guests' chamber or upper room ready prepared was not likely
+   to have been in a palace, by the humble furniture upon the floor,
+   consisting of a tub with a copper saucepan in it, a coffee-pot, and a
+   pair of bellows, curiously associated with a symbolic cup with a
+   wafer, which, however, is in an injured part of the canvas, and may
+   have been added by the priests. I am totally unable to state what the
+   background of the picture is or has been; and the only point farther
+   to be noted about it is the solemnity, which, in spite of the familiar
+   and homely circumstances above noticed, the painter has given to the
+   scene, by placing the Saviour, in the act of washing the feet of
+   Peter, at the top of a circle of steps, on which the other Apostles
+   kneel in adoration and astonishment.
+
+ MORO, PALAZZO. See OTHELLO.
+
+ MOROSINI, PALAZZO, near the Ponte dell' Ospedaletto, at San Giovannie
+   Paolo. Outside it is not interesting, though the gateway shows remains
+   of brickwork of the thirteenth century. Its interior court is
+   singularly beautiful; the staircase of early fourteenth century Gothic
+   has originally been superb, and the window in the angle above is the
+   most perfect that I know in Venice of the kind; the lightly sculptured
+   coronet is exquisitely introduced at the top of its spiral shaft.
+
+   This palace still belongs to the Morosini family, to whose present
+   representative, the Count Carlo Morosini, the reader is indebted for
+   the note on the character of his ancestors, above, III. 213.
+
+ MOROSINI, PALAZZO, at St. Stefano. Of no importance.
+
+
+    N
+
+ NANI-MOCENIGO, PALAZZO. (Now Hotel Danieli.) A glorious example of the
+   central Gothic, nearly contemporary with the finest part of the Ducal
+   Palace. Though less impressive in effect than the Casa Foscari or Casa
+   Bernardo, it is of purer architecture than either: and quite unique in
+   the delicacy of the form of the cusps in the central group of windows,
+   which are shaped like broad scimitars, the upper foil of the windows
+   being very small. If the traveller will compare these windows with
+   the neighboring traceries of the Ducal Palace, he will easily perceive
+   the peculiarity.
+
+ NICOLO DEL LIDO, CHURCH OF ST. Of no importance.
+
+ NOME DI GESU, CHURCH OF THE. Of no importance.
+
+
+    O
+
+ ORFANI, CHURCH OF THE. Of no importance.
+
+ ORTO, CHURCH OF STA. MARIA, DELL'. An interesting example of Renaissance
+   Gothic, the traceries of the windows being very rich and quaint.
+
+   It contains four most important Tintorets: "The Last Judgment," "The
+   Worship of the Golden Calf," "The Presentation of the Virgin," and
+   "Martyrdom of St. Agnes." The first two are among his largest and
+   mightiest works, but grievously injured by damp and neglect; and
+   unless the traveller is accustomed to decipher the thoughts in a
+   picture patiently, he need not hope to derive any pleasure from them.
+   But no pictures will better reward a resolute study. The following
+   account of the "Last Judgment," given in the second volume of "Modern
+   Painters," will be useful in enabling the traveller to enter into the
+   meaning of the picture, but its real power is only to be felt by
+   patient examination of it.
+
+   "By Tintoret only has this unimaginable event (the Last Judgment) been
+   grappled with in its Verity; not typically nor symbolically, but as
+   they may see it who shall not sleep, but be changed. Only one
+   traditional circumstance he has received, with Dante and Michael
+   Angelo, the Boat of the Condemned; but the impetuosity of his mind
+   bursts out even in the adoption of this image; he has not stopped at
+   the scowling ferryman of the one, nor at the sweeping blow and demon
+   dragging of the other, but, seized Hylas like by the limbs, and
+   tearing up the earth in his agony, the victim is dashed into his
+   destruction; nor is it the sluggish Lethe, nor the fiery lake, that
+   bears the cursed vessel, but the oceans of the earth and the waters of
+   the firmament gathered into one white, ghastly cataract; the river of
+   the wrath of God, roaring down into the gulf where the world has
+   melted with its fervent heat, choked with the ruins of nations, and
+   the limbs of its corpses tossed out of its whirling, like
+   water-wheels. Bat-like, out of the holes and caverns and shadows of
+   the earth, the bones gather, and the clay heaps heave, rattling and
+   adhering into half-kneaded anatomies, that crawl, and startle, and
+   struggle up among the putrid weeds, with the clay clinging to their
+   clotted hair, and their heavy eyes sealed by the earth darkness yet,
+   like his of old who went his way unseeing to the Siloam Pool; shaking
+   off one by one the dreams of the prison-house, hardly hearing the
+   clangor of the trumpets of the armies of God, blinded yet more, as
+   they awake, by the white light of the new Heaven, until the great
+   vortex of the four winds bears up their bodies to the judgment seat;
+   the Firmament is all full of them, a very dust of human souls, that
+   drifts, and floats, and falls into the interminable, inevitable light;
+   the bright clouds are darkened with them as with thick snow, currents
+   of atom life in the arteries of heaven, now soaring up slowly, and
+   higher and higher still, till the eye and the thought can follow no
+   farther, borne up, wingless, by their inward faith and by the angel
+   powers invisible, now hurled in countless drifts of horror before the
+   breath of their condemnation."
+
+   Note in the opposite picture the way the clouds are wrapped about in
+   the distant Sinai.
+
+   The figure of the little Madonna in the "Presentation" should be
+   compared with Titian's in his picture of the same subject in the
+   Academy. I prefer Tintoret's infinitely: and note how much finer is
+   the feeling with which Tintoret has relieved the glory round her head
+   against the pure sky, than that which influenced Titian in encumbering
+   his distance with architecture.
+
+   The "Martyrdom of St. Agnes" _was_ a lovely picture. It has been
+   "restored" since I saw it.
+
+ OSPEDALETTO, CHURCH OF THE. The most monstrous example of the
+   Grotesque Renaissance which there is in Venice; the sculptures on its
+   façade representing masses of diseased figures and swollen fruit.
+
+   It is almost worth devoting an hour to the successive examination of
+   five buildings, as illustrative of the last degradation of the
+   Renaissance. San Moisè is the most clumsy, Santa Maria Zobenigo the
+   most impious, St. Eustachio the most ridiculous, the Ospedaletto the
+   most monstrous, and the head at Santa Maria Formosa the most foul.
+
+ OTHELLO, HOUSE OF, at the Carmini. The researches of Mr. Brown into
+   the origin of the play of "Othello" have, I think, determined that
+   Shakspeare wrote on definite historical grounds; and that Othello may
+   be in many points identified with Christopher Moro, the lieutenant of
+   the republic at Cyprus, in 1508. See "Ragguagli su Maria Sanuto," i.
+   252.
+
+   His palace was standing till very lately, a Gothic building of the
+   fourteenth century, of which Mr. Brown possesses a drawing. It is now
+   destroyed, and a modern square-windowed house built on its site. A
+   statue, said to be a portrait of Moro, but a most paltry work, is set
+   in a niche in the modern wall.
+
+
+    P
+
+ PANTALEONE, CHURCH OF ST. Said to contain a Paul Veronese; otherwise of
+   no importance.
+
+ PATERNIAN, CHURCH OF ST. Its little leaning tower forms an interesting
+   object as the traveller sees it from the narrow canal which passes
+   beneath the Porte San Paternian. The two arched lights of the belfry
+   appear of very early workmanship, probably of the beginning of the
+   thirteenth century.
+
+ PESARO PALAZZO, on the Grand Canal. The most powerful and impressive
+   in effect of all the palaces of the Grotesque Renaissance. The heads
+   upon its foundation are very characteristic of the period, but there
+   is more genius in them than usual. Some of the mingled expressions of
+   faces and grinning casques are very clever.
+
+ PIAZZETTA, pillars of, see Final Appendix under head "Capital." The
+   two magnificent blocks of marble brought from St. Jean d'Acre, which
+   form one of the principal ornaments of the Piazzetta, are Greek
+   sculpture of the sixth century, and will be described in my folio
+   work.
+
+ PIETA, CHURCH OF THE. Of no importance.
+
+ PIETRO, CHURCH OF ST., at Murano. Its pictures, once valuable, are now
+   hardly worth examination, having been spoiled by neglect.
+
+ PIETRO, DI CASTELLO, CHURCH OF ST., I. 7, 361. It is said to contain
+   a Paul Veronese, and I suppose the so-called "Chair of St. Peter" must
+   be worth examining.
+
+ PISANI, PALAZZO, on the Grand Canal. The latest Venetian Gothic, just
+   passing into Renaissance. The capitals of the first floor windows are,
+   however, singularly spirited and graceful, very daringly under-cut,
+   and worth careful examination. The Paul Veronese, once the glory of
+   this palace, is, I believe, not likely to remain in Venice. The other
+   picture in the same room, the "Death of Darius," is of no value.
+
+ PISANI, PALAZZO, at St. Stefano. Late Renaissance, and of no merit,
+   but grand in its colossal proportions, especially when seen from the
+   narrow canal at its side, which terminated by the apse of the Church
+   of San Stefano, is one of the most picturesque and impressive little
+   pieces of water scenery in Venice.
+
+ POLO, CHURCH OF ST. Of no importance, except as an example of the
+   advantages accruing from restoration. M. Lazari says of it, "Before
+   this church was modernized, its principal chapel was adorned with
+   Mosaics, and possessed a pala of silver gilt, of Byzantine
+   workmanship, which is now lost."
+
+ POLO, SQUARE OF ST. (Campo San Polo.) A large and important square,
+   rendered interesting chiefly by three palaces on the side of it
+   opposite the church, of central Gothic (1360), and fine of their time,
+   though small. One of their capitals has been given in Plate II. of
+   this volume, fig. 12. They are remarkable as being decorated with
+   sculptures of the Gothic time, in imitation of Byzantine ones; the
+   period being marked by the dog-tooth and cable being used instead of
+   the dentil round the circles.
+
+ POLO, PALAZZO, at San G. Grisostomo (the house of Marco Polo), II. 139.
+   Its interior court is full of interest, showing fragments of the old
+   building in every direction, cornices, windows, and doors, of almost
+   every period, mingled among modern rebuilding and restoration of all
+   degrees of dignity.
+
+ PORTA DELLA CARTA, II. 302.
+
+ PRIULI, PALAZZO. A most important and beautiful early Gothic Palace,
+   at San Severo; the main entrance is from the Fundamento San Severo,
+   but the principal façade is on the other side, towards the canal. The
+   entrance has been grievously defaced, having had winged lions filling
+   the spandrils of its pointed arch, of which only feeble traces are now
+   left, the façade has very early fourth order windows in the lower
+   story, and above, the beautiful range of fifth order windows drawn at
+   the bottom of Plate XVIII. Vol. II., where the heads of the fourth
+   order range are also seen (note their inequality, the larger one at
+   the flank). This Palace has two most interesting traceried angle
+   windows also, which, however, I believe are later than those on the
+   façade; and finally, a rich and bold interior staircase.
+
+   PROCURATIE NUOVE, see "LIBRERIA" VECCHIA: A graceful series buildings,
+   of late fifteenth century design, forming the northern side of St.
+   Mark's Place, but of no particular interest.
+
+
+    Q
+
+ QUERINI, PALAZZO, now the Beccherie, II. 255, III. 234.
+
+
+    R
+
+ RAFFAELLE, CHIESA DELL'ANGELO. Said to contain a Bonifazio, otherwise of
+   no importance.
+
+ REDENTORE, CHURCH OF THE, II. 378. It contains three interesting John
+   Bellinis, and also, in the sacristy, a most beautiful Paul Veronese.
+
+ REMER, CORTE DEL, house in. II. 251.
+
+ REZZONICO, PALAZZO, on the Grand Canal. Of the Grotesque Renaissance
+   time, but less extravagant than usual.
+
+ RIALTO, BRIDGE OF THE. The best building raised in the time of the
+   Grotesque Renaissance; very noble in its simplicity, in its
+   proportions, and in its masonry. Note especially the grand way in
+   which the oblique archstones rest on the butments of the bridge, safe,
+   palpably both to the sense and eye: note also the sculpture of the
+   Annunciation on the southern side of it; how beautifully arranged, so
+   as to give more lightness and a grace to the arch--_the dove, flying
+   towards the Madonna, forming the keystone_,--and thus the whole action
+   of the figures being parallel to the curve of the arch, while all the
+   masonry is at right angles to it. Note, finally, one circumstance
+   which gives peculiar firmness to the figure of the angel, and
+   associates itself with the general expression of strength in the
+   whole building; namely that the sole of the advanced foot is set
+   perfectly level, as if placed on the ground, instead of being thrown
+   back behind like a heron's, as in most modern figures of this kind.
+
+   The sculptures themselves are not good; but these pieces of feeling in
+   them are very admirable. The two figures on the other side, St. Mark
+   and St. Theodore, are inferior, though all by the same sculptor,
+   Girolamo Campagna.
+
+   The bridge was built by Antonio da Ponte, in 1588. It was anciently of
+   wood, with a drawbridge in the centre, a representation of which may
+   be seen in one of Carpaccio's pictures at the Accademia delle Belle
+   Arti: and the traveller should observe that the interesting effect,
+   both of this and the Bridge of Sighs, depends in great part on their
+   both being _more_ than bridges; the one a covered passage, the other a
+   row of shops, sustained on an arch. No such effect can be produced
+   merely by the masonry of the roadway itself.
+
+ RIO DEL PALAZZO, II. 282.
+
+ ROCCO, CAMPIELLO DI SAN, windows in, II. 258.
+
+ ROCCO, CHURCH OF ST. Notable only for the most interesting pictures by
+   Tintoret which it contains, namely:
+
+   1. _San Rocco before the Pope._ (On the left of the door as we enter.)
+   A delightful picture in his best manner, but not much labored; and,
+   like several other pictures in this church, it seems to me to have
+   been executed at some period of the painter's life when he was either
+   in ill health, or else had got into a mechanical way of painting, from
+   having made too little reference to nature for a long time. There is
+   something stiff and forced in the white draperies on both sides, and a
+   general character about the whole which I can feel better than I can
+   describe; but which, if I had been the painter's physician, would have
+   immediately caused me to order him to shut up his painting-room, and
+   take a voyage to the Levant, and back again. The figure of the Pope
+   is, however, extremely beautiful, and is not unworthy, in its jewelled
+   magnificence, here dark against the sky, of comparison with the figure
+   of the high priest in the "Presentation," in the Scuola di San Rocco.
+
+   2. _Annunciation._ (On the other side of the door, on entering.) A
+   most disagreeable and dead picture, having all the faults of the age,
+   and none of the merits of the painter. It must be a matter of future
+   investigation to me, what could cause the fall of his mind from a
+   conception so great and so fiery as that of the "Annunciation" in the
+   Scuola di San Rocco, to this miserable reprint of an idea worn out
+   centuries before. One of the most inconceivable things in it,
+   considered as the work of Tintoret, is that where the angel's robe
+   drifts away behind his limb, one cannot tell by the character of the
+   outline, or by the tones of the color, whether the cloud comes in
+   before the robe, or whether the robe cuts upon the cloud. The Virgin
+   is uglier than that of the Scuola, and not half so real; and the
+   draperies are crumpled in the most commonplace and ignoble folds. It
+   is a picture well worth study, as an example of the extent to which
+   the greatest mind may be betrayed by the abuse of its powers, and the
+   neglect of its proper food in the study of nature.
+
+   3. _Pool of Bethesda._ (On the right side of the church, in its
+   centre, the lowest of the two pictures which occupy the wall.) A noble
+   work, but eminently disagreeable, as must be all pictures of this
+   subject; and with the same character in it of undefinable want, which
+   I have noticed in the two preceding works. The main figure in it is
+   the cripple, who has taken up his bed; but the whole effect of this
+   action is lost by his not turning to Christ, but flinging it on his
+   shoulder like a triumphant porter with a huge load; and the corrupt
+   Renaissance architecture, among which the figures are crowded, is both
+   ugly in itself, and much too small for them. It is worth noticing, for
+   the benefit of persons who find fault with the perspective of the
+   Pre-Raphaelites, that the perspective of the brackets beneath these
+   pillars is utterly absurd; and that, in fine, the presence or absence
+   of perspective has nothing to do with the merits of a great picture:
+   not that the perspective of the Pre-Raphaelites _is_ false in any case
+   that I have examined, the objection being just as untenable as it is
+   ridiculous.
+
+   4. _San Rocco in the Desert._ (Above the last-named picture.) A single
+   recumbent figure in a not very interesting landscape, deserving less
+   attention than a picture of St. Martin just opposite to it,--a noble
+   and knightly figure on horseback by Pordenone, to which I cannot pay a
+   greater compliment than by saying that I was a considerable time in
+   doubt whether or not it was another Tintoret.
+
+   5. _San Rocco in the Hospital._ (On the right-hand side of the altar.)
+   There are four vast pictures by Tintoret in the dark choir of this
+   church, not only important by their size (each being some twenty-five
+   feet long by ten feet high), but also elaborate compositions; and
+   remarkable, one for its extraordinary landscape, and the other as the
+   most studied picture in which the painter has introduced horses in
+   violent action. In order to show what waste of human mind there is in
+   these dark churches of Venice, it is worth recording that, as I was
+   examining these pictures, there came in a party of eighteen German
+   tourists, not hurried, nor jesting among themselves as large parties
+   often do, but patiently submitting to their cicerone, and evidently
+   desirous of doing their duty as intelligent travellers. They sat down
+   for a long time on the benches of the nave, looked a little at the
+   "Pool of Bethesda," walked up into the choir and there heard a lecture
+   of considerable length from their _valet-de-place_ upon some subject
+   connected with the altar itself, which, being in German, I did not
+   understand; they then turned and went slowly out of the church, not
+   one of the whole eighteen ever giving a single glance to any of the
+   four Tintorets, and only one of them, as far as I saw, even raising
+   his eyes to the walls on which they hung, and immediately withdrawing
+   them, with a jaded and _nonchalant_ expression easily interpretable
+   into "Nothing but old black pictures." The two Tintorets above
+   noticed, at the end of the church, were passed also without a glance;
+   and this neglect is not because the pictures have nothing in them
+   capable of arresting the popular mind, but simply because they are
+   totally in the dark, or confused among easier and more prominent
+   objects of attention. This picture, which I have called "St. Rocco in
+   the Hospital," shows him, I suppose, in his general ministrations at
+   such places, and is one of the usual representations of a disgusting
+   subject from which neither Orcagna nor Tintoret seems ever to have
+   shrunk. It is a very noble picture, carefully composed and highly
+   wrought; but to me gives no pleasure, first, on account of its
+   subject, secondly, on account of its dull brown tone all over,--it
+   being impossible, or nearly so, in such a scene, and at all events
+   inconsistent with its feeling, to introduce vivid color of any kind.
+   So it is a brown study of diseased limbs in a close room.
+
+   6. _Cattle Piece._ (Above the picture last described.) I can give no
+   other name to this picture, whose subject I can neither guess nor
+   discover, the picture being in the dark, and the guide-books leaving
+   me in the same position. All I can make out of it is, that there is a
+   noble landscape with cattle and figures. It seems to me the best
+   landscape of Tintoret's in Venice, except the "Flight into Egypt;" and
+   is even still more interesting from its savage character, the
+   principal trees being pines, something like Titian's in his "St.
+   Francis receiving the Stigmata," and chestnuts on the slopes and in
+   the hollows of the hills; the animals also seem first-rate. But it is
+   too high, too much faded, and too much in the dark to be made out. It
+   seems never to have been rich in color, rather cool and grey, and very
+   full of light.
+
+   7. _Finding of Body of San Rocco._ (On the left-hand side of the
+   altar.) An elaborate, but somewhat confused picture, with a flying
+   angel in a blue drapery; but it seemed to me altogether uninteresting,
+   or perhaps requiring more study than I was able to give it.
+
+   8. _San Rocco in Campo d' Armata._ So this picture is called by the
+   sacristan. I could see no San Rocco in it; nothing but a wild group of
+   horses and warriors in the most magnificent confusion of fall and
+   flight ever painted by man. They seem all dashed different ways as if
+   by a whirlwind; and a whirlwind there must be, or a thunderbolt,
+   behind them, for a huge tree is torn up and hurled into the air beyond
+   the central figure, as if it were a shivered lance. Two of the horses
+   meet in the midst, as if in a tournament; but in madness of fear, not
+   in hostility; on the horse to the right is a standard-bearer, who
+   stoops as from some foe behind him, with the lance laid across his
+   saddle-bow, level, and the flag stretched out behind him as he flies,
+   like the sail of a ship drifting from its mast; the central horseman,
+   who meets the shock, of storm, or enemy, whatever it be, is hurled
+   backwards from his seat, like a stone from a sling; and this figure
+   with the shattered tree trunk behind it, is the most noble part of the
+   picture. There is another grand horse on the right, however, also in
+   full action. Two gigantic figures on foot, on the left, meant to be
+   nearer than the others, would, it seems to me, have injured the
+   picture, had they been clearly visible; but time has reduced them to
+   perfect subordination.
+
+
+ ROCCO, SCUOLA DI SAN, bases of, I. 291, 431; soffit ornaments of, I.
+   337. An interesting building of the early Renaissance (1517), passing
+   into Roman Renaissance. The wreaths of leafage about its shafts are
+   wonderfully delicate and fine, though misplaced.
+
+   As regards the pictures which it contains, it is one of the three most
+   precious buildings in Italy; buildings, I mean, consistently decorated
+   with a series of paintings at the time of their erection, and still
+   exhibiting that series in its original order. I suppose there can be
+   little question, but that the three most important edifices of this
+   kind in Italy are the Sistine Chapel, the Campo Santo of Pisa, and the
+   Scuola di San Rocco at Venice: the first is painted by Michael Angelo;
+   the second by Orcagna, Benozzo Gozzoli, Pietro Laurati, and several
+   other men whose works are as rare as they are precious; and the third
+   by Tintoret.
+
+   Whatever the traveller may miss in Venice, he should therefore give
+   unembarrassed attention and unbroken time to the Scuola di San Rocco;
+   and I shall, accordingly, number the pictures, and note in them, one
+   by one, what seemed to me most worthy of observation.
+
+   There are sixty-two in all, but eight of these are merely of children
+   or children's heads, and two of unimportant figures. The number of
+   valuable pictures is fifty-two; arranged on the walls and ceilings of
+   three rooms, so badly lighted, in consequence of the admirable
+   arrangements of the Renaissance architect, that it is only in the
+   early morning that some of the pictures can be seen at all, nor can
+   they ever be seen but imperfectly. They were all painted, however, for
+   their places in the dark, and, as compared with Tintoret's other
+   works, are therefore, for the most part, nothing more than vast
+   sketches, made to produce, under a certain degree of shadow, the
+   effect of finished pictures. Their treatment is thus to be considered
+   as a kind of scene-painting; differing from ordinary scene-painting
+   only in this, that the effect aimed at is not _that of a natural
+   scene_ but _a perfect picture_. They differ in this respect from all
+   other existing works; for there is not, as far as I know, any other
+   instance in which a great master has consented to work for a room
+   plunged into almost total obscurity. It is probable that none but
+   Tintoret would have undertaken the task, and most fortunate that he
+   was forced to it. For in this magnificent scene-painting we have, of
+   course, more wonderful examples, both of his handling, and knowledge
+   of effect, than could ever have been exhibited in finished pictures;
+   while the necessity of doing much with few strokes keeps his mind so
+   completely on the stretch throughout the work (while yet the velocity
+   of production prevented his being wearied), that no other series of
+   his works exhibits powers so exalted. On the other hand, owing to the
+   velocity and coarseness of the painting, it is more liable to injury
+   through drought or damp; and, as the walls have been for years
+   continually running down with rain, and what little sun gets into the
+   place contrives to fall all day right on one or other of the pictures,
+   they are nothing but wrecks of what they were; and the ruins of
+   paintings originally coarse are not likely ever to be attractive to
+   the public mind. Twenty or thirty years ago they were taken down to be
+   retouched; but the man to whom the task was committed providentially
+   died, and only one of them was spoiled. I have found traces of his
+   work upon another, but not to an extent very seriously destructive.
+   The rest of the sixty-two, or, at any rate, all that are in the upper
+   room, appear entirely intact.
+
+   Although, as compared with his other works, they are all very scenic
+   in execution, there are great differences in their degrees of finish;
+   and, curiously enough, some on the ceilings and others in the darkest
+   places in the lower room are very nearly finished pictures, while the
+   "Agony in the Garden," which is in one of the best lights in the upper
+   room, appears to have been painted in a couple of hours with a broom
+   for a brush.
+
+   For the traveller's greater convenience, I shall give a rude plan of
+   the arrangement, and list of the subjects, of each group of pictures
+   before examining them in detail.
+
+   First Group. On the walls of the room on the ground floor.
+
+   [Illustration:
+
+      1. Annunciation.                5. The Magdalen.
+      2. Adoration of Magi.           6. St. Mary of Egypt.
+      3. Flight into Egypt.           7. Circumcision.
+      4. Massacre of Innocents.       8. Assumption of Virgin.
+
+      At the turn of the stairs leading to the upper room:
+      9. Visitation.]
+
+   1. _The Annunciation._ This, which first strikes the eye, is a very
+   just representative of the whole group, the execution being carried to
+   the utmost limits of boldness consistent with completion. It is a
+   well-known picture, and need not therefore be specially described, but
+   one or two points in it require notice. The face of the Virgin is very
+   disagreeable to the spectator from below, giving the idea of a woman
+   about thirty, who had never been handsome. If the face is untouched,
+   it is the only instance I have ever seen of Tintoret's failing in an
+   intended effect, for, when seen near, the face is comely and youthful,
+   and expresses only surprise, instead of the pain and fear of which it
+   bears the aspect in the distance. I could not get near enough to see
+   whether it had been retouched. It looks like Tintoret's work, though
+   rather hard; but, as there are unquestionable marks in the retouching
+   of this picture, it is possible that some slight restoration of lines
+   supposed to be faded, entirely alter the distant expression of the
+   face. One of the evident pieces of repainting is the scarlet of the
+   Madonna's lap, which is heavy and lifeless. A far more injurious one
+   is the strip of sky seen through the doorway by which the angel
+   enters, which has originally been of the deep golden color of the
+   distance on the left, and which the blundering restorer has daubed
+   over with whitish blue, so that it looks like a bit of the wall;
+   luckily he has not touched the outlines of the angel's black wings, on
+   which the whole expression of the picture depends. This angel and the
+   group of small cherubs above form a great swinging chain, of which the
+   dove representing the Holy Spirit forms the bend. The angels in their
+   flight seem to be attached to this as the train of fire is to a
+   rocket; all of them appearing to have swooped down with the swiftness
+   of a falling star.
+
+   2. _Adoration of the Magi._ The most finished picture in the Scuola,
+   except the "Crucifixion," and perhaps the most delightful of the
+   whole. It unites every source of pleasure that a picture can possess:
+   the highest elevation of principal subject, mixed with the lowest
+   detail of picturesque incident; the dignity of the highest ranks of
+   men, opposed to the simplicity of the lowest; the quietness and
+   serenity of an incident in cottage life, contrasted with the
+   turbulence of troops of horsemen and the spiritual power of angels.
+   The placing of the two doves as principal points of light in the front
+   of the picture, in order to remind the spectator of the poverty of the
+   mother whose child is receiving the offerings and adoration of three
+   monarchs, is one of Tintoret's master touches; the whole scene,
+   indeed, is conceived in his happiest manner. Nothing can be at once
+   more humble or more dignified than the bearing of the kings; and there
+   is a sweet reality given to the whole incident by the Madonna's
+   stooping forward and lifting her hand in admiration of the vase of
+   gold which has been set before the Christ, though she does so with
+   such gentleness and quietness that her dignity is not in the least
+   injured by the simplicity of the action. As if to illustrate the means
+   by which the Wise men were brought from the East, the whole picture is
+   nothing but a large star, of which Christ is the centre; all the
+   figures, even the timbers of the roof, radiate from the small bright
+   figure on which the countenances of the flying angels are bent, the
+   star itself, gleaming through the timbers above, being quite
+   subordinate. The composition would almost be too artificial were it
+   not broken by the luminous distance where the troop of horsemen are
+   waiting for the kings. These, with a dog running at full speed, at
+   once interrupt the symmetry of the lines, and form a point of relief
+   from the over concentration of all the rest of the action.
+
+   3. _Flight into Egypt._ One of the principal figures here is the
+   donkey. I have never seen any of the nobler animals--lion, or leopard,
+   or horse, or dragon--made so sublime as this quiet head of the
+   domestic ass, chiefly owing to the grand motion in the nostril and
+   writhing in the ears. The space of the picture is chiefly occupied by
+   lovely landscape, and the Madonna and St. Joseph are pacing their way
+   along a shady path upon the banks of a river at the side of the
+   picture. I had not any conception, until I got near, how much pains
+   had been taken with the Virgin's head; its expression is as sweet and
+   as intense as that of any of Raffaelle's, its reality far greater. The
+   painter seems to have intended that everything should be subordinate
+   to the beauty of this single head; and the work is a wonderful proof
+   of the way in which a vast field of canvas may be made conducive to
+   the interest of a single figure. This is partly accomplished by
+   slightness of painting, so that on close examination, while there is
+   everything to astonish in the masterly handling and purpose, there is
+   not much perfect or very delightful painting; in fact, the two figures
+   are treated like the living figures in a scene at the theatre, and
+   finished to perfection, while the landscape is painted as hastily as
+   the scenes, and with the same kind of opaque size color. It has,
+   however, suffered as much as any of the series, and it is hardly fair
+   to judge of its tones and colors in its present state.
+
+   4. _Massacre of the Innocents._ The following account of this picture,
+   given in "Modern Painters," may be useful to the traveller, and is
+   therefore here repeated. "I have before alluded to the painfulness of
+   Raffaelle's treatment of the Massacre of the Innocents. Fuseli affirms
+   of it, that, 'in dramatic gradation he disclosed all the mother
+   through every image of pity and terror.' If this be so, I think the
+   philosophical spirit has prevailed over the imaginative. The
+   imagination never errs; it sees all that is, and all the relations
+   and bearings of it; but it would not have confused the mortal frenzy
+   of maternal terror, with various development of maternal character.
+   Fear, rage, and agony, at their utmost pitch, sweep away all
+   character: humanity itself would be lost in maternity, the woman would
+   become the mere personification of animal fury or fear. For this
+   reason all the ordinary representations of this subject are, I think,
+   false and cold: the artist has not heard the shrieks, nor mingled with
+   the fugitives; he has sat down in his study to convulse features
+   methodically, and philosophize over insanity. Not so Tintoret.
+   Knowing, or feeling, that the expression of the human face was, in
+   such circumstances, not to be rendered, and that the effort could only
+   end in an ugly falsehood, he denies himself all aid from the features,
+   he feels that if he is to place himself or us in the midst of that
+   maddened multitude, there can be no time allowed for watching
+   expression. Still less does he depend on details of murder or
+   ghastliness of death; there is no blood, no stabbing or cutting, but
+   there is an awful substitute for these in the chiaroscuro. The scene
+   is the outer vestibule of a palace, the slippery marble floor is
+   fearfully barred across by sanguine shadows, so that our eyes seem to
+   become bloodshot and strained with strange horror and deadly vision; a
+   lake of life before them, like the burning seen of the doomed Moabite
+   on the water that came by the way of Edom: a huge flight of stairs,
+   without parapet, descends on the left; down this rush a crowd of women
+   mixed with the murderers; the child in the arms of one has been seized
+   by the limbs, _she hurls herself over the edge, and falls head
+   downmost, dragging the child out of the grasp by her weight_;--she
+   will be dashed dead in a second:--close to us is the great struggle; a
+   heap of the mothers, entangled in one mortal writhe with each other
+   and the swords; one of the murderers dashed down and crushed beneath
+   them, the sword of another caught by the blade and dragged at by a
+   woman's naked hand; the youngest and fairest of the women, her child
+   just torn away from a death grasp, and clasped to her breast with the
+   grip of a steel vice, falls backwards, helpless over the heap, right
+   on the sword points; all knit together and hurled down in one
+   hopeless, frenzied, furious abandonment of body and soul in the
+   effort to save. Far back, at the bottom of the stairs, there is
+   something in the shadow like a heap of clothes. It is a woman, sitting
+   quiet,--quite quiet,--still as any stone; she looks down steadfastly
+   on her dead child, laid along on the floor before her, and her hand is
+   pressed softly upon her brow."
+
+   I have nothing to add to the above description of this picture, except
+   that I believe there may have been some change in the color of the
+   shadow that crosses the pavement. The chequers of the pavements are,
+   in the light, golden white and pale grey; in the shadow, red and dark
+   grey, the white in the sunshine becoming red in the shadow. I formerly
+   supposed that this was meant to give greater horror to the scene, and
+   it is very like Tintoret if it be so; but there is a strangeness and
+   discordance in it which makes me suspect the colors may have changed.
+
+   5. _The Magdalen._ This and the picture opposite to it, "St. Mary of
+   Egypt," have been painted to fill up narrow spaces between the windows
+   which were not large enough to receive compositions, and yet in which
+   single figures would have looked awkwardly thrust into the corner.
+   Tintoret has made these spaces as large as possible by filling them
+   with landscapes, which are rendered interesting by the introduction of
+   single figures of very small size. He has not, however, considered his
+   task, of making a small piece of wainscot look like a large one, worth
+   the stretch of his powers, and has painted these two landscapes just
+   as carelessly and as fast as an upholsterer's journeyman finishing a
+   room at a railroad hotel. The color is for the most part opaque, and
+   dashed or scrawled on in the manner of a scene-painter; and as during
+   the whole morning the sun shines upon the one picture, and during the
+   afternoon upon the other, hues, which were originally thin and
+   imperfect, are now dried in many places into mere dirt upon the
+   canvas. With all these drawbacks the pictures are of very high
+   interest, for although, as I said, hastily and carelessly, they are
+   not languidly painted; on the contrary, he has been in his hottest and
+   grandest temper; and in this first one ("Magdalen") the laurel tree,
+   with its leaves driven hither and thither among flakes of fiery cloud,
+   has been probably one of the greatest achievements that his hand
+   performed in landscape: its roots are entangled in underwood; of which
+   every leaf seems to be articulated, yet all is as wild as if it had
+   grown there instead of having been painted; there has been a mountain
+   distance, too, and a sky of stormy light, of which I infinitely regret
+   the loss, for though its masses of light are still discernible, its
+   variety of hue is all sunk into a withered brown. There is a curious
+   piece of execution in the striking of the light upon a brook which
+   runs under the roots of the laurel in the foreground: these roots are
+   traced in shadow against the bright surface of the water; another
+   painter would have drawn the light first, and drawn the dark roots
+   over it. Tintoret has laid in a brown ground which he has left for the
+   roots, and painted the water through their interstices with a few
+   mighty rolls of his brush laden with white.
+
+   6. _St. Mary of Egypt._ This picture differs but little in the plan,
+   from the one opposite, except that St. Mary has her back towards us,
+   and the Magdalen her face, and that the tree on the other side of the
+   brook is a palm instead of a laurel. The brook (Jordan?) is, however,
+   here much more important; and the water painting is exceedingly fine.
+   Of all painters that I know, in old times, Tintoret is the fondest of
+   running water; there was a sort of sympathy between it and his own
+   impetuous spirit. The rest of the landscape is not of much interest,
+   except so far as it is pleasant to see trunks of trees drawn by single
+   strokes of the brush.
+
+   7. _The Circumcision of Christ._ The custode has some story about this
+   picture having been painted in imitation of Paul Veronese. I much
+   doubt if Tintoret ever imitated any body; but this picture is the
+   expression of his perception of what Veronese delighted in, the
+   nobility that there may be in mere golden tissue and colored drapery.
+   It is, in fact, a picture of the moral power of gold and color; and
+   the chief use of the attendant priest is to support upon his shoulders
+   the crimson robe, with its square tablets of black and gold; and yet
+   nothing is withdrawn from the interest or dignity of the scene.
+   Tintoret has taken immense pains with the head of the high-priest. I
+   know not any existing old man's head so exquisitely tender, or so
+   noble in its lines. He receives the Infant Christ in his arms
+   kneeling, and looking down upon the Child with infinite veneration and
+   love; and the flashing of golden rays from its head is made the centre
+   of light, and all interest. The whole picture is like a golden charger
+   to receive the Child; the priest's dress is held up behind him, that
+   it may occupy larger space; the tables and floor are covered with
+   chequer-work; the shadows of the temple are filled with brazen lamps;
+   and above all are hung masses of curtains, whose crimson folds are
+   strewn over with golden flakes. Next to the "Adoration of the Magi"
+   this picture is the most laboriously finished of the Scuola di San
+   Rocco, and it is unquestionably the highest existing type of the
+   sublimity which may be thrown into the treatment of accessaries of
+   dress and decoration.
+
+   8. _Assumption of the Virgin._ On the tablet or panel of stone which
+   forms the side of the tomb out of which the Madonna rises, is this
+   inscription, in large letters, REST. ANTONIUS FLORIAN, 1834. Exactly
+   in proportion to a man's idiocy, is always the size of the letters in
+   which he writes his name on the picture that he spoils. The old
+   mosaicists in St. Mark's have not, in a single instance, as far as I
+   know, signed their names; but the spectator who wishes to know who
+   destroyed the effect of the nave, may see his name inscribed, twice
+   over, in letters half a foot high, BARTOLOMEO BOZZA. I have never seen
+   Tintoret's name signed, except in the great "Crucifixion;" but this
+   Antony Florian, I have no doubt, repainted the whole side of the tomb
+   that he might put his name on it. The picture is, of course, ruined
+   wherever he touched it; that is to say, half over; the circle of
+   cherubs in the sky is still pure; and the design of the great painter
+   is palpable enough yet in the grand flight of the horizontal angel, on
+   whom the Madonna half leans as she ascends. It has been a noble
+   picture, and is a grievous loss; but, happily, there are so many pure
+   ones, that we need not spend time in gleaning treasures out of the
+   ruins of this.
+
+   9. _Visitation._ A small picture, painted in his very best manner;
+   exquisite in its simplicity, unrivalled in vigor, well preserved, and,
+   as a piece of painting, certainly one of the most precious in Venice.
+   Of course it does not show any of his high inventive powers; nor can a
+   picture of four middle-sized figures be made a proper subject of
+   comparison with large canvases containing forty or fifty; but it is,
+   for this very reason, painted with such perfect ease, and yet with no
+   slackness either of affection or power, that there is no picture that
+   I covet so much. It is, besides, altogether free from the Renaissance
+   taint of dramatic effect. The gestures are as simple and natural as
+   Giotto's, only expressed by grander lines, such as none but Tintoret
+   ever reached. The draperies are dark, relieved against a light sky,
+   the horizon being excessively low, and the outlines of the drapery so
+   severe, that the intervals between the figures look like ravines
+   between great rocks, and have all the sublimity of an Alpine valley at
+   twilight. This precious picture is hung about thirty feet above the
+   eye, but by looking at it in a strong light, it is discoverable that
+   the Saint Elizabeth is dressed in green and crimson, the Virgin in the
+   peculiar red which all great colorists delight in--a sort of glowing
+   brick-color or brownish scarlet, opposed to rich golden brownish
+   black; and both have white kerchiefs, or drapery, thrown over their
+   shoulders. Zacharias leans on his staff behind them in a black dress
+   with white sleeves. The stroke of brilliant white light, which
+   outlines the knee of Saint Elizabeth, is a curious instance of the
+   habit of the painter to relieve his dark forms by a sort of halo of
+   more vivid light, which, until lately, one would have been apt to
+   suppose a somewhat artificial and unjustifiable means of effect. The
+   daguerreotype has shown, what the naked eye never could, that the
+   instinct of the great painter was true, and that there is actually
+   such a sudden and sharp line of light round the edges of dark objects
+   relieved by luminous space.
+
+   Opposite this picture is a most precious Titian, the "Annunciation,"
+   full of grace and beauty. I think the Madonna one of the sweetest
+   figures he ever painted. But if the traveller has entered at all into
+   the spirit of Tintoret, he will immediately feel the comparative
+   feebleness and conventionality of the Titian. Note especially the mean
+   and petty folds of the angel's drapery, and compare them with the
+   draperies of the opposite picture. The larger pictures at the sides of
+   the stairs by Zanchi and Negri, are utterly worthless.
+
+   [Illustration: Second Group. On the walls of the upper room.
+
+      10. Adoration of Shepherds.     17. Resurrection of Lazarus.
+      11. Baptism.                    18. Ascension.
+      12. Resurrection.               19. Pool of Bethesda.
+      13. Agony in Garden.            20. Temptation.
+      14. Last Supper.                21. St. Rocco.
+      15. Altar Piece: St. Rocco.     22. St. Sebastian.
+      16. Miracle of Loaves.]
+
+   10. _The Adoration of the Shepherds._ This picture commences the
+   series of the upper room, which, as already noticed, is painted with
+   far less care than that of the lower. It is one of the painter's
+   inconceivable caprices that the only canvases that are in good light
+   should be covered in this hasty manner, while those in the dungeon
+   below, and on the ceiling above, are all highly labored. It is,
+   however, just possible that the covering of these walls may have been
+   an after-thought, when he had got tired of his work. They are also,
+   for the most part, illustrative of a principle of which I am more and
+   more convinced every day, that historical and figure pieces ought not
+   to be made vehicles for effects of light. The light which is fit for a
+   historical picture is that tempered semi-sunshine of which, in
+   general, the works of Titian are the best examples, and of which the
+   picture we have just passed, "The Visitation," is a perfect example
+   from the hand of one greater than Titian; so also the three
+   "Crucifixions" of San Rocco, San Cassano, and St. John and Paul; the
+   "Adoration of the Magi" here; and, in general, the finest works of
+   the master; but Tintoret was not a man to work in any formal or
+   systematic manner; and, exactly like Turner, we find him recording
+   every effect which Nature herself displays. Still he seems to regard
+   the pictures which deviate from the great general principle of
+   colorists rather as "tours de force" than as sources of pleasure; and
+   I do not think there is any instance of his having worked out one of
+   these tricky pictures with thorough affection, except only in the case
+   of the "Marriage of Cana." By tricky pictures, I mean those which
+   display light entering in different directions, and attract the eye to
+   the effects rather than to the figure which displays them. Of this
+   treatment, we have already had a marvellous instance in the
+   candle-light picture of the "Last Supper" in San Giorgio Maggiore.
+   This "Adoration of the Shepherds" has probably been nearly as
+   wonderful when first painted: the Madonna is seated on a kind of
+   hammock floor made of rope netting, covered with straw; it divides the
+   picture into two stories, of which the uppermost contains the Virgin,
+   with two women who are adoring Christ, and shows light entering from
+   above through the loose timbers of the roof of the stable, as well as
+   through the bars of a square window; the lower division shows this
+   light falling behind the netting upon the stable floor, occupied by a
+   cock and a cow, and against this light are relieved the figures of the
+   shepherds, for the most part in demi-tint, but with flakes of more
+   vigorous sunshine falling here and there upon them from above. The
+   optical illusion has originally been as perfect as one of Hunt's best
+   interiors; but it is most curious that no part of the work seems to
+   have been taken any pleasure in by the painter; it is all by his hand,
+   but it looks as if he had been bent only on getting over the ground.
+   It is literally a piece of scene-painting, and is exactly what we
+   might fancy Tintoret to have done, had he been forced to paint scenes
+   at a small theatre at a shilling a day. I cannot think that the whole
+   canvas, though fourteen feet high and ten wide, or thereabouts, could
+   have taken him more than a couple of days to finish: and it is very
+   noticeable that exactly in proportion to the brilliant effects of
+   light is the coarseness of the execution, for the figures of the
+   Madonna and of the women above, which are not in any strong effect,
+   are painted with some care, while the shepherds and the cow are alike
+   slovenly; and the latter, which is in full sunshine, is recognizable
+   for a cow more by its size and that of its horns, than by any care
+   given to its form. It is interesting to contrast this slovenly and
+   mean sketch with the ass's head in the "Flight into Egypt," on which
+   the painter exerted his full power; as an effect of light, however,
+   the work is, of course, most interesting. One point in the treatment
+   is especially noticeable: there is a peacock in the rack beyond the
+   cow; and under other circumstances, one cannot doubt that Tintoret
+   would have liked a peacock in full color, and would have painted it
+   green and blue with great satisfaction. It is sacrificed to the light,
+   however, and is painted in warm grey, with a dim eye or two in the
+   tail: this process is exactly analogous to Turner's taking the colors
+   out of the flags of his ships in the "Gosport." Another striking point
+   is the litter with which the whole picture is filled in order more to
+   confuse the eye: there is straw sticking from the roof, straw all over
+   the hammock floor, and straw struggling hither and thither all over
+   the floor itself; and, to add to the confusion, the glory around the
+   head of the infant, instead of being united and serene, is broken into
+   little bits, and is like a glory of chopped straw. But the most
+   curious thing, after all, is the want of delight in any of the
+   principal figures, and the comparative meanness and commonplaceness of
+   even the folds of the drapery. It seems as if Tintoret had determined
+   to make the shepherds as uninteresting as possible; but one does not
+   see why their very clothes should be ill painted, and their
+   disposition unpicturesque. I believe, however, though it never struck
+   me until I had examined this picture, that this is one of the
+   painter's fixed principles: he does not, with German sentimentality,
+   make shepherds and peasants graceful or sublime, but he purposely
+   vulgarizes them, not by making their actions or their faces boorish or
+   disagreeable, but rather by painting them ill, and composing their
+   draperies tamely. As far as I recollect at present, the principle is
+   universal with him; exactly in proportion to the dignity of character
+   is the beauty of the painting. He will not put out his strength upon
+   any man belonging to the lower classes; and, in order to know what the
+   painter is, one must see him at work on a king, a senator, or a
+   saint. The curious connexion of this with the aristocratic tendencies
+   of the Venetian nation, when we remember that Tintoret was the
+   greatest man whom that nation produced, may become very interesting,
+   if followed out. I forgot to note that, though the peacock is painted
+   with great regardlessness of color, there is a feature in it which no
+   common painter would have observed,--the peculiar flatness of the
+   back, and undulation of the shoulders: the bird's body is all there,
+   though its feathers are a good deal neglected; and the same thing is
+   noticeable in a cock who is pecking among the straw near the
+   spectator, though in other respects a shabby cock enough. The fact is,
+   I believe, he had made his shepherds so commonplace that he dare not
+   paint his animals well, otherwise one would have looked at nothing in
+   the picture but the peacock, cock, and cow. I cannot tell what the
+   shepherds are offering; they look like milk bowls, but they are
+   awkwardly held up, with such twistings of body as would have certainly
+   spilt the milk. A woman in front has a basket of eggs; but this I
+   imagine to be merely to keep up the rustic character of the scene, and
+   not part of the shepherd's offerings.
+
+   11. _Baptism._ There is more of the true picture quality in this work
+   than in the former one, but still very little appearance of enjoyment
+   or care. The color is for the most part grey and uninteresting, and
+   the figures are thin and meagre in form, and slightly painted; so much
+   so, that of the nineteen figures in the distance, about a dozen are
+   hardly worth calling figures, and the rest are so sketched and
+   flourished in that one can hardly tell which is which. There is one
+   point about it very interesting to a landscape painter: the river is
+   seen far into the distance, with a piece of copse bordering it; the
+   sky beyond is dark, but the water nevertheless receives a brilliant
+   reflection from some unseen rent in the clouds, so brilliant, that
+   when I was first at Venice, not being accustomed to Tintoret's slight
+   execution, or to see pictures so much injured, I took this piece of
+   water for a piece of sky. The effect as Tintoret has arranged it, is
+   indeed somewhat unnatural, but it is valuable as showing his
+   recognition of a principle unknown to half the historical painters of
+   the present day,--that the reflection seen in the water is totally
+   different from the object seen above it, and that it is very possible
+   to have a bright light in reflection where there appears nothing but
+   darkness to be reflected. The clouds in the sky itself are round,
+   heavy, and lightless, and in a great degree spoil what would otherwise
+   be a fine landscape distance. Behind the rocks on the right, a single
+   head is seen, with a collar on the shoulders: it seems to be intended
+   for a portrait of some person connected with the picture.
+
+   12. _Resurrection._ Another of the "effect of light" pictures, and not
+   a very striking one, the best part of it being the two distant figures
+   of the Maries seen in the dawn of the morning. The conception of the
+   Resurrection itself is characteristic of the worst points of Tintoret.
+   His impetuosity is here in the wrong place; Christ bursts out of the
+   rock like a thunderbolt, and the angels themselves seem likely to be
+   crushed under the rent stones of the tomb. Had the figure of Christ
+   been sublime, this conception might have been accepted; but, on the
+   contrary, it is weak, mean, and painful; and the whole picture is
+   languidly or roughly painted, except only the fig-tree at the top of
+   the rock, which, by a curious caprice, is not only drawn in the
+   painter's best manner, but has golden ribs to all its leaves, making
+   it look like one of the beautiful crossed or chequered patterns, of
+   which he is so fond in his dresses; the leaves themselves being a dark
+   olive brown.
+
+   13. _The Agony in the Garden._ I cannot at present understand the
+   order of these subjects; but they may have been misplaced. This, of
+   all the San Rocco pictures, is the most hastily painted, but it is
+   not, like those we have been passing, _clodly_ painted; it seems to
+   have been executed altogether with a hearth-broom, and in a few hours.
+   It is another of the "effects," and a very curious one; the Angel who
+   bears the cup to Christ is surrounded by a red halo; yet the light
+   which falls upon the shoulders of the sleeping disciples, and upon the
+   leaves of the olive-trees, is cool and silvery, while the troop coming
+   up to seize Christ are seen by torch-light. Judas, who is the second
+   figure, points to Christ, but turns his head away as he does so, as
+   unable to look at him. This is a noble touch; the foliage is also
+   exceedingly fine, though what kind of olive-tree bears such leaves I
+   know not, each of them being about the size of a man's hand. If there
+   be any which bear such foliage, their olives must be the size of
+   cocoa-nuts. This, however, is true only of the underwood, which is,
+   perhaps, not meant for olive. There are some taller trees at the top
+   of the picture, whose leaves are of a more natural size. On closely
+   examining the figures of the troops on the left, I find that the
+   distant ones are concealed, all but the limbs, by a sort of arch of
+   dark color, which is now so injured, that I cannot tell whether it was
+   foliage or ground: I suppose it to have been a mass of close foliage,
+   through which the troop is breaking its way; Judas rather showing them
+   the path, than actually pointing to Christ, as it is written, "Judas,
+   who betrayed him, knew the place." St. Peter, as the most zealous of
+   the three disciples, the only one who was to endeavor to defend his
+   Master, is represented as awakening and turning his head toward the
+   troop, while James and John are buried in profound slumber, laid in
+   magnificent languor among the leaves. The picture is singularly
+   impressive, when seen far enough off, as an image of thick forest
+   gloom amidst the rich and tender foliage of the South; the leaves,
+   however, tossing as in disturbed night air, and the flickering of the
+   torches, and of the branches, contrasted with the steady flame which
+   from the Angel's presence is spread over the robes of the disciples.
+   The strangest feature in the whole is that the Christ also is
+   represented as sleeping. The angel seems to appear to him in a dream.
+
+   14. _The Last Supper._ A most unsatisfactory picture; I think about
+   the worst I know of Tintoret's, where there is no appearance of
+   retouching. He always makes the disciples in this scene too vulgar;
+   they are here not only vulgar, but diminutive, and Christ is at the
+   end of the table, the smallest figure of them all. The principal
+   figures are two mendicants sitting on steps in front; a kind of
+   supporters, but I suppose intended to be waiting for the fragments; a
+   dog, in still more earnest expectation, is watching the movements of
+   the disciples, who are talking together, Judas having just gone out.
+   Christ is represented as giving what one at first supposes is the sop
+   to Judas, but as the disciple who received it has a glory, and there
+   are only eleven at table, it is evidently the Sacramental bread. The
+   room in which they are assembled is a sort of large kitchen, and the
+   host is seen employed at a dresser in the background. This picture has
+   not only been originally poor, but is one of those exposed all day to
+   the sun, and is dried into mere dusty canvas: where there was once
+   blue, there is now nothing.
+
+   15. _Saint Rocco in Glory._ One of the worst order of Tintorets, with
+   apparent smoothness and finish, yet languidly painted, as if in
+   illness or fatigue; very dark and heavy in tone also; its figures, for
+   the most part, of an awkward middle size, about five feet high, and
+   very uninteresting. St. Rocco ascends to heaven, looking down upon a
+   crowd of poor and sick persons who are blessing and adoring him. One
+   of these, kneeling at the bottom, is very nearly a repetition, though
+   a careless and indolent one, of that of St. Stephen, in St. Giorgio
+   Maggiore, and of the central figure in the "Paradise" of the Ducal
+   Palace. It is a kind of lay figure, of which he seems to have been
+   fond; its clasped hands are here shockingly painted--I should think
+   unfinished. It forms the only important light at the bottom, relieved
+   on a dark ground; at the top of the picture, the figure of St. Rocco
+   is seen in shadow against the light of the sky, and all the rest is in
+   confused shadow. The commonplaceness of this composition is curiously
+   connected with the languor of thought and touch throughout the work.
+
+   16. _Miracle of the Loaves._ Hardly anything but a fine piece of
+   landscape is here left; it is more exposed to the sun than any other
+   picture in the room, and its draperies having been, in great part,
+   painted in blue, are now mere patches of the color of starch; the
+   scene is also very imperfectly conceived. The twenty-one figures,
+   including Christ and his Disciples, very ill represent a crowd of
+   seven thousand; still less is the marvel of the miracle expressed by
+   perfect ease and rest of the reclining figures in the foreground, who
+   do not so much as look surprised; considered merely as reclining
+   figures, and as pieces of effect in half light, they have once been
+   fine. The landscape, which represents the slope of a woody hill, has a
+   very grand and far-away look. Behind it is a great space of streaky
+   sky, almost prismatic in color, rosy and golden clouds covering up its
+   blue, and some fine vigorous trees thrown against it; painted in about
+   ten minutes each, however, by curly touches of the brush, and looking
+   rather more like seaweed than foliage.
+
+   17. _Resurrection of Lazarus._ Very strangely, and not impressively
+   conceived. Christ is half reclining, half sitting, at the bottom of
+   the picture, while Lazarus is disencumbered of his grave-clothes at
+   the top of it; the scene being the side of a rocky hill, and the mouth
+   of the tomb probably once visible in the shadow on the left; but all
+   that is now discernible is a man having his limbs unbound, as if
+   Christ were merely ordering a prisoner to be loosed. There appears
+   neither awe nor agitation, nor even much astonishment, in any of the
+   figures of the group; but the picture is more vigorous than any of the
+   three last mentioned, and the upper part of it is quite worthy of the
+   master, especially its noble fig-tree and laurel, which he has
+   painted, in one of his usual fits of caprice, as carefully as that in
+   the "Resurrection of Christ," opposite. Perhaps he has some meaning in
+   this; he may have been thinking of the verse, "Behold the fig-tree,
+   and all the trees; when they now shoot forth," &c. In the present
+   instance, the leaves are dark only, and have no golden veins. The
+   uppermost figures also come dark against the sky, and would form a
+   precipitous mass, like a piece of the rock itself, but that they are
+   broken in upon by one of the limbs of Lazarus, bandaged and in full
+   light, which, to my feeling, sadly injures the picture, both as a
+   disagreeable object, and a light in the wrong place. The grass and
+   weeds are, throughout, carefully painted, but the lower figures are of
+   little interest, and the face of the Christ a grievous failure.
+
+   18. _The Ascension._ I have always admired this picture, though it is
+   very slight and thin in execution, and cold in color; but it is
+   remarkable for its thorough effect of open air, and for the sense of
+   motion and clashing in the wings of the Angels which sustain the
+   Christ: they owe this effect a good deal to the manner in which they
+   are set, edge on; all seem like sword-blades cutting the air. It is
+   the most curious in conception of all the pictures in the Scuola, for
+   it represents, beneath the Ascension, a kind of epitome of what took
+   place before the Ascension. In the distance are two Apostles walking,
+   meant, I suppose, for the two going to Emmaus; nearer are a group
+   round a table, to remind us of Christ appearing to them as they sat at
+   meat; and in the foreground is a single reclining figure of, I
+   suppose, St. Peter, because we are told that "he was seen of Cephas,
+   then of the twelve:" but this interpretation is doubtful; for why
+   should not the vision by the Lake of Tiberias be expressed also? And
+   the strange thing of all is the scene, for Christ ascended from the
+   Mount of Olives; but the Disciples are walking, and the table is set,
+   in a little marshy and grassy valley, like some of the bits near
+   Maison Neuve on the Jura, with a brook running through it, so
+   capitally expressed, that I believe it is this which makes me so fond
+   of the picture. The reflections are as scientific in the diminution,
+   in the image, of large masses of bank above, as any of Turner's, and
+   the marshy and reedy ground looks as if one would sink into it; but
+   what all this has to do with the Ascension I cannot see. The figure of
+   Christ is not undignified, but by no means either interesting or
+   sublime.
+
+   19. _Pool of Bethesda._ I have no doubt the principal figures have
+   been repainted; but as the colors are faded, and the subject
+   disgusting, I have not paid this picture sufficient attention to say
+   how far the injury extends; nor need any one spend time upon it,
+   unless after having first examined all the other Tintorets in Venice.
+   All the great Italian painters appear insensible to the feeling of
+   disgust at disease; but this study of the population of an hospital is
+   without any points of contrast, and I wish Tintoret had not
+   condescended to paint it. This and the six preceding paintings have
+   all been uninteresting,--I believe chiefly owing to the observance in
+   them of Sir Joshua's rule for the heroic, "that drapery is to be mere
+   drapery, and not silk, nor satin, nor brocade." However wise such a
+   rule may be when applied to works of the purest religious art, it is
+   anything but wise as respects works of color. Tintoret is never quite
+   himself unless he has fur or velvet, or rich stuff of one sort or the
+   other, or jewels, or armor, or something that he can put play of color
+   into, among his figures, and not dead folds of linsey-woolsey; and I
+   believe that even the best pictures of Raffaelle and Angelico are not
+   a little helped by their hems of robes, jewelled crowns, priests'
+   copes, and so on; and the pictures that have nothing of this kind in
+   them, as for instance the "Transfiguration," are to my mind not a
+   little dull.
+
+   20. _Temptation._ This picture singularly illustrates what has just
+   been observed; it owes great part of its effect to the lustre of the
+   jewels in the armlet of the evil angel, and to the beautiful colors of
+   his wings. These are slight accessaries apparently, but they enhance
+   the value of all the rest, and they have evidently been enjoyed by the
+   painter. The armlet is seen by reflected light, its stones shining by
+   inward lustre; this occult fire being the only hint given of the real
+   character of the Tempter, who is otherways represented in the form of
+   a beautiful angel, though the face is sensual: we can hardly tell how
+   far it was intended to be therefore expressive of evil; for Tintoret's
+   good angels have not always the purest features; but there is a
+   peculiar subtlety in this telling of the story by so slight a
+   circumstance as the glare of the jewels in the darkness. It is curious
+   to compare this imagination with that of the mosaics in St. Mark's, in
+   which Satan is a black monster, with horns, and head, and tail,
+   complete. The whole of the picture is powerfully and carefully
+   painted, though very broadly; it is a strong effect of light, and
+   therefore, as usual, subdued in color. The painting of the stones in
+   the foreground I have always thought, and still think, the best piece
+   of rock drawing before Turner, and the most amazing instance of
+   Tintoret's perceptiveness afforded by any of his pictures.
+
+   21. _St. Rocco._ Three figures occupy the spandrils of the window
+   above this and the following picture, painted merely in light and
+   shade, two larger than life, one rather smaller. I believe these to be
+   by Tintoret; but as they are quite in the dark, so that the execution
+   cannot be seen, and very good designs of the kind have been furnished
+   by other masters, I cannot answer for them. The figure of St. Rocco,
+   as well as its companion, St. Sebastian, is colored; they occupy the
+   narrow intervals between the windows, and are of course invisible
+   under ordinary circumstances. By a great deal of straining of the
+   eyes, and sheltering them with the hand from the light, some little
+   idea of the design may be obtained. The "St. Rocco" is a fine figure,
+   though rather coarse, but, at all events, worth as much light as would
+   enable us to see it.
+
+   22. _St. Sebastian._ This, the companion figure, is one of the finest
+   things in the whole room, and assuredly the most majestic Saint
+   Sebastian in existence; as far as mere humanity can be majestic, for
+   there is no effort at any expression of angelic or saintly
+   resignation; the effort is simply to realize the fact of the
+   martyrdom, and it seems to me that this is done to an extent not even
+   attempted by any other painter. I never saw a man die a violent death,
+   and therefore cannot say whether this figure be true or not, but it
+   gives the grandest and most intense impression of truth. The figure is
+   dead, and well it may be, for there is one arrow through the forehead
+   and another through the heart; but the eyes are open, though glazed,
+   and the body is rigid in the position in which it last stood, the left
+   arm raised and the left limb advanced, something in the attitude of a
+   soldier sustaining an attack under his shield, while the dead eyes are
+   still turned in the direction from which the arrows came: but the most
+   characteristic feature is the way these arrows are fixed. In the
+   common martyrdoms of St. Sebastian they are stuck into him here and
+   there like pins, as if they had been shot from a great distance and
+   had come faltering down, entering the flesh but a little way, and
+   rather bleeding the saint to death than mortally wounding him; but
+   Tintoret had no such ideas about archery. He must have seen bows drawn
+   in battle, like that of Jehu when he smote Jehoram between the
+   harness: all the arrows in the saint's body lie straight in the same
+   direction, broad-feathered and strong-shafted, and sent apparently
+   with the force of thunderbolts; every one of them has gone through him
+   like a lance, two through the limbs, one through the arm, one through
+   the heart, and the last has crashed through the forehead, nailing the
+   head to the tree behind as if it had been dashed in by a
+   sledge-hammer. The face, in spite of its ghastliness, is beautiful,
+   and has been serene; and the light which enters first and glistens on
+   the plumes of the arrows, dies softly away upon the curling hair, and
+   mixes with the glory upon the forehead. There is not a more remarkable
+   picture in Venice, and yet I do not suppose that one in a thousand of
+   the travellers who pass through the Scuola so much as perceives there
+   is a picture in the place which it occupies.
+
+   [Illustration: Third Group. On the roof of the upper room.
+
+      23. Moses striking the Rock.       29. Elijah.
+      24. Plague of Serpents.            30. Jonah.
+      25. Fall of Manna.                 31. Joshua.
+      26. Jacob's Dream.                 32. Sacrifice of Isaac.
+      27. Ezekiel's Vision.              33. Elijah at the Brook.
+      28. Fall of Man.                   34. Paschal Feast.
+                 35. Elisha feeding the People.]
+
+   23. _Moses striking the Rock._ We now come to the series of pictures
+   upon which the painter concentrated the strength he had reserved for
+   the upper room; and in some sort wisely, for, though it is not
+   pleasant to examine pictures on a ceiling, they are at least
+   distinctly visible without straining the eyes against the light. They
+   are carefully conceived and thoroughly well painted in proportion to
+   their distance from the eye. This carefulness of thought is apparent
+   at a glance: the "Moses striking the Rock" embraces the whole of the
+   seventeenth chapter of Exodus, and even something more, for it is not
+   from that chapter, but from parallel passages that we gather the facts
+   of the impatience of Moses and the wrath of God at the waters of
+   Meribah; both which facts are shown by the leaping of the stream out
+   of the rock half-a-dozen ways at once, forming a great arch over the
+   head of Moses, and by the partial veiling of the countenance of the
+   Supreme Being. This latter is the most painful part of the whole
+   picture, at least as it is seen from below; and I believe that in some
+   repairs of the roof this head must have been destroyed and repainted.
+   It is one of Tintoret's usual fine thoughts that the lower part of the
+   figure is veiled, not merely by clouds, but in a kind of watery
+   sphere, showing the Deity coming to the Israelites at that particular
+   moment as the Lord of the Rivers and of the Fountain of the Waters.
+   The whole figure, as well as that of Moses and the greater number of
+   those in the foreground, is at once dark and warm, black and red being
+   the prevailing colors, while the distance is bright gold touched with
+   blue, and seems to open into the picture like a break of blue sky
+   after rain. How exquisite is this expression, by mere color, of the
+   main force of the fact represented! that is to say, joy and
+   refreshment after sorrow and scorching heat. But, when we examine of
+   what this distance consists, we shall find still more cause for
+   admiration. The blue in it is not the blue of sky, it is obtained by
+   blue stripes upon white tents glowing in the sunshine; and in front of
+   these tents is seen that great battle with Amalek of which the account
+   is given in the remainder of the chapter, and for which the Israelites
+   received strength in the streams which ran out of the rock in Horeb.
+   Considered merely as a picture, the opposition of cool light to warm
+   shadow is one of the most remarkable pieces of color in the Scuola,
+   and the great mass of foliage which waves over the rocks on the left
+   appears to have been elaborated with his highest power and his most
+   sublime invention. But this noble passage is much injured, and now
+   hardly visible.
+
+   24. _Plague of Serpents._ The figures in the distance are remarkably
+   important in this picture, Moses himself being among them; in fact,
+   the whole scene is filled chiefly with middle-sized figures, in order
+   to increase the impression of space. It is interesting to observe the
+   difference in the treatment of this subject by the three great
+   painters, Michael Angelo, Rubens, and Tintoret. The first two, equal
+   to the latter in energy, had less love of liberty: they were fond of
+   binding their compositions into knots, Tintoret of scattering his far
+   and wide: they all alike preserve the unity of composition, but the
+   unity in the first two is obtained by binding, and that of the last by
+   springing from one source; and, together with this feeling, comes his
+   love of space, which makes him less regard the rounding and form of
+   objects themselves, than their relations of light and shade and
+   distance. Therefore Rubens and Michael Angelo made the fiery serpents
+   huge boa constrictors, and knotted the sufferers together with them.
+   Tintoret does not like to be so bound; so he makes the serpents little
+   flying and fluttering monsters like lampreys with wings; and the
+   children of Israel, instead of being thrown into convulsed and
+   writhing groups, are scattered, fainting in the fields, far away in
+   the distance. As usual, Tintoret's conception, while thoroughly
+   characteristic of himself, is also truer to the words of Scripture. We
+   are told that "the Lord sent fiery serpents among the people, and they
+   _bit_ the people;" we are not told that they crushed the people to
+   death. And while thus the truest, it is also the most terrific
+   conception. M. Angelo's would be terrific if one could believe in it:
+   but our instinct tells us that boa constrictors do not come in armies;
+   and we look upon the picture with as little emotion as upon the handle
+   of a vase, or any other form worked out of serpents, where there is no
+   probability of serpents actually occurring. But there is a probability
+   in Tintoret's conception. We feel that it is not impossible that there
+   should come up a swarm of these small winged reptiles: and their
+   horror is not diminished by their smallness: not that they have any of
+   the grotesque terribleness of German invention; they might have been
+   made infinitely uglier with small pains, but it is their
+   _veritableness_ which makes them awful. They have triangular heads
+   with sharp beaks or muzzle; and short, rather thick bodies, with bony
+   processes down the back like those of sturgeons; and small wings
+   spotted with orange and black; and round glaring eyes, not very large,
+   but very ghastly, with an intense delight in biting expressed in them.
+   (It is observable, that the Venetian painter has got his main idea of
+   them from the sea-horses and small reptiles of the Lagoons.) These
+   monsters are fluttering and writhing about everywhere, fixing on
+   whatever they come near with their sharp venomous heads; and they are
+   coiling about on the ground, and all the shadows and thickets are full
+   of them, so that there is no escape anywhere: and, in order to give
+   the idea of greater extent to the plague, Tintoret has not been
+   content with one horizon; I have before mentioned the excessive
+   strangeness of this composition, in having a cavern open in the right
+   of the foreground, through which is seen another sky and another
+   horizon. At the top of the picture, the Divine Being is seen borne by
+   angels, apparently passing over the congregation in wrath, involved in
+   masses of dark clouds; while, behind, an Angel of mercy is descending
+   toward Moses, surrounded by a globe of white light. This globe is
+   hardly seen from below; it is not a common glory, but a transparent
+   sphere, like a bubble, which not only envelopes the angel, but crosses
+   the figure of Moses, throwing the upper part of it into a subdued pale
+   color, as if it were crossed by a sunbeam. Tintoret is the only
+   painter who plays these tricks with transparent light, the only man
+   who seems to have perceived the effects of sunbeams, mists, and
+   clouds, in the far away atmosphere; and to have used what he saw on
+   towers, clouds, or mountains, to enhance the sublimity of his figures.
+   The whole upper part of this picture is magnificent, less with respect
+   to individual figures, than for the drift of its clouds, and
+   originality and complication of its light and shade; it is something
+   like Raffaelle's "Vision of Ezekiel," but far finer. It is difficult
+   to understand how any painter, who could represent floating clouds so
+   nobly as he has done here, could ever paint the odd, round, pillowy
+   masses which so often occur in his more carelessly designed sacred
+   subjects. The lower figures are not so interesting, and the whole is
+   painted with a view to effect from below, and gains little by close
+   examination.
+
+   25. _Fall of Manna._ In none of these three large compositions has the
+   painter made the slightest effort at expression in the human
+   countenance; everything is done by gesture, and the faces of the
+   people who are drinking from the rock, dying from the serpent-bites,
+   and eating the manna, are all alike as calm as if nothing was
+   happening; in addition to this, as they are painted for distant
+   effect, the heads are unsatisfactory and coarse when seen near, and
+   perhaps in this last picture the more so, and yet the story is
+   exquisitely told. We have seen in the Church of San Giorgio Maggiore
+   another example of his treatment of it, where, however, the gathering
+   of manna is a subordinate employment, but here it is principal. Now,
+   observe, we are told of the manna, that it was found in the morning;
+   that then there lay round about the camp a small round thing like the
+   hoar-frost, and that "when the sun waxed hot it melted." Tintoret has
+   endeavored, therefore, first of all, to give the idea of coolness; the
+   congregation are reposing in a soft green meadow, surrounded by blue
+   hills, and there are rich trees above them, to the branches of one of
+   which is attached a great grey drapery to catch the manna as it comes
+   down. In any other picture such a mass of drapery would assuredly have
+   had some vivid color, but here it is grey; the fields are cool frosty
+   green, the mountains cold blue, and, to complete the expression and
+   meaning of all this, there is a most important point to be noted in
+   the form of the Deity, seen above, through an opening in the clouds.
+   There are at least ten or twelve other pictures in which the form of
+   the Supreme Being occurs, to be found in the Scuola di San Rocco
+   alone; and in every one of these instances it is richly colored, the
+   garments being generally red and blue, but in this picture of the
+   manna the figure is _snow white_. Thus the painter endeavors to show
+   the Deity as the giver of bread, just as in the "Striking of the Rock"
+   we saw that he represented Him as the Lord of the rivers, the
+   fountains, and the waters. There is one other very sweet incident at
+   the bottom of the picture; four or five sheep, instead of pasturing,
+   turn their heads aside to catch the manna as it comes down, or seem to
+   be licking it off each other's fleeces. The tree above, to which the
+   drapery is tied, is the most delicate and delightful piece of leafage
+   in all the Scuola; it has a large sharp leaf, something like that of a
+   willow, but five times the size.
+
+   26. _Jacob's Dream._ A picture which has good effect from below, but
+   gains little when seen near. It is an embarrassing one for any
+   painter, because angels always look awkward going up and down stairs;
+   one does not see the use of their wings. Tintoret has thrown them into
+   buoyant and various attitudes, but has evidently not treated the
+   subject with delight; and it is seen to all the more disadvantage
+   because just above the painting of the "Ascension," in which the full
+   fresh power of the painter is developed. One would think this latter
+   picture had been done just after a walk among hills, for it is full of
+   the most delicate effects of transparent cloud, more or less veiling
+   the faces and forms of the angels, and covering with white light the
+   silvery sprays of the palms, while the clouds in the "Jacob's Dream"
+   are the ordinary rotundities of the studio.
+
+   27. _Ezekiel's Vision._ I suspect this has been repainted, it is so
+   heavy and dead in color; a fault, however, observable in many of the
+   small pictures on the ceiling, and perhaps the natural result of the
+   fatigue of such a mind as Tintoret's. A painter who threw such intense
+   energy into some of his works can hardly but have been languid in
+   others in a degree never experienced by the more tranquil minds of
+   less powerful workmen; and when this languor overtook him whilst he
+   was at work on pictures where a certain space had to be covered by
+   mere force of arm, this heaviness of color could hardly but have been
+   the consequence: it shows itself chiefly in reds and other hot hues,
+   many of the pictures in the Ducal Palace also displaying it in a
+   painful degree. This "Ezekiel's Vision" is, however, in some measure
+   worthy of the master, in the wild and horrible energy with which the
+   skeletons are leaping up about the prophet; but it might have been
+   less horrible and more sublime, no attempt being made to represent the
+   space of the Valley of Dry Bones, and the whole canvas being occupied
+   only by eight figures, of which five are half skeletons. It it is
+   strange that, in such a subject, the prevailing hues should be red and
+   brown.
+
+   28. _Fall of Man._ The two canvases last named are the most
+   considerable in size upon the roof, after the centre pieces. We now
+   come to the smaller subjects which surround the "Striking the Rock;"
+   of these this "Fall of Man" is the best, and I should think it very
+   fine anywhere but in the Scuola di San Rocco; there is a grand light
+   on the body of Eve, and the vegetation is remarkably rich, but the
+   faces are coarse, and the composition uninteresting. I could not get
+   near enough to see what the grey object is upon which Eve appears to
+   be sitting, nor could I see any serpent. It is made prominent in the
+   picture of the Academy of this same subject, so that I suppose it is
+   hidden in the darkness, together with much detail which it would be
+   necessary to discover in order to judge the work justly.
+
+   29. _Elijah (?)._ A prophet holding down his face, which is covered
+   with his hand. God is talking with him, apparently in rebuke. The
+   clothes on his breast are rent, and the action of the figures might
+   suggest the idea of the scene between the Deity and Elijah at Horeb:
+   but there is no suggestion of the past magnificent scenery,--of the
+   wind, the earthquake, or the fire; so that the conjecture is good for
+   very little. The painting is of small interest; the faces are vulgar,
+   and the draperies have too much vapid historical dignity to be
+   delightful.
+
+   30. _Jonah._ The whale here occupies fully one-half of the canvas;
+   being correspondent in value with a landscape background. His mouth is
+   as large as a cavern, and yet, unless the mass of red color in the
+   foreground be a piece of drapery, his tongue is too large for it. He
+   seems to have lifted Jonah out upon it, and not yet drawn it back, so
+   that it forms a kind of crimson cushion for him to kneel upon in his
+   submission to the Deity. The head to which this vast tongue belongs is
+   sketched in somewhat loosely, and there is little remarkable about it
+   except its size, nor much in the figures, though the submissiveness of
+   Jonah is well given. The great thought of Michael Angelo renders one
+   little charitable to any less imaginative treatment of this subject.
+
+   31. _Joshua (?)._ This is a most interesting picture, and it is a
+   shame that its subject is not made out, for it is not a common one.
+   The figure has a sword in its hand, and looks up to a sky full of
+   fire, out of which the form of the Deity is stooping, represented as
+   white and colorless. On the other side of the picture there is seen
+   among the clouds a pillar apparently falling, and there is a crowd at
+   the feet of the principal figure, carrying spears. Unless this be
+   Joshua at the fall of Jericho, I cannot tell what it means; it is
+   painted with great vigor, and worthy of a better place.
+
+   32. _Sacrifice of Isaac._ In conception, it is one of the least worthy
+   of the master in the whole room, the three figures being thrown into
+   violent attitudes, as inexpressive as they are strained and
+   artificial. It appears to have been vigorously painted, but vulgarly;
+   that is to say, the light is concentrated upon the white beard and
+   upturned countenance of Abraham, as it would have been in one of the
+   dramatic effects of the French school, the result being that the head
+   is very bright and very conspicuous, and perhaps, in some of the late
+   operations upon the roof, recently washed and touched. In consequence,
+   every one who comes into the room, is first invited to observe the
+   "bella testa di Abramo." The only thing characteristic of Tintoret is
+   the way in which the pieces of ragged wood are tossed hither and
+   thither in the pile upon which Isaac is bound, although this
+   scattering of the wood is inconsistent with the Scriptural account of
+   Abraham's deliberate procedure, for we are told of him that "he set
+   the wood in order." But Tintoret had probably not noticed this, and
+   thought the tossing of the timber into the disordered heap more like
+   the act of the father in his agony.
+
+   33. _Elijah at the Brook Cherith (?)._ I cannot tell if I have rightly
+   interpreted the meaning of this picture, which merely represents a
+   noble figure couched upon the ground, and an angel appearing to him;
+   but I think that between the dark tree on the left, and the recumbent
+   figure, there is some appearance of a running stream, at all events
+   there is of a mountainous and stony place. The longer I study this
+   master, the more I feel the strange likeness between him and Turner,
+   in our never knowing what subject it is that will stir him to
+   exertion. We have lately had him treating Jacob's Dream, Ezekiel's
+   Vision, Abraham's Sacrifice, and Jonah's Prayer, (all of them subjects
+   on which the greatest painters have delighted to expend their
+   strength,) with coldness, carelessness, and evident absence of
+   delight; and here, on a sudden, in a subject so indistinct that one
+   cannot be sure of its meaning, and embracing only two figures, a man
+   and an angel, forth he starts in his full strength. I believe he must
+   somewhere or another, the day before, have seen a kingfisher; for this
+   picture seems entirely painted for the sake of the glorious downy
+   wings of the angel,--white clouded with blue, as the bird's head and
+   wings are with green,--the softest and most elaborate in plumage that
+   I have seen in any of his works: but observe also the general
+   sublimity obtained by the mountainous lines of the drapery of the
+   recumbent figure, dependent for its dignity upon these forms alone, as
+   the face is more than half hidden, and what is seen of it
+   expressionless.
+
+   34. _The Paschal Feast._ I name this picture by the title given in the
+   guide-books; it represents merely five persons watching the increase
+   of a small fire lighted on a table or altar in the midst of them. It
+   is only because they have all staves in their hands that one may
+   conjecture this fire to be that kindled to consume the Paschal
+   offering. The effect is of course a fire light; and, like all mere
+   fire lights that I have ever seen, totally devoid of interest.
+
+   35. _Elisha feeding the People._ I again guess at the subject: the
+   picture only represents a figure casting down a number of loaves
+   before a multitude; but, as Elisha has not elsewhere occurred, I
+   suppose that these must be the barley loaves brought from
+   Baalshalisha. In conception and manner of painting, this picture and
+   the last, together with the others above-mentioned, in comparison with
+   the "Elijah at Cherith," may be generally described as "dregs of
+   Tintoret:" they are tired, dead, dragged out upon the canvas
+   apparently in the heavy-hearted state which a man falls into when he
+   is both jaded with toil and sick of the work he is employed upon. They
+   are not hastily painted; on the contrary, finished with considerably
+   more care than several of the works upon the walls; but those, as, for
+   instance, the "Agony in the Garden," are hurried sketches with the
+   man's whole heart in them, while these pictures are exhausted
+   fulfilments of an appointed task. Whether they were really amongst the
+   last painted, or whether the painter had fallen ill at some
+   intermediate time, I cannot say; but we shall find him again in his
+   utmost strength in the room which we last enter.
+
+   [Illustration: Fourth Group. Inner room on the upper floor.
+
+                              On the Roof.
+
+      36 to 39. Children's Heads.          41 to 44. Children.
+      40. St. Rocco in Heaven.             45 to 56. Allegorical Figures.
+
+                             On the Walls.
+
+      57. Figure in Niche.                 60. Ecce Homo.
+      58. Figure in Niche.                 61. Christ bearing his Cross.
+      59. Christ before Pilate.            62. CRUCIFIXION.]
+
+   36 to 39. _Four Children's Heads_, which it is much to be regretted
+   should be thus lost in filling small vacuities of the ceiling.
+
+   40. _St. Rocco in Heaven._ The central picture of the roof, in the
+   inner room. From the well-known anecdote respecting the production of
+   this picture, whether in all its details true or not, we may at least
+   gather that having been painted in competition with Paul Veronese and
+   other powerful painters of the day, it was probably Tintoret's
+   endeavor to make it as popular and showy as possible. It is quite
+   different from his common works; bright in all its tints and tones;
+   the faces carefully drawn, and of an agreeable type; the outlines
+   firm, and the shadows few; the whole resembling Correggio more than
+   any Venetian painter. It is, however, an example of the danger, even
+   to the greatest artist, of leaving his own style; for it lacks all the
+   great virtues of Tintoret, without obtaining the lusciousness of
+   Correggio. One thing, at all events, is remarkable in it,--that,
+   though painted while the competitors were making their sketches, it
+   shows no sign of haste or inattention.
+
+   41 to 44. _Figures of Children_, merely decorative.
+
+   45 to 56. _Allegorical Figures on the Roof._ If these were not in the
+   same room with the "Crucifixion," they would attract more public
+   attention than any works in the Scuola, as there are here no black
+   shadows, nor extravagances of invention, but very beautiful figures
+   richly and delicately colored, a good deal resembling some of the best
+   works of Andrea del Sarto. There is nothing in them, however,
+   requiring detailed examination. The two figures between the windows
+   are very slovenly, if they are his at all; and there are bits of
+   marbling and fruit filling the cornices, which may or may not be his:
+   if they are, they are tired work, and of small importance.
+
+   59. _Christ before Pilate._ A most interesting picture, but, which is
+   unusual, best seen on a dark day, when the white figure of Christ
+   alone draws the eye, looking almost like a spirit; the painting of the
+   rest of the picture being both somewhat thin and imperfect. There is a
+   certain meagreness about all the minor figures, less grandeur and
+   largeness in the limbs and draperies, and less solidity, it seems,
+   even in the color, although its arrangements are richer than in many
+   of the compositions above described. I hardly know whether it is owing
+   to this thinness of color, or on purpose, that the horizontal clouds
+   shine through the crimson flag in the distance; though I should think
+   the latter, for the effect is most beautiful. The passionate action of
+   the Scribe in lifting his hand to dip the pen into the ink-horn is,
+   however, affected and overstrained, and the Pilate is very mean;
+   perhaps intentionally, that no reverence might be withdrawn from the
+   person of Christ. In work of the thirteenth and fourteenth centuries,
+   the figures of Pilate and Herod are always intentionally made
+   contemptible.
+
+   _Ecce Homo._ As usual, Tintoret's own peculiar view of the subject.
+   Christ is laid fainting on the ground, with a soldier standing on one
+   side of him; while Pilate, on the other, withdraws the robe from the
+   scourged and wounded body, and points it out to the Jews. Both this
+   and the picture last mentioned resemble Titian more than Tintoret in
+   the style of their treatment.
+
+   61. _Christ bearing his Cross._ Tintoret is here recognizable again in
+   undiminished strength. He has represented the troops and attendants
+   climbing Calvary by a winding path, of which two turns are seen, the
+   figures on the uppermost ledge, and Christ in the centre of them,
+   being relieved against the sky; but, instead of the usual simple
+   expedient of the bright horizon to relieve the dark masses, there is
+   here introduced, on the left, the head of a white horse, which blends
+   itself with the sky in one broad mass of light. The power of the
+   picture is chiefly in effect, the figure of Christ being too far off
+   to be very interesting, and only the malefactors being seen on the
+   nearer path; but for this very reason it seems to me more impressive,
+   as if one had been truly present at the scene, though not exactly in
+   the right place for seeing it.
+
+   62. _The Crucifixion._ I must leave this picture to work its will on
+   the spectator; for it is beyond all analysis, and above all praise.
+
+
+    S
+
+ SAGREDO, PALAZZO, on the Grand Canal, II. 256. Much defaced, but full
+   of interest. Its sea story is restored; its first floor has a most
+   interesting arcade of the early thirteenth century third order
+   windows; its upper windows are the finest fourth and fifth orders of
+   early fourteenth century; the group of fourth orders in the centre
+   being brought into some resemblance to the late Gothic traceries by
+   the subsequent introduction of the quatrefoils above them.
+
+ SALUTE, CHURCH OF STA. MARIA DELLA, on the Grand Canal, II. 378. One
+   of the earliest buildings of the Grotesque Renaissance, rendered
+   impressive by its position, size, and general proportions. These
+   latter are exceedingly good; the grace of the whole building being
+   chiefly dependent on the inequality of size in its cupolas, and pretty
+   grouping of the two campaniles behind them. It is to be generally
+   observed that the proportions of buildings have nothing whatever to
+   do with the style or general merits of their architecture. An
+   architect trained in the worst schools, and utterly devoid of all
+   meaning or purpose in his work, may yet have such a natural gift of
+   massing and grouping as will render all his structures effective when
+   seen from a distance: such a gift is very general with the late
+   Italian builders, so that many of the most contemptible edifices in
+   the country have good stage effect so long as we do not approach them.
+   The Church of the Salute is farther assisted by the beautiful flight
+   of steps in front of it down to the canal; and its façade is rich and
+   beautiful of its kind, and was chosen by Turner for the principal
+   object in his well-known view of the Grand Canal. The principal faults
+   of the building are the meagre windows in the sides of the cupola, and
+   the ridiculous disguise of the buttresses under the form of colossal
+   scrolls; the buttresses themselves being originally a hypocrisy, for
+   the cupola is stated by Lazari to be of timber, and therefore needs
+   none. The sacristy contains several precious pictures: the three on
+   its roof by Titian, much vaunted, are indeed as feeble as they are
+   monstrous; but the small Titian, "St. Mark, with Sts. Cosmo and
+   Damian," was, when I first saw it, to my judgment, by far the first
+   work of Titian's in Venice. It has since been restored by the Academy,
+   and it seemed to me entirely destroyed, but I had not time to examine
+   it carefully.
+
+   At the end of the larger sacristy is the lunette which once decorated
+   the tomb of the Doge Francesco Dandolo (see above, page 74); and, at
+   the side of it, one of the most highly finished Tintorets in Venice,
+   namely:
+
+   _The Marriage in Cana._ An immense picture, some twenty-five feet long
+   by fifteen high, and said by Lazari to be one of the few which
+   Tintoret signed with his name. I am not surprised at his having done
+   so in this case. Evidently the work has been a favorite with him, and
+   he has taken as much pains as it was ever necessary for his colossal
+   strength to take with anything. The subject is not one which admits of
+   much singularity or energy in composition. It was always a favorite
+   one with Veronese, because it gave dramatic interest to figures in gay
+   costumes and of cheerful countenances; but one is surprised to find
+   Tintoret, whose tone of mind was always grave, and who did not like to
+   make a picture out of brocades and diadems, throwing his whole
+   strength into the conception of a marriage feast; but so it is, and
+   there are assuredly no female heads in any of his pictures in Venice
+   elaborated so far as those which here form the central light. Neither
+   is it often that the works of this mighty master conform themselves to
+   any of the rules acted upon by ordinary painters; but in this instance
+   the popular laws have been observed, and an academy student would be
+   delighted to see with what severity the principal light is arranged in
+   a central mass, which is divided and made more brilliant by a vigorous
+   piece of shadow thrust into the midst of it, and which dies away in
+   lesser fragments and sparkling towards the extremities of the picture.
+   This mass of light is as interesting by its composition as by its
+   intensity. The cicerone who escorts the stranger round the sacristy in
+   the course of five minutes, and allows him some forty seconds for the
+   contemplation of a picture which the study of six months would not
+   entirely fathom, directs his attention very carefully to the "bell'
+   effetto di prospettivo," the whole merit of the picture being, in the
+   eyes of the intelligent public, that there is a long table in it, one
+   end of which looks farther off than the other; but there is more in
+   the "bell' effetto di prospettivo" than the observance of the common
+   laws of optics. The table is set in a spacious chamber, of which the
+   windows at the end let in the light from the horizon, and those in the
+   side wall the intense blue of an Eastern sky. The spectator looks all
+   along the table, at the farther end of which are seated Christ and the
+   Madonna, the marriage guests on each side of it,--on one side men, on
+   the other women; the men are set with their backs to the light, which
+   passing over their heads and glancing slightly on the tablecloth,
+   falls in full length along the line of young Venetian women, who thus
+   fill the whole centre of the picture with one broad sunbeam, made up
+   of fair faces and golden hair. Close to the spectator a woman has
+   risen in amazement, and stretches across the table to show the wine in
+   her cup to those opposite; her dark red dress intercepts and enhances
+   the mass of gathered light. It is rather curious, considering the
+   subject of the picture, that one cannot distinguish either the bride
+   or the bridegroom; but the fourth figure from the Madonna in the line
+   of women, who wears a white head-dress of lace and rich chains of
+   pearls in her hair, may well be accepted for the former, and I think
+   that between her and the woman on the Madonna's left hand the unity of
+   the line of women is intercepted by a male figure; be this as it may,
+   this fourth female face is the most beautiful, as far as I recollect,
+   that occurs in the works of the painter, with the exception only of
+   the Madonna in the "Flight into Egypt." It is an ideal which occurs
+   indeed elsewhere in many of his works, a face at once dark and
+   delicate, the Italian cast of feature moulded with the softness and
+   childishness of English beauty some half a century ago; but I have
+   never seen the ideal so completely worked out by the master. The face
+   may best be described as one of the purest and softest of Stothard's
+   conceptions, executed with all the strength of Tintoret. The other
+   women are all made inferior to this one, but there are beautiful
+   profiles and bendings of breasts and necks along the whole line. The
+   men are all subordinate, though there are interesting portraits among
+   them; perhaps the only fault of the picture being that the faces are a
+   little too conspicuous, seen like balls of light among the crowd of
+   minor figures which fill the background of the picture. The tone of
+   the whole is sober and majestic in the highest degree; the dresses are
+   all broad masses of color, and the only parts of the picture which lay
+   claim to the expression of wealth or splendor are the head-dresses of
+   the women. In this respect the conception of the scene differs widely
+   from that of Veronese, and approaches more nearly to the probable
+   truth. Still the marriage is not an unimportant one; an immense crowd,
+   filling the background, forming superbly rich mosaic of color against
+   the distant sky. Taken as a whole, the picture is perhaps the most
+   perfect example which human art has produced of the utmost possible
+   force and sharpness of shadow united with richness of local color. In
+   all the other works of Tintoret, and much more of other colorists,
+   either the light and shade or the local color is predominant; in the
+   one case the picture has a tendency to look as if painted by
+   candle-light, in the other it becomes daringly conventional, and
+   approaches the conditions of glass-painting. This picture unites
+   color as rich as Titian's with light and shade as forcible as
+   Rembrandt's, and far more decisive.
+
+   There are one or two other interesting pictures of the early Venetian
+   schools in this sacristy, and several important tombs in the adjoining
+   cloister; among which that of Francesco Dandolo, transported here from
+   the Church of the Frari, deserves especial attention. See above, p.
+   74.
+
+ SALVATORE, CHURCH OF ST. Base Renaissance, occupying the place of the
+   ancient church, under the porch of which the Pope Alexander III. is
+   said to have passed the night. M. Lazari states it to have been richly
+   decorated with mosaics; now all is gone.
+
+   In the interior of the church are some of the best examples of
+   Renaissance sculptural monuments in Venice. (See above, Chap. II. §
+   LXXX.) It is said to possess an important pala of silver, of the
+   thirteenth century, one of the objects in Venice which I much regret
+   having forgotten to examine; besides two Titians, a Bonifazio, and a
+   John Bellini. The latter ("The Supper at Emmaus") must, I think, have
+   been entirely repainted: it is not only unworthy of the master, but
+   unlike him; as far, at least, as I could see from below, for it is
+   hung high.
+
+ SANUDO PALAZZO. At the Miracoli. A noble Gothic palace of the fourteenth
+   century, with Byzantine fragments and cornices built into its walls,
+   especially round the interior court, in which the staircase is very
+   noble. Its door, opening on the quay, is the only one in Venice
+   entirely uninjured; retaining its wooden valve richly sculptured, its
+   wicket for examination of the stranger demanding admittance, and its
+   quaint knocker in the form of a fish.
+
+ SCALZI, CHURCH OF THE. It possesses a fine John Bellini, and is renowned
+   through Venice for its precious marbles. I omitted to notice above, in
+   speaking of the buildings of the Grotesque Renaissance, that many of
+   them are remarkable for a kind of dishonesty, even in the use of
+   _true_ marbles, resulting not from motives of economy, but from mere
+   love of juggling and falsehood for their own sake. I hardly know which
+   condition of mind is meanest, that which has pride in plaster made to
+   look like marble, or that which takes delight in marble made to look
+   like silk. Several of the later churches in Venice, more especially
+   those of the Jesuiti, of San Clemente, and this of the Scalzi, rest
+   their chief claims to admiration on their having curtains and cushions
+   cut out of rock. The most ridiculous example is in San Clemente, and
+   the most curious and costly are in the Scalzi; which latter church is
+   a perfect type of the vulgar abuse of marble in every possible way, by
+   men who had no eye for color, and no understanding of any merit in a
+   work of art but that which arises from costliness of material, and
+   such powers of imitation as are devoted in England to the manufacture
+   of peaches and eggs out of Derbyshire spar.
+
+ SEBASTIAN, CHURCH OF ST. The tomb, and of old the monument, of Paul
+   Veronese. It is full of his noblest pictures, or of what once were
+   such; but they seemed to me for the most part destroyed by repainting.
+   I had not time to examine them justly, but I would especially direct
+   the traveller's attention to the small Madonna over the second altar
+   on the right of the nave, still a perfect and priceless treasure.
+
+ SERVI, CHURCH OF THE. Only two of its gates and some ruined walls are
+   left, in one of the foulest districts of the city. It was one of the
+   most interesting monuments of the early fourteenth century Gothic; and
+   there is much beauty in the fragments yet remaining. How long they may
+   stand I know not, the whole building having been offered me for sale,
+   ground and all, or stone by stone, as I chose, by its present
+   proprietor, when I was last in Venice. More real good might at present
+   be effected by any wealthy person who would devote his resources to
+   the preservation of such monuments wherever they exist, by freehold
+   purchase of the entire ruin, and afterwards by taking proper charge of
+   it, and forming a garden round it, than by any other mode of
+   protecting or encouraging art. There is no school, no lecturer, like a
+   ruin of the early ages.
+
+ SEVERO, FONDAMENTA SAN, palace at, II. 264.
+
+ SILVESTRO, CHURCH OF ST. Of no importance in itself, but it contains
+   two very interesting pictures: the first, a "St. Thomas of Canterbury
+   with the Baptist and St. Francis," by Girolamo Santa Croce, a superb
+   example of the Venetian religious school; the second by Tintoret,
+   namely:
+
+   _The Baptism of Christ._ (Over the first altar on the right of the
+   nave.) An upright picture, some ten feet wide by fifteen high; the top
+   of it is arched, representing the Father supported by angels. It
+   requires little knowledge of Tintoret to see that these figures are
+   not by his hand. By returning to the opposite side of the nave, the
+   join in the canvas may be plainly seen, the upper part of the picture
+   having been entirely added on: whether it had this upper part before
+   it was repainted, or whether originally square, cannot now be told,
+   but I believe it had an upper part which has been destroyed. I am not
+   sure if even the dove and the two angels which are at the top of the
+   older part of the picture are quite genuine. The rest of it is
+   magnificent, though both the figures of the Saviour and the Baptist
+   show some concession on the part of the painter to the imperative
+   requirement of his age, that nothing should be done except in an
+   attitude; neither are there any of his usual fantastic imaginations.
+   There is simply the Christ in the water and the St. John on the shore,
+   without attendants, disciples, or witnesses of any kind; but the power
+   of the light and shade, and the splendor of the landscape, which on
+   the whole is well preserved, render it a most interesting example. The
+   Jordan is represented as a mountain brook, receiving a tributary
+   stream in a cascade from the rocks, in which St. John stands: there is
+   a rounded stone in the centre of the current; and the parting of the
+   water at this, as well as its rippling among the roots of some dark
+   trees on the left, are among the most accurate remembrances of nature
+   to be found in any of the works of the great masters. I hardly know
+   whether most to wonder at the power of the man who thus broke through
+   the neglect of nature which was universal at his time; or at the
+   evidences, visible throughout the whole of the conception, that he was
+   still content to paint from slight memories of what he had seen in
+   hill countries, instead of following out to its full depth the
+   fountain which he had opened. There is not a stream among the hills of
+   Priuli which in any quarter of a mile of its course would not have
+   suggested to him finer forms of cascade than those which he has idly
+   painted at Venice.
+
+ SIMEONE, PROFETA, CHURCH OF ST. Very important, though small, possessing
+   the precious statue of St. Simeon, above noticed, II. 309. The rare
+   early Gothic capitals of the nave are only interesting to the
+   architect; but in the little passage by the side of the church,
+   leading out of the Campo, there is a curious Gothic monument built
+   into the wall, very beautiful in the placing of the angels in the
+   spandrils, and rich in the vine-leaf moulding above.
+
+ SIMEONE, PICCOLO, CHURCH OF ST. One of the ugliest churches in Venice or
+   elsewhere. Its black dome, like an unusual species of gasometer, is
+   the admiration of modern Italian architects.
+
+
+ SOSPIRI, PONTE DE'. The well known "Bridge of Sighs," a work of no
+   merit, and of a late period (see Vol. II. p. 304), owing the interest
+   it possesses chiefly to its pretty name, and to the ignorant
+   sentimentalism of Byron.
+
+ SPIRITO SANTO, CHURCH OF THE. Of no importance.
+
+ STEFANO, CHURCH OF ST. An interesting building of central Gothic, the
+   best ecclesiastical example of it in Venice. The west entrance is much
+   later than any of the rest, and is of the richest Renaissance Gothic,
+   a little anterior to the Porta della Carta, and first-rate of its
+   kind. The manner of the introduction of the figure of the angel at the
+   top of the arch is full of beauty. Note the extravagant crockets and
+   cusp finials as signs of decline.
+
+ STEFANO, CHURCH OF ST., at Murano (pugnacity of its abbot), II. 33. The
+   church no longer exists.
+
+ STROPE, CAMPIELLO DELLA, house in, II. 266.
+
+
+    T
+
+
+ TANA, windows at the, II. 260.
+
+ TIEPOLO, PALAZZO, on the Grand Canal. Of no importance.
+
+ TOLENTINI, CHURCH OF THE. One of the basest and coldest works of the
+   late Renaissance. It is said to contain two Bonifazios.
+
+ TOMA, CHURCH OF ST. Of no importance.
+
+ TOMA, PONTE SAN. There is an interesting ancient doorway opening on the
+   canal close to this bridge, probably of the twelfth century, and a
+   good early Gothic door, opening upon the bridge itself.
+
+ TORCELLO, general aspect of, II. 12; Santa Fosca at, I. 117, II. 13;
+   duomo, II. 14; mosaics of, II. 196; measures of, II. 378; date of, II.
+   380.
+
+ TREVISAN, PALAZZO, I. 369, III. 212.
+
+ TRON, PALAZZO. Of no importance.
+
+ TROVASO, CHURCH OF ST. Itself of no importance, but containing two
+   pictures by Tintoret, namely:
+
+   1. _The Temptation of St. Anthony._ (Altar piece in the chapel on the
+   left of the choir.) A small and very carefully finished picture, but
+   marvellously temperate and quiet in treatment, especially considering
+   the subject, which one would have imagined likely to inspire the
+   painter with one of his most fantastic visions. As if on purpose to
+   disappoint us, both the effect, and the conception of the figures, are
+   perfectly quiet, and appear the result much more of careful study than
+   of vigorous imagination. The effect is one of plain daylight; there
+   are a few clouds drifting in the distance, but with no wildness in
+   them, nor is there any energy or heat in the flames which mantle about
+   the waist of one of the figures. But for the noble workmanship, we
+   might almost fancy it the production of a modern academy; yet as we
+   begin to read the picture, the painter's mind becomes felt. St.
+   Anthony is surrounded by four figures, one of which only has the form
+   of a demon, and he is in the background, engaged in no more terrific
+   act of violence toward St. Anthony, than endeavoring to pull off his
+   mantle; he has, however, a scourge over his shoulder, but this is
+   probably intended for St. Anthony's weapon of self-discipline, which
+   the fiend, with a very Protestant turn of mind, is carrying off. A
+   broken staff, with a bell hanging to it, at the saint's feet, also
+   expresses his interrupted devotion. The three other figures beside him
+   are bent on more cunning mischief: the woman on the left is one of
+   Tintoret's best portraits of a young and bright-eyed Venetian beauty.
+   It is curious that he has given so attractive a countenance to a type
+   apparently of the temptation to violate the power of poverty, for this
+   woman places one hand in a vase full of coins, and shakes golden
+   chains with the other. On the opposite side of the saint, another
+   woman, admirably painted, but of a far less attractive countenance, is
+   a type of the lusts of the flesh, yet there is nothing gross or
+   immodest in her dress or gesture. She appears to have been baffled,
+   and for the present to have given up addressing the saint: she lays
+   one hand upon her breast, and might be taken for a very respectable
+   person, but that there are flames playing about her loins. A recumbent
+   figure on the ground is of less intelligible character, but may
+   perhaps be meant for Indolence; at all events, he has torn the saint's
+   book to pieces. I forgot to note, that under the figure representing
+   Avarice, there is a creature like a pig; whether actual pig or not is
+   unascertainable, for the church is dark, the little light that comes
+   on the picture falls on it the wrong way, and one third of the lower
+   part of it is hidden by a white case, containing a modern daub, lately
+   painted by way of an altar piece; the meaning, as well as the merit,
+   of the grand old picture being now far beyond the comprehension both
+   of priests and people.
+
+   2. _The Last Supper._ (On the left-hand side of the Chapel of the
+   Sacrament.) A picture which has been through the hands of the Academy,
+   and is therefore now hardly worth notice. Its conception seems always
+   to have been vulgar, and far below Tintoret's usual standard; there is
+   singular baseness in the circumstance, that one of the near Apostles,
+   while all the others are, as usual, intent upon Christ's words, "One
+   of you shall betray me," is going to help himself to wine out of a
+   bottle which stands behind him. In so doing he stoops towards the
+   table, the flask being on the floor. If intended for the action of
+   Judas at this moment, there is the painter's usual originality in the
+   thought; but it seems to me rather done to obtain variation of
+   posture, in bringing the red dress into strong contrast with the
+   tablecloth. The color has once been fine, and there are fragments of
+   good painting still left; but the light does not permit these to be
+   seen, and there is too much perfect work of the master's in Venice, to
+   permit us to spend time on retouched remnants. The picture is only
+   worth mentioning, because it is ignorantly and ridiculously referred
+   to by Kugler as characteristic of Tintoret.
+
+
+    V
+
+ VITALI, CHURCH OF ST. Said to contain a picture by Vittor Carpaccio,
+   over the high altar: otherwise of no importance.
+
+
+ VOLTO SANTO, CHURCH OF THE. An interesting but desecrated ruin of the
+   fourteenth century; fine in style. Its roof retains some fresco
+   coloring, but, as far as I recollect, of later date than the
+   architecture.
+
+
+    Z
+
+ ZACCARIA, CHURCH OF ST. Early Renaissance, and fine of its kind; a
+   Gothic chapel attached to it is of great beauty. It contains the best
+   John Bellini in Venice, after that of San G. Grisostomo, "The Virgin,
+   with Four Saints;" and is said to contain another John Bellini and a
+   Tintoret, neither of which I have seen.
+
+ ZITELLE, CHURCH OF THE. Of no importance.
+
+ ZOBENIGO, CHURCH OF SANTA MARIA, III. 124. It contains one valuable
+   Tintoret, namely:
+
+   _Christ with Sta. Justina and St. Augustin._ (Over the third altar on
+   the south side of the nave.) A picture of small size, and upright,
+   about ten feet by eight. Christ appears to be descending out of the
+   clouds between the two saints, who are both kneeling on the sea shore.
+   It is a Venetian sea, breaking on a flat beach, like the Lido, with a
+   scarlet galley in the middle distance, of which the chief use is to
+   unite the two figures by a point of color. Both the saints are
+   respectable Venetians of the lower class, in homely dresses and with
+   homely faces. The whole picture is quietly painted, and somewhat
+   slightly; free from all extravagance, and displaying little power
+   except in the general truth or harmony of colors so easily laid on. It
+   is better preserved than usual, and worth dwelling upon as an instance
+   of the style of the master when _at rest_.
+
+
+FOOTNOTES:
+
+  [71]  "Am I in Italy? Is this the Mincius?
+         Are those the distant turrets of Verona?
+         And shall I sup where Juliet at the Masque
+         Saw her loved Montague, and now sleeps by him?
+         Such questions hourly do I ask myself;
+         And not a stone in a crossway inscribed
+         'To Mantua,' 'To Ferrara,' but excites
+         Surprise, and doubt, and self-congratulation."
+
+    Alas, after a few short months, spent even in the scenes dearest to
+    history, we can feel thus no more.
+
+  [72] I have always called this church, in the text, simply "St. John
+    and Paul," not Sts. John and Paul, just as the Venetians say San
+    Giovanni e Paolo, and not Santi G., &c.
+
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+CORRECTIONS MADE TO THE ORIGINAL TEXT.
+
+Page 69: 'Italian sarcophagi are kept massive, smoth and gloomy' smoth
+            corrected to smooth.
+
+Page 74: 'fallen back peacefully uppon his pillow' uppon corrected to
+            upon.
+
+Page 100: 'men's modes of life, and tones of throught' throught changed
+             to thought.
+
+Page 121: 'breathed upon her beaaty, until it melted away' beaaty
+             corrected to beauty.
+
+Page 157: 'morbid action by terror, accompained by the belief'
+             accompained changed to accompanied.
+
+Page 207: 'finds him by a fountaiu side' fountaiu corrected to fountain.
+
+Page 222: 'Pietro di Castello, for the feast of St. Mary' Mary changed
+             to Mark.
+
+Page 233: Number 2. misplaced. Moved to 'a. Lower arcade, Fondaco de'
+            Turchi.'
+
+Page 233: Missing 4. added before 'a. Fondaco de' Turchi, central shaft,
+            upper arcade.'
+
+Page 237: 'fourth order windows in Campo Sta. Ma Mater Domini' Ma
+             changed to M^a.
+
+Page 293: 'the usual inportant purposes of the modern Italians.'
+             inportant changed to important.
+
+Page 294: 'not the slightest touch os it but is delicious.' os corrected
+             to of.
+
+Page 318: 'examine the two large tintorets' tintorets changed to
+             Tintorets.
+
+Page 319: 'Mlaipiero, Palazzo, on the Campo St. M. Formosa.' Mlaipiero
+             corrected to Malipiero.
+
+Page 358: 'drift of its clouds, and originalty and complication.'
+             originalty corrected to originality.
+
+
+
+
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+<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Stones of Venice, Volume III (of 3), by John Ruskin</div>
+<div style='display:block; margin:1em 0'>
+This eBook is for the use of anyone anywhere in the United States and
+most other parts of the world at no cost and with almost no restrictions
+whatsoever. You may copy it, give it away or re-use it under the terms
+of the Project Gutenberg License included with this eBook or online
+at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
+are not located in the United States, you will have to check the laws of the
+country where you are located before using this eBook.
+</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: The Stones of Venice, Volume III (of 3)</div>
+<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: John Ruskin</div>
+<div style='display:block; margin:1em 0'>Release Date: December 31, 2009 [eBook #30756]<br />
+[Most recently updated: March 15, 2023]</div>
+<div style='display:block; margin:1em 0'>Language: English</div>
+<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Marius Masi, Juliet Sutherland, and the Project Gutenberg Online Distributed Proofreading Team</div>
+<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE STONES OF VENICE, VOLUME III (OF 3) ***</div>
+
+<table border="0" cellpadding="10" style="background-color: #ddddee; color: #000000; " summary="Transcriber's note">
+<tr>
+<td style="width:25%; vertical-align:top">
+Transcriber's note:</td>
+<td>A few typographical errors have been corrected. They
+appear in the text <span class="correction" title="explanation will pop up">like this</span>, and the
+explanation will appear when the mouse pointer is moved over the marked
+passage. <br />
+</td></tr>
+
+<tr><td style="width:25%; vertical-align:top">
+Linked volumes
+</td>
+<td class="norm">
+The index of this three-volume work is in this volume, with links to
+all three volumes; and some footnotes are linked between volumes.
+These links are designed to work when the book is read on line. For
+information on the downloading of all three interlinked volumes so
+that the links work on your own computer, see the
+<a name="tn" id="tn"></a><a href="#tntag">Transcriber's Note</a>
+at the end of this book.
+</td> </tr>
+</table>
+
+<h3>Links to</h3>
+<h3><a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm">Volume I</a></h3>
+<h3><a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm">Volume II</a></h3>
+
+
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+
+<div style="padding-top: 3em; ">&nbsp;</div>
+
+
+<h3>THE COMPLETE WORKS</h3>
+
+<h5>OF</h5>
+
+<h3>JOHN RUSKIN</h3>
+
+<h4>VOLUME IX</h4>
+<hr class="short" />
+<h4>STONES OF VENICE</h4>
+
+<h4>VOLUME III</h4>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="figcenter1">
+    <img src="images/img001.jpg" width="444" height="650" alt="THE BRIDGE OF SIGHS" title="THE BRIDGE OF SIGHS" /></td>
+</tr>
+<tr>
+  <td class="caption">THE BRIDGE OF SIGHS.<br />
+                      <span class="f80">FROM A PHOTOGRAPH.</span></td>
+</tr>
+</table>
+
+<div style="padding-top: 3em; ">&nbsp;</div>
+
+<table class="allbctr" style="width: 60%; " summary="Front page">
+<tr>  <td class="pd" style="border-bottom: black 1px solid; " colspan="2"><h5>Library Edition</h5> </td> </tr>
+
+<tr>  <td style="padding-top: 3em; " colspan="2"><h3>THE COMPLETE WORKS</h3> </td> </tr>
+
+<tr>  <td colspan="2"><h6>OF</h6> </td> </tr>
+
+<tr>  <td style="padding-bottom: 5em; " colspan="2"><h2>JOHN RUSKIN</h2> </td> </tr>
+
+<tr>  <td style="padding-bottom: 5em; " colspan="2"><h5>STONES OF VENICE<br />
+<span class="sc">Volume III</span><br />
+        GIOTTO<br />
+        LECTURES ON ARCHITECTURE<br />
+        HARBOURS OF ENGLAND<br />
+        A JOY FOREVER</h5> </td> </tr>
+
+<tr>  <td style="border-top: black 1px solid; padding-top: 1.5em; " colspan="2"><h3>NATIONAL LIBRARY ASSOCIATION</h3> </td> </tr>
+<tr>  <td><h3 style="text-align: left; padding-left: 3em; ">NEW YORK</h3></td>
+      <td><h3 style="text-align: right; padding-right: 3em; ">CHICAGO</h3></td> </tr>
+</table>
+
+<div style="padding-top: 3em; ">&nbsp;</div>
+<h2>THE</h2>
+<h2>STONES OF VENICE</h2>
+
+<h3>VOLUME III.</h3>
+
+<h3>THE FALL</h3>
+
+<hr class="art" />
+<h3>CONTENTS.</h3>
+<hr class="short" />
+
+<h5>THIRD, OR RENAISSANCE, PERIOD.</h5>
+
+<table class="nobctr" width="90%" summary="Contents">
+
+<tr> <td class="center" colspan="2">CHAPTER I. </td> </tr>
+
+<tr> <td>&nbsp;</td>
+     <td class="rsp"><span class="sc">page</span> </td> </tr>
+
+<tr> <td class="lsp">Early Renaissance, </td>
+     <td class="rsp"><a href="#page001">1</a> </td> </tr>
+
+<tr> <td class="center" colspan="2">CHAPTER II.</td> </tr>
+<tr> <td class="lsp">Roman Renaissance,</td>
+     <td class="rsp"><a href="#page032">32</a> </td> </tr>
+
+<tr> <td class="center" colspan="2">CHAPTER III.</td> </tr>
+<tr> <td class="lsp">Grotesque Renaissance,</td>
+     <td class="rsp"><a href="#page112">112</a> </td> </tr>
+
+<tr> <td class="center" colspan="2">CHAPTER IV.</td> </tr>
+<tr> <td class="lsp">Conclusion,</td>
+     <td class="rsp"><a href="#page166">166</a> </td> </tr>
+
+</table>
+
+<h5>APPENDIX.</h5>
+
+<table class="nobctr" width="90%" summary="Contents">
+
+<tr> <td class="tc2" style="width: 1.5em; ">1.</td>
+     <td class="tc3">Architect of the Ducal Palace,</td>
+     <td class="rsp"><a href="#page199">199</a> </td> </tr>
+
+<tr> <td class="tc2">2.</td>
+     <td class="tc3">Theology of Spenser,</td>
+     <td class="rsp"><a href="#page205">205</a> </td> </tr>
+
+<tr> <td class="tc2">3.</td>
+     <td class="tc3">Austrian Government in Italy,</td>
+     <td class="rsp"><a href="#page209">209</a> </td> </tr>
+
+<tr> <td class="tc2">4.</td>
+     <td class="tc3">Date of the Palaces of the Byzantine Renaissance,</td>
+     <td class="rsp"><a href="#page211">211</a> </td> </tr>
+
+<tr> <td class="tc2">5.</td>
+     <td class="tc3">Renaissance Side of Ducal Palace,</td>
+     <td class="rsp"><a href="#page212">212</a> </td> </tr>
+
+<tr> <td class="tc2">6.</td>
+     <td class="tc3">Character of the Doge Michele Morosini,</td>
+     <td class="rsp"><a href="#page213">213</a> </td> </tr>
+
+<tr> <td class="tc2">7.</td>
+     <td class="tc3">Modern Education,</td>
+     <td class="rsp"><a href="#page214">214</a> </td> </tr>
+
+<tr> <td class="tc2">8.</td>
+     <td class="tc3">Early Venetian Marriages,</td>
+     <td class="rsp"><a href="#page222">222</a> </td> </tr>
+
+<tr> <td class="tc2">9.</td>
+     <td class="tc3">Character of the Venetian Aristocracy,</td>
+     <td class="rsp"><a href="#page223">223</a> </td> </tr>
+
+<tr> <td class="tc2">10.</td>
+     <td class="tc3">Final Appendix,</td>
+     <td class="rsp"><a href="#page224">224</a> </td> </tr>
+</table>
+
+<h5>INDICES.</h5>
+
+<table class="nobctr" width="90%" summary="Contents">
+
+<tr> <td class="tc2" style="width: 1.5em; ">I.</td>
+     <td class="tc3">Personal Index,</td>
+     <td class="rsp"><a href="#page263">263</a> </td> </tr>
+
+<tr> <td class="tc2">II.</td>
+     <td class="tc3">Local Index,</td>
+     <td class="rsp"><a href="#page268">268</a> </td> </tr>
+
+<tr> <td class="tc2">III.</td>
+     <td class="tc3">Topical Index,</td>
+     <td class="rsp"><a href="#page271">271</a> </td> </tr>
+
+<tr> <td class="tc2">IV.</td>
+     <td class="tc3">Venetian Index,</td>
+     <td class="rsp"><a href="#page287">287</a> </td> </tr>
+</table>
+
+
+<div style="padding-top: 3em; ">&nbsp;</div>
+<h3>LIST OF PLATES.</h3>
+<hr class="short" />
+
+<table class="nobctr" width="90%" summary="Contents">
+
+<tr>  <td class="tc1" style="width: 3em; ">&nbsp;</td>
+      <td class="tc2" style="width: 1em; ">&nbsp;</td>
+      <td class="tc3">&nbsp;</td>
+      <td class="tc4"><span style="font-size: 75%; ">Facing Page</span></td>  </tr>
+
+<tr>  <td class="tc1 sc">Plate</td>
+      <td class="tc2">1.</td>
+      <td class="tc3">Temperance and Intemperance in Ornament,</td>
+      <td class="tc4"><a href="#page006">6</a></td>  </tr>
+
+<tr>  <td class="tc1">"</td>
+      <td class="tc2">2.</td>
+      <td class="tc3">Gothic Capitals,</td>
+      <td class="tc4"><a href="#page008">8</a></td>  </tr>
+
+<tr>  <td class="tc1">"</td>
+      <td class="tc2">3.</td>
+      <td class="tc3">Noble and Ignoble Grotesque,</td>
+      <td class="tc4"><a href="#page125">125</a></td>  </tr>
+
+<tr>  <td class="tc1">"</td>
+      <td class="tc2">4.</td>
+      <td class="tc3">Mosaic of Olive Tree and Flowers,</td>
+      <td class="tc4"><a href="#page179">179</a></td>  </tr>
+
+<tr>  <td class="tc1">"</td>
+      <td class="tc2">5.</td>
+      <td class="tc3">Byzantine Bases,</td>
+      <td class="tc4"><a href="#page225">225</a></td>  </tr>
+
+<tr>  <td class="tc1">"</td>
+      <td class="tc2">6.</td>
+      <td class="tc3">Byzantine Jambs,</td>
+      <td class="tc4"><a href="#page229">229</a></td>  </tr>
+
+<tr>  <td class="tc1">"</td>
+      <td class="tc2">7.</td>
+      <td class="tc3">Gothic Jambs,</td>
+      <td class="tc4"><a href="#page230">230</a></td>  </tr>
+
+<tr>  <td class="tc1">"</td>
+      <td class="tc2">8.</td>
+      <td class="tc3">Byzantine Archivolts,</td>
+      <td class="tc4"><a href="#page244">244</a></td>  </tr>
+
+<tr>  <td class="tc1">"</td>
+      <td class="tc2">9.</td>
+      <td class="tc3">Gothic Archivolts,</td>
+      <td class="tc4"><a href="#page245">245</a></td>  </tr>
+
+<tr>  <td class="tc1">"</td>
+      <td class="tc2">10.</td>
+      <td class="tc3">Cornices,</td>
+      <td class="tc4"><a href="#page248">248</a></td>  </tr>
+
+<tr>  <td class="tc1">"</td>
+      <td class="tc2">11.</td>
+      <td class="tc3">Tracery Bars,</td>
+      <td class="tc4"><a href="#page252">252</a></td>  </tr>
+
+<tr>  <td class="tc1">"</td>
+      <td class="tc2">12.</td>
+      <td class="tc3">Capitals of Fondaco de Turchi,</td>
+      <td class="tc4"><a href="#page304">304</a></td>  </tr>
+</table>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page001"></a>1</span></p>
+
+<h4>THE</h4>
+
+<h2>STONES OF VENICE.</h2>
+
+<hr class="short" />
+<h3>THIRD, OR RENAISSANCE, PERIOD.</h3>
+<hr class="short" />
+
+
+<h3><a name="chap_1" id="chap_1"></a>CHAPTER I.</h3>
+
+<h5>EARLY RENAISSANCE.</h5>
+
+
+<p>§ <span class="scs">I.</span> I trust that the reader has been enabled, by the preceding
+chapters, to form some conception of the magnificence
+of the streets of Venice during the course of the thirteenth
+and fourteenth centuries. Yet by all this magnificence she
+was not supremely distinguished above the other cities of the
+middle ages. Her early edifices have been preserved to our
+times by the circuit of her waves; while continual recurrences
+of ruin have defaced the glory of her sister cities. But such
+fragments as are still left in their lonely squares, and in the
+corners of their streets, so far from being inferior to the buildings
+of Venice, are even more rich, more finished, more admirable
+in invention, more exuberant in beauty. And although,
+in the North of Europe, civilization was less advanced,
+and the knowledge of the arts was more confined to the ecclesiastical
+orders, so that, for domestic architecture, the period of
+perfection must be there placed much later than in Italy, and
+considered as extending to the middle of the fifteenth century;
+yet, as each city reached a certain point in civilization,
+its streets became decorated with the same magnificence, varied
+<span class="pagenum"><a name="page002"></a>2</span>
+only in style according to the materials at hand, and temper
+of the people. And I am not aware of any town of wealth
+and importance in the middle ages, in which some proof does
+not exist, that, at its period of greatest energy and prosperity,
+its streets were inwrought with rich sculpture, and even
+(though in this, as before noticed, Venice always stood
+supreme) glowing with color and with gold. Now, therefore,
+let the reader,&mdash;	forming for himself as vivid and real a
+conception as he is able, either of a group of Venetian palaces
+in the fourteenth century, or, if he likes better, of one of the
+more fantastic but even richer street scenes of Rouen, Antwerp,
+Cologne, or Nuremberg, and keeping this gorgeous
+image before him,&mdash;go out into any thoroughfare, representative,
+in a general and characteristic way, of the feeling for
+domestic architecture in modern times; let him, for instance,
+if in London, walk once up and down Harley Street, or Baker
+Street, or Gower Street; and then, looking upon this picture
+and on this, set himself to consider (for this is to be the subject
+of our following and final inquiry) what have been the
+causes which have induced so vast a change in the European
+mind.</p>
+
+<p>§ <span class="scs">II.</span> Renaissance architecture is the school which has conducted
+men&rsquo;s inventive and constructive faculties from the
+Grand Canal to Gower Street; from the marble shaft, and the
+lancet arch, and the wreathed leafage, and the glowing and
+melting harmony of gold and azure, to the square cavity in
+the brick wall. We have now to consider the causes and the
+steps of this change; and, as we endeavored above to investigate
+the nature of Gothic, here to investigate also the nature
+of Renaissance.</p>
+
+<p>§ <span class="scs">III.</span> Although Renaissance architecture assumes very different
+forms among different nations, it may be conveniently
+referred to three heads:&mdash;Early Renaissance, consisting of the
+first corruptions introduced into the Gothic schools: Central
+or Roman Renaissance, which is the perfectly formed style:
+and Grotesque Renaissance, which is the corruption of the
+Renaissance itself.</p>
+
+<p><span class="pagenum"><a name="page003"></a>3</span></p>
+
+<p>§ <span class="scs">IV.</span> Now, in order to do full justice to the adverse cause,
+we will consider the abstract <i>nature</i> of the school with reference
+only to its best or central examples. The forms of building
+which must be classed generally under the term <i>early</i>
+Renaissance are, in many cases, only the extravagances and
+corruptions of the languid Gothic, for whose errors the classical
+principle is in no wise answerable. It was stated in the
+second chapter of the &ldquo;Seven Lamps,&rdquo; that, unless luxury had
+enervated and subtlety falsified the Gothic forms, Roman
+traditions could not have prevailed against them; and, although
+these enervated and false conditions are almost instantly
+colored by the classical influence, it would be utterly
+unfair to lay to the charge of that influence the first debasement
+of the earlier schools, which had lost the strength of
+their system before they could be struck by the plague.</p>
+
+<p>§ <span class="scs">V.</span> The manner, however, of the debasement of all
+schools of art, so far as it is natural, is in all ages the same;
+luxuriance of ornament, refinement of execution, and idle subtleties
+of fancy, taking the place of true thought and firm
+handling: and I do not intend to delay the reader long by the
+Gothic sick-bed, for our task is not so much to watch the wasting
+of fever in the features of the expiring king, as to trace
+the character of that Hazael who dipped the cloth in water,
+and laid it upon his face, Nevertheless, it is necessary to the
+completeness of our view of the architecture of Venice, as
+well as to our understanding of the manner in which the Central
+Renaissance obtained its universal dominion, that we
+glance briefly at the principal forms into which Venetian
+Gothic first declined. They are two in number: one the corruption
+of the Gothic itself; the other a partial return to Byzantine
+forms; for the Venetian mind having carried the
+Gothic to a point at which it was dissatisfied, tried to retrace
+its steps, fell back first upon Byzantine types, and through them
+passed to the first Roman. But in thus retracing its steps,
+it does not recover its own lost energy. It revisits the places
+through which it had passed in the morning light, but it is now
+with wearied limbs, and under the gloomy shadows of evening.</p>
+
+<p><span class="pagenum"><a name="page004"></a>4</span></p>
+
+<p>§ <span class="scs">VI.</span> It has just been said that the two principal causes of
+natural decline in any school, are over-luxuriance and over-refinement.
+The corrupt Gothic of Venice furnishes us with
+a curious instance of the one, and the corrupt Byzantine of
+the other. We shall examine them in succession.</p>
+
+<p>Now, observe, first, I do not mean by <i>luxuriance</i> of ornament,
+<i>quantity</i> of ornament. In the best Gothic in the world
+there is hardly an inch of stone left unsculptured. But I mean
+that character of extravagance in the ornament itself which
+shows that it was addressed to jaded faculties; a violence and
+coarseness in curvature, a depth of shadow, a lusciousness in
+arrangement of line, evidently arising out of an incapability of
+feeling the true beauty of chaste form and restrained power.
+I do not know any character of design which may be more
+easily recognized at a glance than this over-lusciousness; and
+yet it seems to me that at the present day there is nothing so
+little understood as the essential difference between chasteness
+and extravagance, whether in color, shade, or lines. We speak
+loosely and inaccurately of &ldquo;overcharged&rdquo; ornament, with an
+obscure feeling that there is indeed something in visible Form
+which is correspondent to Intemperance in moral habits; but
+without any distinct detection of the character which offends
+us, far less with any understanding of the most important
+lesson which there can be no doubt was intended to be conveyed
+by the universality of this ornamental law.</p>
+
+<p>§ <span class="scs">VII.</span> In a word, then, the safeguard of highest beauty, in
+all visible work, is exactly that which is also the safeguard of
+conduct in the soul,&mdash;Temperance, in the broadest sense; the
+Temperance which we have seen sitting on an equal throne
+with Justice amidst the Four Cardinal Virtues, and, wanting
+which, there is not any other virtue which may not lead us
+into desperate error. Now, observe: Temperance, in the
+nobler sense, does not mean a subdued and imperfect energy;
+it does not mean a stopping short in any good thing, as in
+Love or in Faith; but it means the power which governs the
+most intense energy, and prevents its acting in any way but
+<span class="pagenum"><a name="page005"></a>5</span>
+as it ought. And with respect to things in which there may
+be excess, it does not mean imperfect enjoyment of them; but
+the regulation of their quantity, so that the enjoyment of them
+shall be greatest. For instance, in the matter we have at
+present in hand, temperance in color does not mean imperfect
+or dull enjoyment of color; but it means that government of
+color which shall bring the utmost possible enjoyment out of
+all hues. A bad colorist does not <i>love</i> beautiful color better
+than the best colorist does, nor half so much. But he indulges
+in it to excess; he uses it in large masses, and unsubdued;
+and then it is a law of Nature, a law as universal as that of
+gravitation, that he shall not be able to enjoy it so much as if
+he had used it in less quantity. His eye is jaded and satiated,
+and the blue and red have life in them no more. He tries to
+paint them bluer and redder, in vain: all the blue has become
+grey, and gets greyer the more he adds to it; all his crimson
+has become brown, and gets more sere and autumnal the more
+he deepens it. But the great painter is sternly temperate in
+his work; he loves the vivid color with all his heart; but for
+a long time he does not allow himself anything like it, nothing
+but sober browns and dull greys, and colors that have no conceivable
+beauty in them; but these by his government become
+lovely: and after bringing out of them all the life and power
+they possess, and enjoying them to the uttermost,&mdash;cautiously,
+and as the crown of the work, and the consummation of its
+music, he permits the momentary crimson and azure, and the
+whole canvas is in a flame.</p>
+
+<p>§ <span class="scs">VIII.</span> Again, in curvature, which is the cause of loveliness
+in all form; the bad designer does not enjoy it more than the
+great designer, but he indulges in it till his eye is satiated, and
+he cannot obtain enough of it to touch his jaded feeling for
+grace. But the great and temperate designer does not allow
+himself any violent curves; he works much with lines in
+which the curvature, though always existing, is long before it
+is perceived. He dwells on all these subdued curvatures to the
+uttermost, and opposes them with still severer lines to bring
+<span class="pagenum"><a name="page006"></a>6</span>
+them out in fuller sweetness; and, at last, he allows himself a
+momentary curve of energy, and all the work is, in an instant,
+full of life and grace.</p>
+
+<p>The curves drawn in <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_7">Plate VII.</a> of the first volume, were
+chosen entirely to show this character of dignity and restraint,
+as it appears in the lines of nature, together with the perpetual
+changefulness of the degrees of curvature in one and
+the same line; but although the purpose of that plate was
+carefully explained in the chapter which it illustrates, as well
+as in the passages of &ldquo;Modern Painters&rdquo; therein referred to
+(vol. ii. pp. 43, 79), so little are we now in the habit of considering
+the character of abstract lines, that it was thought by
+many persons that this plate only illustrated Hogarth&rsquo;s reversed
+line of beauty, even although the curve of the salvia
+leaf, which was the one taken from that plate for future use,
+in architecture, was not a reversed or serpentine curve at all.
+I shall now, however, I hope, be able to show my meaning
+better.</p>
+
+<p>§ <span class="scs">IX</span>. Fig. 1 in <a href="#plate_1">Plate I.</a>, opposite, is a piece of ornamentation
+from a Norman-French manuscript of the thirteenth
+century, and fig. 2 from an Italian one of the fifteenth. Observe
+in the first its stern moderation in curvature; the gradually
+united lines <i>nearly straight</i>, though none quite straight,
+used for its main limb, and contrasted with the bold but
+simple offshoots of its leaves, and the noble spiral from which
+it shoots, these in their turn opposed by the sharp trefoils
+and thorny cusps. And see what a reserve of resource there
+is in the whole; how easy it would have been to make the
+curves more palpable and the foliage more rich, and how the
+noble hand has stayed itself, and refused to grant one wave of
+motion more.</p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">I.</td>
+</tr>
+<tr>
+  <td class="figcenter">
+    <a name="plate_1" id="plate_1"><img src="images/img006.jpg" width="405" height="650" alt="TEMPERANCE AND INTEMPERANCE." title="TEMPERANCE AND INTEMPERANCE." /></a></td>
+</tr>
+<tr>
+  <td class="caption">TEMPERANCE AND INTEMPERANCE.<br />
+                      <span class="sc f80">IN CURVATURE.</span></td>
+</tr>
+</table>
+
+<p>§ <span class="scs">X</span>. Then observe the other example, in which, while the
+same idea is continually repeated, excitement and interest are
+sought for by means of violent and continual curvatures wholly
+unrestrained, and rolling hither and thither in confused wantonness.
+Compare the character of the separate lines in these
+two examples carefully, and be assured that wherever this
+<span class="pagenum"><a name="page007"></a>7</span>
+redundant and luxurious curvature shows itself in ornamentation,
+it is a sign of jaded energy and failing invention. Do
+not confuse it with fulness or richness. Wealth is not necessarily
+wantonness: a Gothic moulding may be buried half a
+foot deep in thorns and leaves, and yet will be chaste in every
+line; and a late Renaissance moulding may be utterly barren
+and poverty-stricken, and yet will show the disposition to luxury
+in every line.</p>
+
+<p>§ <span class="scs">XI</span>. <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_20">Plate XX.</a>, in the second volume, though prepared
+for the special illustration of the notices of capitals, becomes
+peculiarly interesting when considered in relation to the points
+at present under consideration. The four leaves in the upper
+row are Byzantine; the two middle rows are transitional, all
+but fig. 11, which is of the formed Gothic; fig. 12 is perfect
+Gothic of the finest time (Ducal Palace, oldest part), fig. 13 is
+Gothic beginning to decline, fig. 14 is Renaissance Gothic in
+complete corruption.</p>
+
+<p>Now observe, first, the Gothic naturalism advancing gradually
+from the Byzantine severity; how from the sharp, hard,
+formalized conventionality of the upper series the leaves gradually
+expand into more free and flexible animation, until in
+fig. 12 we have the perfect living leaf as if fresh gathered out
+of the dew. And then, in the last two examples and partly in
+fig. 11, observe how the forms which can advance no longer
+in animation, advance, or rather decline, into luxury and effeminacy
+as the strength of the school expires.</p>
+
+<p>§ <span class="scs">XII</span>. In the second place, note that the Byzantine and
+Gothic schools, however differing in degree of life, are both
+alike in <i>temperance</i>, though the temperance of the Gothic is
+the nobler, because it consists with entire animation. Observe
+how severe and subtle the curvatures are in all the leaves
+from fig. 1 to fig. 12, except only in fig. 11; and observe
+especially the firmness and strength obtained by the close
+approximation to the straight line in the lateral ribs of the
+leaf, fig. 12. The longer the eye rests on these temperate curvatures
+the more it will enjoy them, but it will assuredly in the
+end be wearied by the morbid exaggeration of the last example.</p>
+
+<p><span class="pagenum"><a name="page008"></a>8</span></p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">II.</td>
+</tr>
+<tr>
+  <td class="figcenter">
+    <a name="plate_2"><img src="images/img008.jpg" width="429" height="650" alt="GOTHIC CAPITALS." title="GOTHIC CAPITALS." /></a></td>
+</tr>
+<tr>
+  <td class="caption">GOTHIC CAPITALS.</td>
+</tr>
+</table>
+
+<p>§ <span class="scs">XIII.</span> Finally, observe&mdash;and this is very important&mdash;how
+one and the same character in the work may be a sign of
+totally different states of mind, and therefore in one case bad,
+and in the other good. The examples, fig. 3. and fig. 12., are
+both equally pure in line; but one is subdivided in the extreme,
+the other broad in the extreme, and both are beautiful.
+The Byzantine mind delighted in the delicacy of subdivision
+which nature shows in the fern-leaf or parsley-leaf; and so,
+also, often the Gothic mind, much enjoying the oak, thorn,
+and thistle. But the builder of the Ducal Palace used great
+breadth in his foliage, in order to harmonize with the broad
+surface of his mighty wall, and delighted in this breadth as
+nature delights in the sweeping freshness of the dock-leaf or
+water-lily. Both breadth and subdivision are thus noble, when
+they are contemplated or conceived by a mind in health; and
+both become ignoble, when conceived by a mind jaded and
+satiated. The subdivision in fig. 13 as compared with the
+type, fig. 12, which it was intended to improve, is the sign,
+not of a mind which loved intricacy, but of one which could
+not relish simplicity, which had not strength enough to enjoy
+the broad masses of the earlier leaves, and cut them to pieces
+idly, like a child tearing the book which, in its weariness, it
+cannot read. And on the other hand, we shall continually
+find, in other examples of work of the same period, an unwholesome
+breadth or heaviness, which results from the mind
+having no longer any care for refinement or precision, nor
+taking any delight in delicate forms, but making all things
+blunted, cumbrous, and dead, losing at the same time the sense
+of the elasticity and spring of natural curves. It is as if the
+soul of man, itself severed from the root of its health, and
+about to fall into corruption, lost the perception of life in all
+things around it; and could no more distinguish the wave of
+the strong branches, full of muscular strength and sanguine
+circulation, from the lax bending of a broken cord, nor the
+sinuousness of the edge of the leaf, crushed into deep folds by
+the expansion of its living growth, from the wrinkled contraction
+<span class="pagenum"><a name="page009"></a>9</span>
+of its decay.<a name="FnAnchor_1" href="#Footnote_1"><span class="sp">1</span></a> Thus, in morals, there is a care for trifles
+which proceeds from love and conscience, and is most holy;
+and a care for trifles which comes of idleness and frivolity, and
+is most base. And so, also, there is a gravity proceeding from
+thought, which is most noble; and a gravity proceeding from
+dulness and mere incapability of enjoyment, which is most
+base. Now, in the various forms assumed by the later Gothic
+of Venice, there are one or two features which, under other
+circumstances, would not have been signs of decline; but, in
+the particular manner of their occurrence here, indicate the
+fatal weariness of decay. Of all these features the most distinctive
+are its crockets and finials.</p>
+
+<p>§ <span class="scs">XIV.</span> There is not to be found a single crocket or finial
+upon any part of the Ducal Palace built during the fourteenth
+century; and although they occur on contemporary, and on
+some much earlier, buildings, they either indicate detached
+examples of schools not properly Venetian, or are signs of
+incipient decline.</p>
+
+<p>The reason of this is, that the finial is properly the ornament
+of gabled architecture; it is the compliance, in the
+minor features of the building, with the spirit of its towers,
+ridged roof, and spires. Venetian building is not gabled, but
+horizontal in its roots and general masses; therefore the finial
+is a feature contradictory to its spirit, and adopted only in that
+search for morbid excitement which is the infallible indication
+of decline. When it occurs earlier, it is on fragments of
+true gabled architecture, as, for instance, on the porch of the
+Carmini.</p>
+
+<p>In proportion to the unjustifiableness of its introduction
+was the extravagance of the form it assumed; becoming,
+sometimes, a tuft at the top of the ogee windows, half as high
+as the arch itself, and consisting, in the richest examples, of a
+human figure, half emergent out of a cup of leafage, as, for
+<span class="pagenum"><a name="page010"></a>10</span>
+instance, in the small archway of the Campo San Zaccaria:
+while the crockets, as being at the side of the arch, and not
+so strictly connected with its balance and symmetry, appear to
+consider themselves at greater liberty even than the finials, and
+fling themselves, hither and thither, in the wildest contortions.
+Fig. 4. in <a href="#plate_1">Plate I</a>, is the outline of one, carved in stone, from
+the later Gothic of St. Mark&rsquo;s; fig. 3. a crocket from the fine
+Veronese Gothic; in order to enable the reader to discern the
+Renaissance character better by comparison with the examples
+of curvature above them, taken from the manuscripts. And
+not content with this exuberance in the external ornaments of
+the arch, the finial interferes with its traceries. The increased
+intricacy of these, as such, being a natural process in the developement
+of Gothic, would have been no evil; but they are
+corrupted by the enrichment of the finial at the point of the
+cusp,&mdash;corrupted, that is to say, in Venice: for at Verona the
+finial, in the form of a fleur-de-lis, appears long previously at
+the cusp point, with exquisite effect; and in our own best
+Northern Gothic it is often used beautifully in this place, as
+in the window from Salisbury, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_12">Plate XII.</a> (Vol. II.), fig. 2.
+But in Venice, such a treatment of it was utterly contrary to
+the severe spirit of the ancient traceries; and the adoption of
+a leafy finial at the extremity of the cusps in the door of San
+Stefano, as opposed to the simple ball which terminates those
+of the Ducal Palace, is an unmistakable indication of a tendency
+to decline.</p>
+
+<p>In like manner, the enrichment and complication of the
+jamb mouldings, which, in other schools, might and did take
+place in the healthiest periods, are, at Venice, signs of decline,
+owing to the entire inconsistency of such mouldings with the
+ancient love of the single square jamb and archivolt. The
+process of enrichment in them is shown by the successive examples
+given in <a href="#plate_7">Plate VII.</a>, below. They are numbered, and
+explained in the Appendix.</p>
+
+<p>§ <span class="scs">XV.</span> The date at which this corrupt form of Gothic first
+prevailed over the early simplicity of the Venetian types can
+be determined in an instant, on the steps of the choir of the
+<span class="pagenum"><a name="page011"></a>11</span>
+Church of St. John and Paul. On our left hand, as we enter,
+is the tomb of the Doge Marco Cornaro, who died in 1367.
+It is rich and fully developed Gothic, with crockets and finials,
+but not yet attaining any extravagant developement. Opposite
+to it is that of the Doge Andrea Morosini, who died in
+1382. Its Gothic is voluptuous, and over-wrought; the crockets
+are bold and florid, and the enormous finial represents a
+statue of St. Michael. There is no excuse for the antiquaries
+who, having this tomb before them, could have attributed the
+severe architecture of the Ducal Palace to a later date; for
+every one of the Renaissance errors is here in complete developement,
+though not so grossly as entirely to destroy the
+loveliness of the Gothic forms. In the Porta della Carta,
+1423, the vice reaches its climax.</p>
+
+<p>§ <span class="scs">XVI.</span> Against this degraded Gothic, then, came up the
+Renaissance armies; and their first assault was in the requirement
+of universal perfection. For the first time since the
+destruction of Rome, the world had seen, in the work of the
+greatest artists of the fifteenth century,&mdash;in the painting of
+Ghirlandajo, Masaccio, Francia, Perugino, Pinturicchio, and
+Bellini; in the sculpture of Mino da Fiesole, of Ghiberti, and
+Verrocchio,&mdash;a perfection of execution and fulness of knowledge
+which cast all previous art into the shade, and which,
+being in the work of those men united with all that was great
+in that of former days, did indeed justify the utmost enthusiasm
+with which their efforts were, or could be, regarded.
+But when this perfection had once been exhibited in anything,
+it was required in everything; the world could no longer be
+satisfied with less exquisite execution, or less disciplined knowledge.
+The first thing that it demanded in all work was, that
+it should be done in a consummate and learned way; and men
+altogether forgot that it was possible to consummate what was
+contemptible, and to know what was useless. Imperatively
+requiring dexterity of touch, they gradually forgot to look for
+tenderness of feeling; imperatively requiring accuracy of
+knowledge, they gradually forgot to ask for originality of
+thought. The thought and the feeling which they despised
+<span class="pagenum"><a name="page012"></a>12</span>
+departed from them, and they were left to felicitate themselves
+on their small science and their neat fingering. This
+is the history of the first attack of the Renaissance upon the
+Gothic schools, and of its rapid results, more fatal and immediate
+in architecture than in any other art, because there the
+demand for perfection was less reasonable, and less consistent
+with the capabilities of the workman; being utterly opposed
+to that rudeness or savageness on which, as we saw above, the
+nobility of the elder schools in great part depends. But inasmuch
+as the innovations were founded on some of the most
+beautiful examples of art, and headed by some of the greatest
+men that the world ever saw, and as the Gothic with which
+they interfered was corrupt and valueless, the first appearance
+of the Renaissance feeling had the appearance of a healthy
+movement. A new energy replaced whatever weariness or
+dulness had affected the Gothic mind; an exquisite taste and
+refinement, aided by extended knowledge, furnished the first
+models of the new school; and over the whole of Italy a style
+arose, generally now known as cinque-cento, which in sculpture
+and painting, as I just stated, produced the noblest masters
+which the world ever saw, headed by Michael Angelo, Raphael,
+and Leonardo; but which failed of doing the same in architecture,
+because, as we have seen above, perfection is therein not
+possible, and failed more totally than it would otherwise have
+done, because the classical enthusiasm had destroyed the best
+types of architectural form.</p>
+
+<p>§ <span class="scs">XVII.</span> For, observe here very carefully, the Renaissance
+principle, as it consisted in a demand for universal perfection,
+is quite distinct from the Renaissance principle as it consists
+in a demand for classical and Roman <i>forms</i> of perfection.
+And if I had space to follow out the subject as I should desire,
+I would first endeavor to ascertain what might have been
+the course of the art of Europe if no manuscripts of classical
+authors had been recovered, and no remains of classical architecture
+left, in the fifteenth century; so that the executive
+perfection to which the efforts of all great men had tended for
+five hundred years, and which now at last was reached, might
+<span class="pagenum"><a name="page013"></a>13</span>
+have been allowed to develope itself in its own natural and
+proper form, in connexion with the architectural structure of
+earlier schools. This refinement and perfection had indeed
+its own perils, and the history of later Italy, as she sank into
+pleasure and thence into corruption, would probably have
+been the same whether she had ever learned again to write
+pure Latin or not. Still the inquiry into the probable cause
+of the enervation which might naturally have followed the
+highest exertion of her energies, is a totally distinct one from
+that into the particular form given to this enervation by her
+classical learning; and it is matter of considerable regret to
+me that I cannot treat these two subjects separately: I must
+be content with marking them for separation in the mind of
+the reader.</p>
+
+<p>§ <span class="scs">XVIII.</span> The effect, then, of the sudden enthusiasm for classical
+literature, which gained strength during every hour of
+the fifteenth century, was, as far as respected architecture, to
+do away with the entire system of Gothic science. The
+pointed arch, the shadowy vault, the clustered shaft, the
+heaven-pointing spire, were all swept away; and no structure
+was any longer permitted but that of the plain cross-beam
+from pillar to pillar, over the round arch, with square or circular
+shafts, and a low-gabled roof and pediment: two elements
+of noble form, which had fortunately existed in Rome,
+were, however, for that reason, still permitted; the cupola,
+and, internally, the waggon vault.</p>
+
+<p>§ <span class="scs">XIX.</span> These changes in form were all of them unfortunate;
+and it is almost impossible to do justice to the occasionally
+exquisite ornamentation of the fifteenth century, on account
+of its being placed upon edifices of the cold and meagre
+Roman outline. There is, as far as I know, only one Gothic
+building in Europe, the Duomo of Florence, in which, though
+the ornament be of a much earlier school, it is yet so exquisitely
+finished as to enable us to imagine what might have
+been the effect of the perfect workmanship of the Renaissance,
+coming out of the hands of men like Verrocchio and Ghiberti,
+had it been employed on the magnificent framework of Gothic
+<span class="pagenum"><a name="page014"></a>14</span>
+structure. This is the question which, as I shall note in the
+concluding chapter, we ought to set ourselves practically to
+solve in modern times.</p>
+
+<p>§ <span class="scs">XX.</span> The changes effected in form, however, were the
+least part of the evil principles of the Renaissance. As I have
+just said, its main mistake, in its early stages, was the unwholesome
+demand for <i>perfection</i>, at any cost. I hope enough has
+been advanced, in the chapter on the Nature of Gothic, to
+show the reader that perfection is <i>not</i> to be had from the general
+workman, but at the cost of everything,&mdash;of his whole
+life, thought, and energy. And Renaissance Europe thought
+this a small price to pay for manipulative perfection. Men
+like Verrocchio and Ghiberti were not to be had every day,
+nor in every place; and to require from the common workman
+execution or knowledge like theirs, was to require him to become
+their copyist. Their strength was great enough to
+enable them to join science with invention, method with emotion,
+finish with fire; but, in them, the invention and the fire
+were first, while Europe saw in them only the method and the
+finish. This was new to the minds of men, and they pursued
+it to the neglect of everything else. &ldquo;This,&rdquo; they cried, &ldquo;we
+must have in all our work henceforward:&rdquo; and they were
+obeyed. The lower workman secured method and finish, and
+lost, in exchange for them, his soul.</p>
+
+<p>§ <span class="scs">XXI.</span> Now, therefore, do not let me be misunderstood
+when I speak generally of the evil spirit of the Renaissance.
+The reader may look through all I have written, from first to
+last, and he will not find one word but of the most profound
+reverence for those mighty men who could wear the Renaissance
+armor of proof, and yet not feel it encumber their
+living limbs,<a name="FnAnchor_2" href="#Footnote_2"><span class="sp">2</span></a>&mdash;Leonardo and Michael Angelo, Ghirlandajo
+and Masaccio, Titian and Tintoret. But I speak of the Renaissance
+as an evil time, because, when it saw those men go burning
+forth into the battle, it mistook their armor for their
+<span class="pagenum"><a name="page015"></a>15</span>
+strength: and forthwith encumbered with the painful panoply
+every stripling who ought to have gone forth only with his
+own choice of three smooth stones out of the brook.</p>
+
+<p>§ <span class="scs">XXII.</span> This, then, the reader must always keep in mind
+when he is examining for himself any examples of cinque-cento
+work. When it has been done by a truly great man,
+whose life and strength could not be oppressed, and who turned
+to good account the whole science of his day, nothing is more
+exquisite. I do not believe, for instance, that there is a more
+glorious work of sculpture existing in the world than that
+equestrian statue of Bartolomeo Colleone, by Verrocchio, of
+which, I hope, before these pages are printed, there will be a
+cast in England. But when the cinque-cento work has been
+done by those meaner men, who, in the Gothic times, though
+in a rough way, would yet have found some means of speaking
+out what was in their hearts, it is utterly inanimate,&mdash;a base
+and helpless copy of more accomplished models; or, if not
+this, a mere accumulation of technical skill, in gaining which
+the workman had surrendered all other powers that were in
+him.</p>
+
+<p>There is, therefore, of course, an infinite gradation in the
+art of the period, from the Sistine Chapel down to modern upholstery;
+but, for the most part, since in architecture the workman
+must be of an inferior order, it will be found that this
+cinque-cento painting and higher religious sculpture is noble,
+while the cinque-cento architecture, with its subordinate sculpture,
+is universally bad; sometimes, however, assuming forms,
+in which the consummate refinement almost atones for the loss
+of force.</p>
+
+<p>§ <span class="scs">XXIII.</span> This is especially the case with that second branch
+of the Renaissance which, as above noticed, was engrafted at
+Venice on the Byzantine types. So soon as the classical enthusiasm
+required the banishment of Gothic forms, it was natural
+that the Venetian mind should turn back with affection to the
+Byzantine models in which the round arches and simple shafts,
+necessitated by recent law, were presented under a form consecrated
+by the usage of their ancestors. And, accordingly,
+<span class="pagenum"><a name="page016"></a>16</span>
+the first distinct school of architecture<a name="FnAnchor_3" href="#Footnote_3"><span class="sp">3</span></a> which arose under the
+new dynasty, was one in which the method of inlaying marble,
+and the general forms of shaft and arch, were adopted from
+the buildings of the twelfth century, and applied with the utmost
+possible refinements of modern skill. Both at Verona
+and Venice the resulting architecture is exceedingly beautiful.
+At Verona it is, indeed, less Byzantine, but possesses a character
+of richness and tenderness almost peculiar to that city. At
+Venice it is more severe, but yet adorned with sculpture which,
+for sharpness of touch and delicacy of minute form, cannot be
+rivalled, and rendered especially brilliant and beautiful by the
+introduction of those inlaid circles of colored marble, serpentine,
+and porphyry, by which Phillippe de Commynes was so
+much struck on his first entrance into the city. The two most
+refined buildings in this style in Venice are, the small Church
+of the Miracoli, and the Scuola di San Marco beside the Church
+of St. John and St. Paul. The noblest is the Rio Façade of
+the Ducal Palace. The Casa Dario, and Casa Manzoni, on the
+Grand Canal, are exquisite examples of the school, as applied
+to domestic architecture; and, in the reach of the canal between
+the Casa Foscari and the Rialto, there are several palaces,
+of which the Casa Contarini (called &ldquo;delle Figure&rdquo;) is the
+principal, belonging to the same group, though somewhat later,
+and remarkable for the association of the Byzantine principles
+of color with the severest lines of the Roman pediment, gradually
+superseding the round arch. The precision of chiselling
+and delicacy of proportion in the ornament and general lines
+of these palaces cannot be too highly praised; and I believe
+that the traveller in Venice, in general, gives them rather too
+little attention than too much. But while I would ask him to
+stay his gondola beside each of them long enough to examine
+their every line, I must also warn him to observe, most carefully,
+the peculiar feebleness and want of soul in the conception
+of their ornament, which mark them as belonging to a
+period of decline; as well as the absurd mode of introduction
+<span class="pagenum"><a name="page017"></a>17</span>
+of their pieces of colored marble: these, instead of being simply
+and naturally inserted in the masonry, are placed in small circular
+or oblong frames of sculpture, like mirrors or pictures, and
+are represented as suspended by ribands against the wall; a
+pair of wings being generally fastened on to the circular tablets,
+as if to relieve the ribands and knots from their weight, and
+the whole series tied under the chin of a little cherub at the
+top, who is nailed against the façade like a hawk on a barn
+door.</p>
+
+<p>But chiefly let him notice, in the Casa Contarini delle
+Figure, one most strange incident, seeming to have been permitted,
+like the choice of the subjects at the three angles of
+the Ducal Palace, in order to teach us, by a single lesson, the
+true nature of the style in which it occurs. In the intervals
+of the windows of the first story, certain shields and torches
+are attached, in the form of trophies, to the stems of two trees
+whose boughs have been cut off, and only one or two of their
+faded leaves left, scarcely observable, but delicately sculptured
+here and there, beneath the insertions of the severed boughs.</p>
+
+<p>It is as if the workman had intended to leave us an image
+of the expiring naturalism of the Gothic school. I had not
+seen this sculpture when I wrote the passage referring to its
+period, in the first volume of this work (<a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#chap_20">Chap. XX.</a> § <span class="scs">XXXI.</span>):&mdash;&ldquo;Autumn
+came,&mdash;the leaves were shed,&mdash;and the eye was
+directed to the extremities of the delicate branches. <i>The
+Renaissance frosts came, and all perished!</i>&rdquo;</p>
+
+<p>§ <span class="scs">XXIV.</span> And the hues of this autumn of the early Renaissance
+are the last which appear in architecture. The winter
+which succeeded was colorless as it was cold; and although
+the Venetian painters struggled long against its influence, the
+numbness of the architecture prevailed over them at last, and
+the exteriors of all the latter palaces were built only in barren
+stone. As at this point of our inquiry, therefore, we must bid
+farewell to color, I have reserved for this place the continuation
+of the history of chromatic decoration, from the Byzantine
+period, when we left it in the fifth chapter of the second
+volume, down to its final close.</p>
+
+<p><span class="pagenum"><a name="page018"></a>18</span></p>
+
+<p>§ <span class="scs">XXV.</span> It was above stated, that the principal difference in
+general form and treatment between the Byzantine and Gothic
+palaces was the contraction of the marble facing into the narrow
+spaces between the windows, leaving large fields of brick
+wall perfectly bare. The reason for this appears to have been,
+that the Gothic builders were no longer satisfied with the faint
+and delicate hues of the veined marble; they wished for some
+more forcible and piquant mode of decoration, corresponding
+more completely with the gradually advancing splendor of
+chivalric costume and heraldic device. What I have said
+above of the simple habits of life of the thirteenth century,
+in no wise refers either to costumes of state, or of military
+service; and any illumination of the thirteenth and early fourteenth
+centuries (the great period being, it seems to me, from
+1250 to 1350), while it shows a peculiar majesty and simplicity
+in the fall of the robes (often worn over the chain armor),
+indicates, at the same time, an exquisite brilliancy of color and
+power of design in the hems and borders, as well as in the
+armorial bearings with which they are charged; and while, as
+we have seen, a peculiar simplicity is found also in the <i>forms</i>
+of the architecture, corresponding to that of the folds of the
+robes, its <i>colors</i> were constantly increasing in brilliancy and
+decision, corresponding to those of the quartering of the shield,
+and of the embroidery of the mantle.</p>
+
+<p>§ <span class="scs">XXVI.</span> Whether, indeed, derived from the quarterings of
+the knights&rsquo; shields, or from what other source, I know not;
+but there is one magnificent attribute of the coloring of the
+late twelfth, the whole thirteenth, and the early fourteenth
+century, which I do not find definitely in any previous work,
+nor afterwards in general art, though constantly, and necessarily,
+in that of great colorists, namely, the union of one color
+with another by reciprocal interference: that is to say, if a
+mass of red is to be set beside a mass of blue, a piece of the
+red will be carried into the blue, and a piece of the blue carried
+into the red; sometimes in nearly equal portions, as in a
+shield divided into four quarters, of which the uppermost on
+one side will be of the same color as the lowermost on the
+<span class="pagenum"><a name="page019"></a>19</span>
+other; sometimes in smaller fragments, but, in the periods
+above named, always definitely and grandly, though in a thousand
+various ways. And I call it a magnificent principle, for
+it is an eternal and universal one, not in art only,<a name="FnAnchor_4" href="#Footnote_4"><span class="sp">4</span></a> but in
+human life. It is the great principle of Brotherhood, not by
+equality, nor by likeness, but by giving and receiving; the
+souls that are unlike, and the nations that are unlike, and the
+natures that are unlike, being bound into one noble whole by
+each receiving something from, and of, the others&rsquo; gifts and
+the others&rsquo; glory. I have not space to follow out this thought,&mdash;it
+is of infinite extent and application,&mdash;but I note it for the
+reader&rsquo;s pursuit, because I have long believed, and the whole
+second volume of &ldquo;Modern Painters&rdquo; was written to prove,
+that in whatever has been made by the Deity externally delightful
+to the human sense of beauty, there is some type of
+God&rsquo;s nature or of God&rsquo;s laws; nor are any of His laws, in
+one sense, greater than the appointment that the most lovely
+and perfect unity shall be obtained by the taking of one nature
+into another. I trespass upon too high ground; and yet I
+cannot fully show the reader the extent of this law, but by
+leading him thus far. And it is just because it is so vast and
+so awful a law, that it has rule over the smallest things; and
+there is not a vein of color on the lightest leaf which the
+spring winds are at this moment unfolding in the fields around
+<span class="pagenum"><a name="page020"></a>20</span>
+us, but it is an illustration of an ordainment to which the
+earth and its creatures owe their continuance, and their Redemption.</p>
+
+<p>§ <span class="scs">XXVII</span>. It is perfectly inconceivable, until it has been
+made a subject of special inquiry, how perpetually Nature
+employs this principle in the distribution of her light and
+shade; how by the most extraordinary adaptations, apparently
+accidental, but always in exactly the right place, she contrives
+to bring darkness into light, and light into darkness; and that
+so sharply and decisively, that at the very instant when one
+object changes from light to dark, the thing relieved upon it
+will change from dark to light, and yet so subtly that the eye
+will not detect the transition till it looks for it. The secret
+of a great part of the grandeur in all the noblest compositions
+is the doing of this delicately in <i>degree</i>, and broadly in <i>mass</i>;
+in color it may be done much more decisively than in light
+and shade, and, according to the simplicity of the work, with
+greater frankness of confession, until, in purely decorative
+art, as in the illumination, glass-painting, and heraldry of the
+great periods, we find it reduced to segmental accuracy. Its
+greatest masters, in high art, are Tintoret, Veronese, and
+Turner.</p>
+
+<p>§ <span class="scs">XXVIII</span>. Together with this great principle of quartering
+is introduced another, also of very high value as far as regards
+the delight of the eye, though not of so profound meaning.
+As soon as color began to be used in broad and opposed fields,
+it was perceived that the mass of it destroyed its brilliancy,
+and it was <i>tempered</i> by chequering it with some other color or
+colors in smaller quantities, mingled with minute portions of
+pure white. The two moral principles of which this is the
+type, are those of Temperance and Purity; the one requiring
+the fulness of the color to be subdued, and the other that it
+shall be subdued without losing either its own purity or that
+of the colors with which it is associated.</p>
+
+<p>§ <span class="scs">XXIX</span>. Hence arose the universal and admirable system of
+the diapered or chequered background of early ornamental art.
+They are completely developed in the thirteenth century, and
+<span class="pagenum"><a name="page021"></a>21</span>
+extend through the whole of the fourteenth gradually yielding
+to landscape, and other pictorial backgrounds, as the designers
+lost perception of the purpose of their art, and of the value
+of color. The chromatic decoration of the Gothic palaces of
+Venice was of course founded on these two great principles,
+which prevailed constantly wherever the true chivalric and
+Gothic spirit possessed any influence. The windows, with
+their intermediate spaces of marble, were considered as the
+objects to be relieved, and variously quartered with vigorous
+color. The whole space of the brick wall was considered as a
+background; it was covered with stucco, and painted in fresco,
+with diaper patterns.</p>
+
+<p>§ <span class="scs">XXX.</span> What? the reader asks in some surprise,&mdash;Stucco!
+and in the great Gothic period? Even so, but <i>not stucco to
+imitate stone</i>. Herein lies all the difference; it is stucco confessed
+and understood, and laid on the bricks precisely as gesso
+is laid on canvas, in order to form them into a ground for
+receiving color from the human hand,&mdash;color which, if well
+laid on, might render the brick wall more precious than if it
+had been built of emeralds. Whenever we wish to paint, we
+may prepare our paper as we choose; the value of the ground
+in no wise adds to the value of the picture. A Tintoret on
+beaten gold would be of no more value than a Tintoret on
+coarse canvas; the gold would merely be wasted. All that
+we have to do is to make the ground as good and fit for the
+color as possible, by whatever means.</p>
+
+<p>§ <span class="scs">XXXI.</span> I am not sure if I am right in applying the term
+&ldquo;stucco&rdquo; to the ground of fresco; but this is of no consequence;
+the reader will understand that it was white, and that
+the whole wall of the palace was considered as the page of a
+book to be illuminated: but he will understand also that the
+sea winds are bad librarians; that, when once the painted
+stucco began to fade or to fall, the unsightliness of the defaced
+color would necessitate its immediate restoration; and that
+therefore, of all the chromatic decoration of the Gothic palaces,
+there is hardly a fragment left.</p>
+
+<p>Happily, in the pictures of Gentile Bellini, the fresco coloring
+<span class="pagenum"><a name="page022"></a>22</span>
+of the Gothic palaces is recorded, as it still remained in
+his time; not with rigid accuracy, but quite distinctly enough
+to enable us, by comparing it with the existing colored designs
+in the manuscripts and glass of the period, to ascertain precisely
+what it must have been.</p>
+
+<p>§ <span class="scs">XXXII.</span> The walls were generally covered with chequers
+of very warm color, a russet inclining to scarlet, more or less
+relieved with white, black, and grey; as still seen in the only
+example which, having been executed in marble, has been perfectly
+preserved, the front of the Ducal Palace. This, however,
+owing to the nature of its materials, was a peculiarly
+simple example; the ground is white, crossed with double
+bars of pale red, and in the centre of each chequer there is a
+cross, alternately black with a red centre and red with a black
+centre where the arms cross. In painted work the grounds
+would be, of course, as varied and complicated as those of
+manuscripts; but I only know of one example left, on the
+Casa Sagredo, where, on some fragments of stucco, a very
+early chequer background is traceable, composed of crimson
+quatrefoils interlaced, with cherubim stretching their wings
+filling the intervals. A small portion of this ground is seen
+beside the window taken from the palace, Vol. II. <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_13">Plate
+XIII.</a> fig. 1.</p>
+
+<p>§ <span class="scs">XXXIII.</span> It ought to be especially noticed, that, in all
+chequered patterns employed in the colored designs of these
+noble periods, the greatest care is taken to mark that they are
+<i>grounds</i> of design rather than designs themselves. Modern
+architects, in such minor imitations as they are beginning to
+attempt, endeavor to dispose the parts in the patterns so as
+to occupy certain symmetrical positions with respect to the
+parts of the architecture. A Gothic builder never does this:
+he cuts his ground into pieces of the shape he requires with
+utter remorselessness, and places his windows or doors upon
+it with no regard whatever to the lines in which they cut the
+pattern: and, in illuminations of manuscripts, the chequer
+itself is constantly changed in the most subtle and arbitrary
+way, wherever there is the least chance of its regularity attracting
+<span class="pagenum"><a name="page023"></a>23</span>
+the eye, and making it of importance. So <i>intentional</i>
+is this, that a diaper pattern is often set obliquely to the vertical
+lines of the designs, for fear it should appear in any way
+connected with them.</p>
+
+<p>§ <span class="scs">XXXIV.</span> On these russet or crimson backgrounds the entire
+space of the series of windows was relieved, for the most part,
+as a subdued white field of alabaster; and on this delicate and
+veined white were set the circular disks of purple and green.
+The arms of the family were of course blazoned in their own
+proper colors, but I think generally on a pure azure ground;
+the blue color is still left behind the shields in the Casa Priuli
+and one or two more of the palaces which are unrestored, and
+the blue ground was used also to relieve the sculptures of religious
+subject. Finally, all the mouldings, capitals, cornices,
+cusps, and traceries, were either entirely gilded or profusely
+touched with gold.</p>
+
+<p>The whole front of a Gothic palace in Venice may, therefore,
+be simply described as a field of subdued russet, quartered
+with broad sculptured masses of white and gold; these latter
+being relieved by smaller inlaid fragments of blue, purple, and
+deep green.</p>
+
+<p>§ <span class="scs">XXXV.</span> Now, from the beginning of the fourteenth century,
+when painting and architecture were thus united, two
+processes of change went on simultaneously to the beginning
+of the seventeenth. The merely decorative chequerings on
+the walls yielded gradually to more elaborate paintings of
+figure-subject; first small and quaint, and then enlarging into
+enormous pictures filled by figures generally colossal. As
+these paintings became of greater merit and importance, the
+architecture with which they were associated was less studied;
+and at last a style was introduced in which the framework of
+the building was little more interesting than that of a Manchester
+factory, but the whole space of its walls was covered
+with the most precious fresco paintings. Such edifices are of
+course no longer to be considered as forming an architectural
+school; they were merely large preparations of artists&rsquo; panels;
+and Titian, Giorgione, and Veronese no more conferred merit
+<span class="pagenum"><a name="page024"></a>24</span>
+on the later architecture of Venice, as such, by painting on its
+façades, than Landseer or Watts could confer merit on that
+of London by first whitewashing and then painting its brick
+streets from one end to the other.</p>
+
+<p>§ <span class="scs">XXXVI.</span> Contemporarily with this change in the relative
+values of the color decoration and the stone-work, one equally
+important was taking place in the opposite direction, but of
+course in another group of buildings. For in proportion as
+the architect felt himself thrust aside or forgotten in one edifice,
+he endeavored to make himself principal in another; and,
+in retaliation for the painter&rsquo;s entire usurpation of certain
+fields of design, succeeded in excluding him totally from those
+in which his own influence was predominant. Or, more accurately
+speaking, the architects began to be too proud to receive
+assistance from the colorists; and these latter sought for
+ground which the architect had abandoned, for the unrestrained
+display of their own skill. And thus, while one
+series of edifices is continually becoming feebler in design and
+richer in superimposed paintings, another, that of which we
+have so often spoken as the earliest or Byzantine Renaissance,
+fragment by fragment rejects the pictorial decoration; supplies
+its place first with marbles, and then, as the latter are felt by
+the architect, daily increasing in arrogance and deepening in
+coldness, to be too bright for his dignity, he casts even these
+aside one by one: and when the last porphyry circle has vanished
+from the façade, we find two palaces standing side by
+side, one built, so far as mere masonry goes, with consummate
+care and skill, but without the slightest vestige of color in any
+part of it; the other utterly without any claim to interest in
+its architectural form, but covered from top to bottom with
+paintings by Veronese. At this period, then, we bid farewell
+to color, leaving the painters to their own peculiar field; and
+only regretting that they waste their noblest work on walls,
+from which in a couple of centuries, if not before, the greater
+part of their labor must be effaced. On the other hand, the
+architecture whose decline we are tracing, has now assumed
+an entirely new condition, that of the Central or True Renaissance,
+<span class="pagenum"><a name="page025"></a>25</span>
+whose nature we are to examine in the next
+chapter.</p>
+
+<p>§ <span class="scs">XXXVII.</span> But before leaving these last palaces over which
+the Byzantine influence extended itself, there is one more
+lesson to be learned from them of much importance to us.
+Though in many respects debased in style, they are consummate
+in workmanship, and unstained in honor; there is no imperfection
+in them, and no dishonesty. That there is absolutely
+<i>no</i> imperfection, is indeed, as we have seen above, a proof of
+their being wanting in the highest qualities of architecture;
+but, as lessons in masonry, they have their value, and may well
+be studied for the excellence they display in methods of levelling
+stones, for the precision of their inlaying, and other such
+qualities, which in them are indeed too principal, yet very instructive
+in their particular way.</p>
+
+<p>§ <span class="scs">XXXVIII.</span> For instance, in the inlaid design of the dove
+with the olive branch, from the Casa Trevisan (Vol. I. <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_20">Plate
+XX.</a> p. 369), it is impossible for anything to go beyond the
+precision with which the olive leaves are cut out of the white
+marble; and, in some wreaths of laurel below, the rippled edge
+of each leaf is as finely and easily drawn, as if by a delicate
+pencil. No Florentine table is more exquisitely finished than
+the façade of this entire palace; and as ideals of an executive
+perfection, which, though we must not turn aside from our
+main path to reach it, may yet with much advantage be kept in
+our sight and memory, these palaces are most notable amidst
+the architecture of Europe. The Rio Façade of the Ducal
+Palace, though very sparing in color, is yet, as an example of
+finished masonry in a vast building, one of the finest things,
+not only in Venice, but in the world. It differs from other
+work of the Byzantine Renaissance, in being on a very large
+scale; and it still retains one pure Gothic character, which adds
+not a little to its nobleness, that of perpetual variety. There
+is hardly one window of it, or one panel, that is like another;
+and this continual change so increases its apparent size by confusing
+the eye, that, though presenting no bold features, or
+striking masses of any kind, there are few things in Italy more
+<span class="pagenum"><a name="page026"></a>26</span>
+impressive than the vision of it overhead, as the gondola glides
+from beneath the Bridge of Sighs. And lastly (unless we are
+to blame these buildings for some pieces of very childish perspective),
+they are magnificently honest, as well as perfect. I
+do not remember even any gilding upon them; all is pure
+marble, and of the finest kind.<a name="FnAnchor_5" href="#Footnote_5"><span class="sp">5</span></a></p>
+
+<p>And therefore, in finally leaving the Ducal Palace,<a name="FnAnchor_6" href="#Footnote_6"><span class="sp">6</span></a> let us
+take with us one more lesson, the last which we shall receive
+from the Stones of Venice, except in the form of a warning.</p>
+
+<p>§ <span class="scs">XXXIX.</span> The school of architecture which we have just
+been examining is, as we have seen above, redeemed from
+severe condemnation by its careful and noble use of inlaid
+marbles as a means of color. From that time forward, this art
+has been unknown, or despised; the frescoes of the swift and
+daring Venetian painters long contended with the inlaid
+marbles, outvying them with color, indeed more glorious than
+theirs, but fugitive as the hues of woods in autumn; and, at
+last, as the art itself of painting in this mighty manner failed
+from among men,<a name="FnAnchor_7" href="#Footnote_7"><span class="sp">7</span></a> the modern decorative system established
+itself, which united the meaninglessness of the veined marble
+with the evanescence of the fresco, and completed the harmony
+by falsehood.</p>
+
+<p>§ <span class="scs">XL.</span> Since first, in the second chapter of the &ldquo;Seven
+Lamps,&rdquo; I endeavored to show the culpableness, as well as the
+baseness, of our common modes of decoration by painted imitation
+<span class="pagenum"><a name="page027"></a>27</span>
+of various woods or marbles, the subject has been discussed
+in various architectural works, and is evidently becoming
+one of daily increasing interest. When it is considered how
+many persons there are whose means of livelihood consist altogether
+in these spurious arts, and how difficult it is, even for
+the most candid, to admit a conviction contrary both to their
+interests and to their inveterate habits of practice and thought,
+it is rather a matter of wonder, that the cause of Truth should
+have found even a few maintainers, than that it should have
+encountered a host of adversaries. It has, however, been defended
+repeatedly by architects themselves, and so successfully,
+that I believe, so far as the desirableness of this or that method
+of ornamentation is to be measured by the fact of its simple
+honesty or dishonesty, there is little need to add anything to
+what has been already urged upon the subject. But there are
+some points connected with the practice of imitating marble,
+which I have been unable to touch upon until now, and by the
+consideration of which we may be enabled to see something of
+the <i>policy</i> of honesty in this matter, without in the least abandoning
+the higher ground of principle.</p>
+
+<p>§ <span class="scs">XLI</span>. Consider, then, first, what marble seems to have been
+made for. Over the greater part of the surface of the world,
+we find that a rock has been providentially distributed, in a
+manner particularly pointing it out as intended for the service of
+man. Not altogether a common rock, it is yet rare enough to
+command a certain degree of interest and attention wherever
+it is found; but not so rare as to preclude its use for any purpose
+to which it is fitted. It is exactly of the consistence
+which is best adapted for sculpture: that is to say, neither hard
+nor brittle, nor flaky nor splintery, but uniform, and delicately,
+yet not ignobly, soft,&mdash;exactly soft enough to allow the sculptor
+to work it without force, and trace on it the finest lines of
+finished form; and yet so hard as never to betray the touch or
+moulder away beneath the steel; and so admirably crystallized,
+and of such permanent elements, that no rains dissolve it, no
+time changes it, no atmosphere decomposes it: once shaped, it
+is shaped for ever, unless subjected to actual violence or attrition.
+<span class="pagenum"><a name="page028"></a>28</span>
+This rock, then, is prepared by Nature for the sculptor
+and architect, just as paper is prepared by the manufacturer
+for the artist, with as great&mdash;nay, with greater&mdash;care, and more
+perfect adaptation of the material to the requirements. And
+of this marble paper, some is white and some colored; but
+more is colored than white, because the white is evidently
+meant for sculpture, and the colored for the covering of large
+surfaces.</p>
+
+<p>§ <span class="scs">XLII</span>. Now, if we would take Nature at her word, and use
+this precious paper which she has taken so much care to provide
+for us (it is a long process, the making of that paper; the
+pulp of it needing the subtlest possible solution, and the pressing
+of it&mdash;for it is all hot-pressed&mdash;having to be done under
+the saw, or under something at least as heavy); if, I say, we use
+it as Nature would have us, consider what advantages would
+follow. The colors of marble are mingled for us just as if on
+a prepared palette. They are of all shades and hues (except
+bad ones), some being united and even, some broken, mixed,
+and interrupted, in order to supply, as far as possible, the want
+of the painter&rsquo;s power of breaking and mingling the color with
+the brush. But there is more in the colors than this delicacy
+of adaptation. There is history in them. By the manner in
+which they are arranged in every piece of marble, they record
+the means by which that marble has been produced, and the
+successive changes through which it has passed. And in all
+their veins and zones, and flame-like stainings, or broken and
+disconnected lines, they write various legends, never untrue,
+of the former political state of the mountain kingdom to which
+they belonged, of its infirmities and fortitudes, convulsions and
+consolidations, from the beginning of time.</p>
+
+<p>Now, if we were never in the habit of seeing anything but
+real marbles, this language of theirs would soon begin to be
+understood; that is to say, even the least observant of us
+would recognize such and such stones as forming a peculiar
+class, and would begin to inquire where they came from, and,
+at last, take some feeble interest in the main question, Why
+they were only to be found in that or the other place, and
+<span class="pagenum"><a name="page029"></a>29</span>
+how they came to make a part of this mountain, and not of
+that? And in a little while, it would not be possible to stand
+for a moment at a shop door, leaning against the pillars of it,
+without remembering or questioning of something well worth
+the memory or the inquiry, touching the hills of Italy, or
+Greece, or Africa, or Spain; and we should be led on from
+knowledge to knowledge, until even the unsculptured walls of
+our streets became to us volumes as precious as those of our
+libraries.</p>
+
+<p>§ <span class="scs">XLIII.</span> But the moment we admit imitation of marble, this
+source of knowledge is destroyed. None of us can be at the
+pains to go through the work of verification. If we knew
+that every colored stone we saw was natural, certain questions,
+conclusions, interests, would force themselves upon us
+without any effort of our own; but we have none of us time
+to stop in the midst of our daily business, to touch and pore
+over, and decide with painful minuteness of investigation,
+whether such and such a pillar be stucco or stone. And the
+whole field of this knowledge, which Nature intended us to
+possess when we were children, is hopelessly shut out from us.
+Worse than shut out, for the mass of coarse imitations confuses
+our knowledge acquired from other sources; and our
+memory of the marbles we have perhaps once or twice carefully
+examined, is disturbed and distorted by the inaccuracy
+of the imitations which are brought before us continually.</p>
+
+<p>§ <span class="scs">XLIV.</span> But it will be said, that it is too expensive to employ
+real marbles in ordinary cases. It may be so: yet not
+always more expensive than the fitting windows with enormous
+plate glass, and decorating them with elaborate stucco
+mouldings and other useless sources of expenditure in modern
+building; nay, not always in the end more expensive than the
+frequent repainting of the dingy pillars, which a little water
+dashed against them would refresh from day to day, if they
+were of true stone. But, granting that it be so, in that very
+costliness, checking their common use in certain localities, is
+part of the interest of marbles, considered as history. Where
+they are not found, Nature has supplied other materials,&mdash;clay
+<span class="pagenum"><a name="page030"></a>30</span>
+for brick, or forest for timber,&mdash;in the working of which she
+intends other characters of the human mind to be developed,
+and by the proper use of which certain local advantages will
+assuredly be attained, while the delightfulness and meaning
+of the precious marbles will be felt more forcibly in the districts
+where they occur, or on the occasions when they may be
+procured.</p>
+
+<p>§ <span class="scs">XLV.</span> It can hardly be necessary to add, that, as the imitation
+of marbles interferes with and checks the knowledge of
+geography and geology, so the imitation of wood interferes
+with that of botany; and that our acquaintance with the
+nature, uses, and manner of growth of the timber trees of our
+own and of foreign countries, would probably, in the majority
+of cases, become accurate and extensive, without any labor or
+sacrifice of time, were not all inquiry checked, and all observation
+betrayed, by the wretched labors of the &ldquo;Grainer.&rdquo;</p>
+
+<p>§ <span class="scs">XLVI.</span> But this is not all. As the practice of imitation
+retards knowledge, so also it retards art.</p>
+
+<p>There is not a meaner occupation for the human mind than
+the imitation of the stains and striæ of marble and wood.
+When engaged in any easy and simple mechanical occupation,
+there is still some liberty for the mind to leave the literal
+work; and the clash of the loom or the activity of the fingers
+will not always prevent the thoughts from some happy expatiation
+in their own domains. But the grainer must think of
+what he is doing; and veritable attention and care, and occasionally
+considerable skill, are consumed in the doing of a
+more absolute nothing than I can name in any other department
+of painful idleness. I know not anything so humiliating
+as to see a human being, with arms and limbs complete,
+and apparently a head, and assuredly a soul, yet into the hands
+of which when you have put a brush and pallet, it cannot do
+anything with them but imitate a piece of wood. It cannot
+color, it has no ideas of color; it cannot draw, it has no ideas
+of form; it cannot caricature, it has no ideas of humor. It is
+incapable of anything beyond knots. All its achievement, the
+entire result of the daily application of its imagination and
+<span class="pagenum"><a name="page031"></a>31</span>
+immortality, is to be such a piece of texture as the sun and
+dew are sucking up out of the muddy ground, and weaving
+together, far more finely, in millions of millions of growing
+branches, over every rood of waste woodland and shady hill.</p>
+
+<p>§ <span class="scs">XLVII.</span> But what is to be done, the reader asks, with men
+who are capable of nothing else than this? Nay, they may
+be capable of everything else, for all we know, and what we
+are to do with them I will try to say in the next chapter; but
+meanwhile one word more touching the higher principles of
+action in this matter, from which we have descended to those
+of expediency. I trust that some day the language of Types
+will be more read and understood by us than it has been for
+centuries; and when this language, a better one than either
+Greek or Latin, is again recognized amongst us, we shall find,
+or remember, that as the other visible elements of the universe&mdash;its
+air, its water, and its flame&mdash;set forth, in their pure
+energies, the life-giving, purifying, and sanctifying influences
+of the Deity upon His creatures, so the earth, in its purity,
+sets forth His eternity and His <span class="sc">Truth</span>. I have dwelt above
+on the historical language of stones; let us not forget this,
+which is their theological language; and, as we would not
+wantonly pollute the fresh waters when they issue forth in
+their clear glory from the rock, nor stay the mountain winds
+into pestilential stagnancy, nor mock the sunbeams with artificial
+and ineffective light; so let us not by our own base and
+barren falsehoods, replace the crystalline strength and burning
+color of the earth from which we were born, and to which we
+must return; the earth which, like our own bodies, though
+dust in its degradation, is full of splendor when God&rsquo;s hand
+gathers its atoms; and which was for ever sanctified by Him,
+as the symbol no less of His love than of His truth, when He
+bade the high priest bear the names of the Children of Israel
+on the clear stones of the Breastplate of Judgment.</p>
+
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_1" href="#FnAnchor_1"><span class="fn">1</span></a> There is a curious instance of this in the modern imitations of the
+Gothic capitals of the Casa d&rsquo; Oro, employed in its restorations. The old
+capitals look like clusters of leaves, the modern ones like kneaded masses
+of dough with holes in them.</p>
+
+<p><a name="Footnote_2" href="#FnAnchor_2"><span class="fn">2</span></a> Not that even these men were able to wear it altogether without harm,
+as we shall see in the next chapter.</p>
+
+<p><a name="Footnote_3" href="#FnAnchor_3"><span class="fn">3</span></a> <a href="#app_4">Appendix 4</a>, &ldquo;Date of Palaces of Byzantine Renaissance.&rdquo;</p>
+
+<p><a name="Footnote_4" href="#FnAnchor_4"><span class="fn">4</span></a> In the various works which Mr. Prout has written on light and shade,
+no principle will be found insisted on more strongly than this carrying of
+the dark into the light, and <i>vice versa</i>. It is curious to find the untaught
+instinct of a merely picturesque artist in the nineteenth century, fixing itself
+so intensely on a principle which regulated the entire sacred composition of
+the thirteenth. I say &ldquo;untaught&rdquo; instinct, for Mr. Prout was, throughout
+his life, the discoverer of his own principles; fortunately so, considering
+what principles were taught in his time, but unfortunately in the abstract,
+for there were gifts in him, which, had there been any wholesome influences
+to cherish them, might have made him one of the greatest men of his
+age. He was great, under all adverse circumstances, but the mere wreck
+of what he might have been, if, after the rough training noticed in my
+pamphlet on Pre-Raphaelitism, as having fitted him for his great function
+in the world, he had met with a teacher who could have appreciated his
+powers, and directed them.</p>
+
+<p><a name="Footnote_5" href="#FnAnchor_5"><span class="fn">5</span></a> There may, however, be a kind of dishonesty even in the use of
+marble, if it is attempted to make the marble look like something else. See
+the final or Venetian Index under head &ldquo;Scalzi.&rdquo;</p>
+
+<p><a name="Footnote_6" href="#FnAnchor_6"><span class="fn">6</span></a> <a href="#app_5">Appendix 5</a>, &ldquo;Renaissance Side of Ducal Palace.&rdquo;</p>
+
+<p><a name="Footnote_7" href="#FnAnchor_7"><span class="fn">7</span></a> We have, as far as I <i>know</i>, at present among us, only one painter, G.
+F. Watts, who is capable of design in color on a large scale. He stands
+alone among our artists of the old school, in his perception of the value of
+breadth in distant masses, and in the vigor of invention by which such
+breadth must be sustained; and his power of expression and depth of
+thought are not less remarkable than his bold conception of color effect.
+Very probably some of the Pre-Raphaelites have the gift also; I am nearly
+certain that Rosetti has it, and I think also Millais; but the experiment has
+yet to be tried. I wish it could be made in Mr. Hope&rsquo;s church in Margaret
+Street.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page032"></a>32</span></p>
+
+<h3><a name="chap_2" id="chap_2"></a>CHAPTER II.</h3>
+
+<h5>ROMAN RENAISSANCE.</h5>
+
+
+<p>§ <span class="scs">I.</span> Of all the buildings in Venice, later in date than the
+final additions to the Ducal Palace, the noblest is, beyond all
+question, that which, having been condemned by its proprietor,
+not many years ago, to be pulled down and sold for the
+value of its materials, was rescued by the Austrian government,
+and appropriated&mdash;the government officers having no
+other use for it&mdash;to the business of the Post-Office; though
+still known to the gondolier by its ancient name, the Casa
+Grimani. It is composed of three stories of the Corinthian
+order, at once simple, delicate, and sublime; but on so colossal
+a scale, that the three-storied palaces on its right and left only
+reach to the cornice which marks the level of its first floor. Yet
+it is not at first perceived to be so vast; and it is only when
+some expedient is employed to hide it from the eye, that by
+the sudden dwarfing of the whole reach of the Grand Canal,
+which it commands, we become aware that it is to the majesty
+of the Casa Grimani that the Rialto itself, and the whole
+group of neighboring buildings, owe the greater part of their
+impressiveness. Nor is the finish of its details less notable
+than the grandeur of their scale. There is not an erring line,
+nor a mistaken proportion, throughout its noble front; and
+the exceeding fineness of the chiselling gives an appearance of
+lightness to the vast blocks of stone out of whose perfect union
+that front is composed. The decoration is sparing, but delicate:
+the first story only simpler than the rest, in that it has
+pilasters instead of shafts, but all with Corinthian capitals, rich
+in leafage, and fruited delicately; the rest of the walls flat and
+smooth, and the mouldings sharp and shallow, so that the bold
+<span class="pagenum"><a name="page033"></a>33</span>
+shafts look like crystals of beryl running through a rock of
+quartz.</p>
+
+<p>§ <span class="scs">II.</span> This palace is the principal type at Venice, and one of
+the best in Europe, of the central architecture of the Renaissance
+schools; that carefully studied and perfectly executed
+architecture to which those schools owe their principal claims
+to our respect, and which became the model of most of the
+important works subsequently produced by civilized nations.
+I have called it the Roman Renaissance, because it is founded,
+both in its principles of superimposition, and in the style of
+its ornament, upon the architecture of classic Rome at its best
+period. The revival of Latin literature both led to its adoption,
+and directed its form; and the most important example
+of it which exists is the modern Roman basilica of St. Peter&rsquo;s.
+It had, at its Renaissance or new birth, no resemblance either
+to Greek, Gothic, or Byzantine forms, except in retaining the
+use of the round arch, vault, and dome; in the treatment of
+all details, it was exclusively Latin; the last links of connexion
+with mediæval tradition having been broken by its builders in
+their enthusiasm for classical art, and the forms of true Greek
+or Athenian architecture being still unknown to them. The
+study of these noble Greek forms has induced various modifications
+of the Renaissance in our own times; but the conditions
+which are found most applicable to the uses of modern
+life are still Roman, and the entire style may most fitly be
+expressed by the term &ldquo;Roman Renaissance.&rdquo;</p>
+
+<p>§ <span class="scs">III.</span> It is this style, in its purity and fullest form,&mdash;represented
+by such buildings as the Casa Grimani at Venice (built
+by San Micheli), the Town Hall at Vicenza (by Palladio), St.
+Peter&rsquo;s at Rome (by Michael Angelo), St. Paul&rsquo;s and Whitehall
+in London (by Wren and Inigo Jones),&mdash;which is the true
+antagonist of the Gothic school. The intermediate, or corrupt
+conditions of it, though multiplied over Europe, are no longer
+admired by architects, or made the subjects of their study;
+but the finished work of this central school is still, in most
+cases, the model set before the student of the nineteenth century,
+as opposed to those Gothic, Romanesque, or Byzantine
+<span class="pagenum"><a name="page034"></a>34</span>
+forms which have long been considered barbarous, and are so
+still by most of the leading men of the day. That they are,
+on the contrary, most noble and beautiful, and that the antagonistic
+Renaissance is, in the main, unworthy and unadmirable,
+whatever perfection of a certain kind it may possess, it
+was my principal purpose to show, when I first undertook the
+labor of this work. It has been attempted already to put
+before the reader the various elements which unite in the
+Nature of Gothic, and to enable him thus to judge, not
+merely of the beauty of the forms which that system has
+produced already, but of its future applicability to the wants
+of mankind, and endless power over their hearts. I would
+now endeavor, in like manner, to set before the reader the
+Nature of Renaissance, and thus to enable him to compare the
+two styles under the same light, and with the same enlarged
+view of their relations to the intellect, and capacities for the
+service, of man.</p>
+
+<p>§ <span class="scs">IV.</span> It will not be necessary for me to enter at length into
+any examination of its external form. It uses, whether for its
+roofs of aperture or roofs proper, the low gable or circular
+arch: but it differs from Romanesque work in attaching great
+importance to the horizontal lintel or architrave <i>above</i> the
+arch; transferring the energy of the principal shafts to the
+supporting of this horizontal beam, and thus rendering the
+arch a subordinate, if not altogether a superfluous, feature.
+The type of this arrangement has been given already at <i>c</i>, Fig.
+XXXVI., p. 145, Vol. I.: and I might insist at length upon
+the absurdity of a construction in which the shorter shaft,
+which has the real weight of wall to carry, is split into two
+by the taller one, which has nothing to carry at all,&mdash;that
+taller one being strengthened, nevertheless, as if the whole
+weight of the building bore upon it; and on the ungracefulness,
+never conquered in any Palladian work, of the two half-capitals
+glued, as it were, against the slippery round sides of
+the central shaft. But it is not the form of this architecture
+against which I would plead. Its defects are shared by many
+of the noblest forms of earlier building, and might have been
+<span class="pagenum"><a name="page035"></a>35</span>
+entirely atoned for by excellence of spirit. But it is the moral
+nature of it which is corrupt, and which it must, therefore, be
+our principal business to examine and expose.</p>
+
+<p>§ <span class="scs">V.</span> The moral, or immoral, elements which unite to form
+the spirit of Central Renaissance architecture are, I believe, in
+the main, two,&mdash;Pride and Infidelity; but the pride resolves
+itself into three main branches,&mdash;Pride of Science, Pride of
+State, and Pride of System: and thus we have four separate
+mental conditions which must be examined successively.</p>
+
+<p>§ <span class="scs">VI.</span> 1. <span class="sc">Pride of Science.</span> It would have been more
+charitable, but more confusing, to have added another element
+to our list, namely the <i>Love</i> of Science; but the love is included
+in the pride, and is usually so very subordinate an element
+that it does not deserve equality of nomenclature. But,
+whether pursued in pride or in affection (how far by either we
+shall see presently), the first notable characteristic of the Renaissance
+central school is its introduction of accurate knowledge
+into all its work, so far as it possesses such knowledge;
+and its evident conviction, that such science is necessary to the
+excellence of the work, and is the first thing to be expressed
+therein. So that all the forms introduced, even in its minor
+ornament, are studied with the utmost care; the anatomy of
+all animal structure is thoroughly understood and elaborately
+expressed, and the whole of the execution skilful and practised
+in the highest degree. Perspective, linear and aerial, perfect
+drawing and accurate light and shade in painting, and true
+anatomy in all representations of the human form, drawn or
+sculptured, are the first requirements in all the work of this
+school.</p>
+
+<p>§ <span class="scs">VII.</span> Now, first considering all this in the most charitable
+light, as pursued from a real love of truth, and not from vanity,
+it would, of course, have been all excellent and admirable, had
+it been regarded as the aid of art, and not as its essence. But
+the grand mistake of the Renaissance schools lay in supposing
+that science and art are the same things, and that to advance
+in the one was necessarily to perfect the other. Whereas they
+are, in reality, things not only different, but so opposed, that
+<span class="pagenum"><a name="page036"></a>36</span>
+to advance in the one is, in ninety-nine cases out of the hundred,
+to retrograde in the other. This is the point to which I
+would at present especially bespeak the reader&rsquo;s attention.</p>
+
+<p>§ <span class="scs">VIII.</span> Science and art are commonly distinguished by the
+nature of their actions; the one as knowing, the other as changing,
+producing, or creating. But there is a still more important
+distinction in the nature of the things they deal with. Science
+deals exclusively with things as they are in themselves; and
+art exclusively with things as they affect the human senses and
+human soul.<a name="FnAnchor_8" href="#Footnote_8"><span class="sp">8</span></a> Her work is to portray the appearance of things,
+and to deepen the natural impressions which they produce
+upon living creatures. The work of science is to substitute
+facts for appearances, and demonstrations for impressions.
+Both, observe, are equally concerned with truth; the one with
+truth of aspect, the other with truth of essence. Art does not
+represent things falsely, but truly as they appear to mankind.
+Science studies the relations of things to each other: but art
+studies only their relations to man; and it requires of everything
+which is submitted to it imperatively this, and only this,&mdash;what
+that thing is to the human eyes and human heart, what
+it has to say to men, and what it can become to them: a field
+of question just as much vaster than that of science, as the soul
+is larger than the material creation.</p>
+
+<p>§ <span class="scs">IX.</span> Take a single instance. Science informs us that the
+sun is ninety-five millions of miles distant from, and 111 times
+broader than, the earth; that we and all the planets revolve
+round it; and that it revolves on its own axis in 25 days, 14
+hours and 4 minutes. With all this, art has nothing whatsoever
+to do. It has no care to know anything of this kind.
+But the things which it does care to know, are these: that in
+the heavens God hath set a tabernacle for the sun, &ldquo;which is
+as a bridegroom coming out of his chamber, and rejoiceth as a
+<span class="pagenum"><a name="page037"></a>37</span>
+strong man to run a race. His going forth is from the end of
+the heaven, and his circuit unto the ends of it, and there is
+nothing hid from the heat thereof.&rdquo;</p>
+
+<p>§ <span class="scs">X.</span> This, then, being the kind of truth with which art is
+exclusively concerned, how is such truth as this to be ascertained
+and accumulated? Evidently, and only, by perception
+and feeling. Never either by reasoning, or report. Nothing
+must come between Nature and the artist&rsquo;s sight; nothing between
+God and the artist&rsquo;s soul. Neither calculation nor hearsay,&mdash;be
+it the most subtle of calculations, or the wisest of sayings,&mdash;may
+be allowed to come between the universe, and the
+witness which art bears to its visible nature. The whole value
+of that witness depends on its being <i>eye</i>-witness; the whole
+genuineness, acceptableness, and dominion of it depend on the
+personal assurance of the man who utters it. All its victory
+depends on the veracity of the one preceding word, &ldquo;Vidi.&rdquo;</p>
+
+<p>The whole function of the artist in the world is to be a
+seeing and feeling creature; to be an instrument of such tenderness
+and sensitiveness, that no shadow, no hue, no line, no
+instantaneous and evanescent expression of the visible things
+around him, nor any of the emotions which they are capable
+of conveying to the spirit which has been given him, shall
+either be left unrecorded, or fade from the book of record. It
+is not his business either to think, to judge, to argue, or to
+know. His place is neither in the closet, nor on the bench,
+nor at the bar, nor in the library. They are for other men
+and other work. He may think, in a by-way; reason, now and
+then, when he has nothing better to do; know, such fragments
+of knowledge as he can gather without stooping, or reach without
+pains; but none of these things are to be his care. The
+work of his life is to be twofold only: to see, to feel.</p>
+
+<p>§ <span class="scs">XI.</span> Nay, but, the reader perhaps pleads with me, one of
+the great uses of knowledge is to open the eyes; to make
+things perceivable which, never would have been seen, unless
+first they had been known.</p>
+
+<p>Not so. This could only be said or believed by those who
+do not know what the perceptive faculty of a great artist is, in
+<span class="pagenum"><a name="page038"></a>38</span>
+comparison with that of other men. There is no great painter,
+no great workman in any art, but he sees more with the glance
+of a moment than he could learn by the labor of a thousand
+hours. God has made every man fit for his work; He has
+given to the man whom he means for a student, the reflective,
+logical, sequential faculties; and to the man whom He means
+for an artist, the perceptive, sensitive, retentive faculties. And
+neither of these men, so far from being able to do the other&rsquo;s
+work, can even comprehend the way in which it is done. The
+student has no understanding of the vision, nor the painter of
+the process; but chiefly the student has no idea of the colossal
+grasp of the true painter&rsquo;s vision and sensibility.</p>
+
+<p>The labor of the whole Geological Society, for the last fifty
+years, has but now arrived at the ascertainment of those truths
+respecting mountain form which Turner saw and expressed
+with a few strokes of a camel&rsquo;s hair pencil fifty years ago, when
+he was a boy. The knowledge of all the laws of the planetary
+system, and of all the curves of the motion of projectiles, would
+never enable the man of science to draw a waterfall or a wave;
+and all the members of Surgeons&rsquo; Hall helping each other
+could not at this moment see, or represent, the natural movement
+of a human body in vigorous action, as a poor dyer&rsquo;s son
+did two hundred years ago.<a name="FnAnchor_9" href="#Footnote_9"><span class="sp">9</span></a></p>
+
+<p>§ <span class="scs">XII.</span> But surely, it is still insisted, granting this peculiar
+faculty to the painter, he will still see more as he knows more,
+and the more knowledge he obtains, therefore, the better. No;
+not even so. It is indeed true, that, here and there, a piece of
+knowledge will enable the eye to detect a truth which might
+otherwise have escaped it; as, for instance, in watching a sunrise,
+the knowledge of the true nature of the orb may lead the
+painter to feel more profoundly, and express more fully, the
+distance between the bars of cloud that cross it, and the sphere
+of flame that lifts itself slowly beyond them into the infinite
+heaven. But, for one visible truth to which knowledge thus
+opens the eyes, it seals them to a thousand: that is to say, if
+<span class="pagenum"><a name="page039"></a>39</span>
+the knowledge occur to the mind so as to occupy its powers of
+contemplation at the moment when the sight work is to be
+done, the mind retires inward, fixes itself upon the known fact,
+and forgets the passing visible ones; and a <i>moment</i> of such
+forgetfulness loses more to the painter than a day&rsquo;s thought
+can gain. This is no new or strange assertion. Every person
+accustomed to careful reflection of any kind, knows that its
+natural operation is to close his eyes to the external world.
+While he is thinking deeply, he neither sees nor feels, even
+though naturally he may possess strong powers of sight and
+emotion. He who, having journeyed all day beside the Leman
+Lake, asked of his companions, at evening, where it was,<a name="FnAnchor_10" href="#Footnote_10"><span class="sp">10</span></a> probably
+was not wanting in sensibility; but he was generally a
+thinker, not a perceiver. And this instance is only an extreme
+one of the effect which, in all cases, knowledge, becoming a
+subject of reflection, produces upon the sensitive faculties. It
+must be but poor and lifeless knowledge, if it has no tendency
+to force itself forward, and become ground for reflection, in
+despite of the succession of external objects. It will not obey
+their succession. The first that comes gives it food enough
+for its day&rsquo;s work; it is its habit, its duty, to cast the rest aside,
+and fasten upon that. The first thing that a thinking and
+knowing man sees in the course of the day, he will not easily
+quit. It is not his way to quit anything without getting to the
+bottom of it, if possible. But the artist is bound to receive all
+things on the broad, white, lucid field of his soul, not to grasp
+at one. For instance, as the knowing and thinking man
+watches the sunrise, he sees something in the color of a ray, or
+the change of a cloud, that is new to him; and this he follows
+out forthwith into a labyrinth of optical and pneumatical laws,
+perceiving no more clouds nor rays all the morning. But the
+painter must catch all the rays, all the colors that come, and see
+them all truly, all in their real relations and succession; therefore,
+everything that occupies room in his mind he must cast
+<span class="pagenum"><a name="page040"></a>40</span>
+aside for the time, as completely as may be. The thoughtful
+man is gone far away to seek; but the perceiving man must
+sit still, and open his heart to receive. The thoughtful man is
+knitting and sharpening himself into a two-edged sword, wherewith
+to pierce. The perceiving man is stretching himself into
+a four-cornered sheet wherewith to catch. And all the breadth
+to which he can expand himself, and all the white emptiness
+into which he can blanch himself, will not be enough to receive
+what God has to give him.</p>
+
+<p>§ <span class="scs">XIII.</span> What, then, it will be indignantly asked, is an
+utterly ignorant and unthinking man likely to make the best
+artist? No, not so neither. Knowledge is good for him so
+long as he can keep it utterly, servilely, subordinate to his own
+divine work, and trample it under his feet, and out of his way,
+the moment it is likely to entangle him.</p>
+
+<p>And in this respect, observe, there is an enormous difference
+between knowledge and education. An artist need not
+be a <i>learned</i> man, in all probability it will be a disadvantage
+to him to become so; but he ought, if possible, always to be
+an <i>educated</i> man: that is, one who has understanding of his
+own uses and duties in the world, and therefore of the general
+nature of the things done and existing in the world; and who
+has so trained himself, or been trained, as to turn to the best
+and most courteous account whatever faculties or knowledge
+he has. The mind of an educated man is greater than the
+knowledge it possesses; it is like the vault of heaven, encompassing
+the earth which lives and flourishes beneath it: but the
+mind of an educated and learned man is like a caoutchouc band,
+with an everlasting spirit of contraction in it, fastening together
+papers which it cannot open, and keeps others from
+opening.</p>
+
+<p>Half our artists are ruined for want of education, and by
+the possession of knowledge; the best that I have known have
+been educated, and illiterate. The ideal of an artist, however,
+is not that he should be illiterate, but well read in the best
+books, and thoroughly high bred, both in heart and in bearing.
+<span class="pagenum"><a name="page041"></a>41</span>
+In a word, he should be fit for the best society, <i>and should
+keep out of it</i>.<a name="FnAnchor_11" href="#Footnote_11"><span class="sp">11</span></a></p>
+
+<p>§ <span class="scs">XIV.</span> There are, indeed, some kinds of knowledge with
+which an artist ought to be thoroughly furnished; those, for
+instance, which enable him to express himself; for this knowledge
+relieves instead of encumbering his mind, and permits
+it to attend to its purposes instead of wearying itself about
+means. The whole mystery of manipulation and manufacture
+should be familiar to the painter from a child. He should
+know the chemistry of all colors and materials whatsoever, and
+should prepare all his colors himself, in a little laboratory of
+his own. Limiting his chemistry to this one object, the
+amount of practical science necessary for it, and such accidental
+discoveries as might fall in his way in the course of his
+work, of better colors or better methods of preparing them,
+would be an infinite refreshment to his mind; a minor subject
+of interest to which it might turn when jaded with comfortless
+labor, or exhausted with feverish invention, and yet which
+would never interfere with its higher functions, when it chose
+to address itself to them. Even a considerable amount of
+manual labor, sturdy color-grinding and canvas-stretching,
+would be advantageous; though this kind of work ought to
+be in great part done by pupils. For it is one of the conditions
+of perfect knowledge in these matters, that every great
+master should have a certain number of pupils, to whom he is
+to impart all the knowledge of materials and means which he
+himself possesses, as soon as possible; so that, at any rate, by
+the time they are fifteen years old, they may know all that he
+knows himself in this kind; that is to say, all that the world
+of artists know, and his own discoveries besides, and so never
+be troubled about methods any more. Not that the knowledge
+even of his own particular methods is to be of purpose confined
+<span class="pagenum"><a name="page042"></a>42</span>
+to himself and his pupils, but that necessarily it must be so in
+some degree; for only those who see him at work daily can
+understand his small and multitudinous ways of practice.
+These cannot verbally be explained to everybody, nor is it
+needful that they should, only let them be concealed from
+nobody who cares to see them; in which case, of course, his
+attendant scholars will know them best. But all that can be
+made public in matters of this kind should be so with all speed,
+every artist throwing his discovery into the common stock, and
+the whole body of artists taking such pains in this department
+of science as that there shall be no unsettled questions
+about any known material or method: that it shall be an
+entirely ascertained and indisputable matter which is the best
+white, and which the best brown; which the strongest canvas,
+and safest varnish; and which the shortest and most perfect
+way of doing everything known up to that time: and if
+any one discovers a better, he is to make it public forthwith.
+All of them taking care to embarrass themselves with no theories
+or reasons for anything, but to work empirically only: it
+not being in any wise their business to know whether light
+moves in rays or in waves; or whether the blue rays of the
+spectrum move slower or faster than the rest; but simply to
+know how many minutes and seconds such and such a powder
+must be calcined, to give the brightest blue.</p>
+
+<p>§ <span class="scs">XV.</span> Now it is perhaps the most exquisite absurdity of the
+whole Renaissance system, that while it has encumbered the
+artist with every species of knowledge that is of no use to him,
+this one precious and necessary knowledge it has utterly lost.
+There is not, I believe, at this moment, a single question which
+could be put respecting pigments and methods, on which the
+body of living artists would agree in their answers. The lives
+of artists are passed in fruitless experiments; fruitless, because
+undirected by experience and uncommunicated in their results.
+Every man has methods of his own, which he knows to be
+insufficient, and yet jealously conceals from his fellow-workmen:
+every colorman has materials of his own, to which it is
+rare that the artist can trust: and in the very front of the majestic
+<span class="pagenum"><a name="page043"></a>43</span>
+advance of chemical science, the empirical science of the
+artist has been annihilated, and the days which should have led
+us to higher perfection are passed in guessing at, or in mourning
+over, lost processes; while the so-called Dark ages, possessing
+no more knowledge of chemistry than a village herbalist
+does now, discovered, established, and put into daily practice
+such methods of operation as have made their work, at this
+day, the despair of all who look upon it.</p>
+
+<p>§ <span class="scs">XVI.</span> And yet even this, to the painter, the safest of
+sciences, and in some degree necessary, has its temptations,
+and capabilities of abuse. For the simplest means are always
+enough for a great man; and when once he has obtained a few
+ordinary colors, which he is sure will stand, and a white surface
+that will not darken nor moulder, nor rend, he is master
+of the world, and of his fellow-men. And, indeed, as if in
+these times we were bent on furnishing examples of every
+species of opposite error, while we have suffered the traditions
+to escape us of the simple methods of doing simple things,
+which are enough for all the arts, and to all the ages, we have
+set ourselves to discover fantastic modes of doing fantastic
+things,&mdash;new mixtures and manipulations of metal, and porcelain,
+and leather, and paper, and every conceivable condition
+of false substance and cheap work, to our own infinitely multiplied
+confusion,&mdash;blinding ourselves daily more and more to
+the great, changeless, and inevitable truth, that there is but
+one goodness in art; and that is one which the chemist cannot
+prepare, nor the merchant cheapen, for it comes only of a rare
+human hand, and rare human soul.</p>
+
+<p>§ <span class="scs">XVII.</span> Within its due limits, however, here is one branch
+of science which the artist may pursue; and, within limits still
+more strict, another also, namely, the science of the appearances
+of things as they have been ascertained and registered
+by his fellow-men. For no day passes but some visible fact is
+pointed out to us by others, which, without their help, we
+should not have noticed; and the accumulation and generalization
+of visible facts have formed, in the succession of ages,
+the sciences of light and shade, and perspective, linear and
+<span class="pagenum"><a name="page044"></a>44</span>
+aerial: so that the artist is now at once put in possession of
+certain truths respecting the appearances of things, which, so
+pointed out to him, any man may in a few days understand
+and acknowledge; but which, without aid, he could not probably
+discover in his lifetime. I say, probably could not, because
+the time which the history of art shows us to have been
+actually occupied in the discovery and systematization of such
+truth, is no measure of the time <i>necessary</i> for such discovery.
+The lengthened period which elapsed between the earliest and
+the perfect developement of the science of light (if I may so
+call it) was not occupied in the actual effort to ascertain its
+laws, but in <i>acquiring the disposition to make that effort</i>. It
+did not take five centuries to find out the appearance of natural
+objects; but it took five centuries to make people care about
+representing them. An artist of the twelfth century did not
+desire to represent nature. His work was symbolical and
+ornamental. So long as it was intelligible and lovely, he had
+no care to make it like nature. As, for instance, when an old
+painter represented the glory round a saint&rsquo;s head by a burnished
+plate of pure gold, he had no intention of imitating an
+effect of light. He meant to tell the spectator that the figure
+so decorated was a saint, and to produce splendor of effect by
+the golden circle. It was no matter to him what light was
+like. So soon as it entered into his intention to represent the
+appearance of light, he was not long in discovering the natural
+facts necessary for his purpose.</p>
+
+<p>§ <span class="scs">XVIII.</span> But, this being fully allowed, it is still true that
+the accumulation of facts now known respecting visible phenomena,
+is greater than any man could hope to gather for himself,
+and that it is well for him to be made acquainted with
+them; provided always, that he receive them only at their
+true value, and do not suffer himself to be misled by them. I
+say, at their true value; that is, an exceedingly small one. All
+the information which men can receive from the accumulated
+experience of others, is of no use but to enable them more
+quickly and accurately to see for themselves. It will in no
+wise take the place of this personal sight. Nothing can be
+<span class="pagenum"><a name="page045"></a>45</span>
+done well in art, except by vision. Scientific principles and
+experiences are helps to the eye, as a microscope is; and they
+are of exactly as much use <i>without</i> the eye. No science of
+perspective, or of anything else, will enable us to draw the
+simplest natural line accurately, unless we see it and feel it.
+Science is soon at her wits&rsquo; end. All the professors of perspective
+in Europe, could not, by perspective, draw the line of
+curve of a sea beach; nay, could not outline one pool of the
+quiet water left among the sand. The eye and hand can do it,
+nothing else. All the rules of aerial perspective that ever
+were written, will not tell me how sharply the pines on the hill-top
+are drawn at this moment on the sky. I shall know if I
+see them, and love them; not till then. I may study the laws
+of atmospheric gradation for fourscore years and ten, and I
+shall not be able to draw so much as a brick-kiln through its
+own smoke, unless I look at it; and that in an entirely humble
+and unscientific manner, ready to see all that the smoke, my
+master, is ready to show me, and expecting to see nothing
+more.</p>
+
+<p>§ <span class="scs">XIX.</span> So that all the knowledge a man has must be held
+cheap, and neither trusted nor respected, the moment he comes
+face to face with Nature. If it help him, well; if not, but, on
+the contrary, thrust itself upon him in an impertinent and contradictory
+temper, and venture to set itself in the slightest degree
+in opposition to, or comparison with, his sight, let it be
+disgraced forthwith. And the slave is less likely to take too
+much upon herself, if she has not been bought for a high
+price. All the knowledge an artist needs, will, in these days,
+come to him almost without his seeking; if he has far to look
+for it, he may be sure he does not want it. Prout became
+Prout, without knowing a single rule of perspective to the end
+of his days; and all the perspective in the Encyclopædia will
+never produce us another Prout.</p>
+
+<p>§ <span class="scs">XX.</span> And observe, also, knowledge is not only very often
+unnecessary, but it is often <i>untrustworthy</i>. It is inaccurate,
+and betrays us where the eye would have been true to us. Let
+us take the single instance of the knowledge of aerial perspective,
+<span class="pagenum"><a name="page046"></a>46</span>
+of which the moderns are so proud, and see how it betrays
+us in various ways. First by the conceit of it, which often
+prevents our enjoying work in which higher and better things
+were thought of than effects of mist. The other day I showed
+a line impression of Albert Durer&rsquo;s &ldquo;St. Hubert&rdquo; to a modern
+engraver, who had never seen it nor any other of Albert
+Durer&rsquo;s works. He looked at it for a minute contemptuously,
+then turned away: &ldquo;Ah, I see that man did not know much
+about aerial perspective!&rdquo; All the glorious work and thought
+of the mighty master, all the redundant landscape, the living
+vegetation, the magnificent truth of line, were dead letters to
+him, because he happened to have been taught one particular
+piece of knowledge which Durer despised.</p>
+
+<p>§ <span class="scs">XXI.</span> But not only in the conceit of it, but in the inaccuracy
+of it, this science betrays us. Aerial perspective, as given
+by the modern artist, is, in nine cases out of ten, a gross and
+ridiculous exaggeration, as is demonstrable in a moment. The
+effect of air in altering the hue and depth of color is of course
+great in the exact proportion of the volume of air between the
+observer and the object. It is not violent within the first few
+yards, and then diminished gradually, but it is equal for each
+foot of interposing air. Now in a clear day, and clear climate,
+such as that generally presupposed in a work of fine color, objects
+are completely visible at a distance of ten miles; visible
+in light and shade, with gradations between the two. Take,
+then, the faintest possible hue of shadow, or of any color, and
+the most violent and positive possible, and set them side by
+side. The interval between them is greater than the real difference
+(for objects may often be seen clearly much farther
+than ten miles, I have seen Mont Blanc at 120) caused by the
+ten miles of intervening air between any given hue of the
+nearest, and most distant, objects; but let us assume it, in
+courtesy to the masters of aerial perspective, to be the real difference.
+Then roughly estimating a mile at less than it really
+is, also in courtesy to them, or at 5000 feet, we have this difference
+between tints produced by 50,000 feet of air. Then, ten
+<span class="pagenum"><a name="page047"></a>47</span>
+feet of air will produce the 5000th part of this difference. Let
+the reader take the two extreme tints, and carefully gradate
+the one into the other. Let him divide this gradated shadow
+or color into 5000 successive parts; and the difference in depth
+between one of these parts and the next is the exact amount of
+aerial perspective between one object, and another, ten feet
+behind it, on a clear day.</p>
+
+<p>§ <span class="scs">XXII.</span> Now, in Millais&rsquo; &ldquo;Huguenot,&rdquo; the figures were
+standing about three feet from the wall behind them; and the
+wise world of critics, which could find no other fault with the
+picture, professed to have its eyes hurt by the want of an aerial
+perspective, which, had it been accurately given (as, indeed, I
+believe it was), would have amounted to the <b><span class="above">10</span>&#8260;<span class="below">3</span></b>5000th, or less
+than the 15,000th part of the depth of any given color. It
+would be interesting to see a picture painted by the critics,
+upon this scientific principle. The aerial perspective usually
+represented is entirely conventional and ridiculous; a mere
+struggle on the part of the pretendedly well-informed, but
+really ignorant, artist, to express distances by mist which he
+cannot by drawing.</p>
+
+<p>It is curious that the critical world is just as much offended
+by the true <i>presence</i> of aerial perspective, over distances of
+fifty miles, and with definite purpose of representing mist, in
+the works of Turner, as by the true <i>absence</i> of aerial perspective,
+over distances of three feet, and in clear weather, in those
+of Millais.</p>
+
+<p>§ <span class="scs">XXIII.</span> &ldquo;Well but,&rdquo; still answers the reader, &ldquo;this kind of
+error may here and there be occasioned by too much respect
+for undigested knowledge; but, on the whole, the gain is
+greater than the loss, and the fact is, that a picture of the Renaissance
+period, or by a modern master, does indeed represent
+nature more faithfully than one wrought in the ignorance of
+old times.&rdquo; No, not one whit; for the most part less faithfully.
+Indeed, the outside of nature is more truly drawn; the material
+commonplace, which can be systematized, catalogued, and
+<span class="pagenum"><a name="page048"></a>48</span>
+taught to all pains-taking mankind,&mdash;forms of ribs and scapulæ,<a name="FnAnchor_12" href="#Footnote_12"><span class="sp">12</span></a>
+of eyebrows and lips, and curls of hair. Whatever can be
+measured and handled, dissected and demonstrated,&mdash;in a word,
+whatever is of the body only,&mdash;that the schools of knowledge
+do resolutely and courageously possess themselves of, and portray.
+But whatever is immeasurable, intangible, indivisible,
+and of the spirit, that the schools of knowledge do as certainly
+lose, and blot out of their sight, that is to say, all that is worth
+art&rsquo;s possessing or recording at all; for whatever can be arrested,
+measured, and systematized, we can contemplate as much
+as we will in nature herself. But what we want art to do for
+us is to stay what is fleeting, and to enlighten what is incomprehensible,
+to incorporate the things that have no measure,
+and immortalize the things that have no duration. The dimly
+seen, momentary glance, the flitting shadow of faint emotion,
+the imperfect lines of fading thought, and all that by and
+through such things as these is recorded on the features of
+<span class="pagenum"><a name="page049"></a>49</span>
+man, and all that in man&rsquo;s person and actions, and in the great
+natural world, is infinite and wonderful; having in it that
+spirit and power which man may witness, but not weigh; conceive,
+but not comprehend; love, but not limit; and imagine,
+but not define;&mdash;this, the beginning and the end of the aim of
+all noble art, we have, in the ancient art, by perception; and
+we have <i>not</i>, in the newer art, by knowledge. Giotto gives it
+us, Orcagna gives it us. Angelico, Memmi, Pisano, it matters
+not who,&mdash;all simple and unlearned men, in their measure and
+manner,&mdash;give it us; and the learned men that followed them
+give it us not, and we, in our supreme learning, own ourselves
+at this day farther from it than ever.</p>
+
+<p>§ <span class="scs">XXIV.</span> &ldquo;Nay,&rdquo; but it is still answered, &ldquo;this is because
+we have not yet brought our knowledge into right use, but
+have been seeking to accumulate it, rather than to apply it
+wisely to the ends of art. Let us now do this, and we may
+achieve all that was done by that elder ignorant art, and infinitely
+<span class="pagenum"><a name="page050"></a>50</span>
+more.&rdquo; No, not so; for as soon as we try to put our
+knowledge to good use, we shall find that we have much more
+than we can use, and that what more we have is an encumbrance.
+All our errors in this respect arise from a gross misconception
+as to the true nature of knowledge itself. We
+talk of learned and ignorant men, as if there were a certain
+quantity of knowledge, which to possess was to be learned, and
+which not to possess was to be ignorant; instead of considering
+that knowledge is infinite, and that the man most learned
+in human estimation is just as far from knowing anything as
+he ought to know it, as the unlettered peasant. Men are
+merely on a lower or higher stage of an eminence, whose summit
+is God&rsquo;s throne, infinitely above all; and there is just as
+much reason for the wisest as for the simplest man being
+discontented with his position, as respects the real quantity
+of knowledge he possesses. And, for both of them, the only
+true reasons for contentment with the sum of knowledge they
+possess are these: that it is the kind of knowledge they need
+for their duty and happiness in life; that all they have is
+tested and certain, so far as it is in their power; that all they
+have is well in order, and within reach when they need it;
+that it has not cost too much time in the getting; that none
+of it, once got, has been lost; and that there is not too much
+to be easily taken care of.</p>
+
+<p>§ <span class="scs">XXV.</span> Consider these requirements a little, and the evils
+that result in our education and polity from neglecting them.
+Knowledge is mental food, and is exactly to the spirit what
+food is to the body (except that the spirit needs several sorts
+of food, of which knowledge is only one), and it is liable to the
+same kind of misuses. It may be mixed and disguised by art,
+till it becomes unwholesome; it may be refined, sweetened,
+and made palatable, until it has lost all its power of nourishment;
+and, even of its best kind, it may be eaten to surfeiting,
+and minister to disease and death.</p>
+
+<p>§ <span class="scs">XXVI.</span> Therefore, with respect to knowledge, we are to
+reason and act exactly as with respect to food. We no more
+live to know, than we live to eat. We live to contemplate,
+<span class="pagenum"><a name="page051"></a>51</span>
+enjoy, act, adore; and we may know all that is to be known
+in this world, and what Satan knows in the other, without
+being able to do any of these. We are to ask, therefore, first,
+is the knowledge we would have fit food for us, good and
+simple, not artificial and decorated? and secondly, how much
+of it will enable us best for our work; and will leave our
+hearts light, and our eyes clear? For no more than that is
+to be eaten without the old Eve-sin.</p>
+
+<p>§ <span class="scs">XXVII.</span> Observe, also, the difference between tasting knowledge,
+and hoarding it. In this respect it is also like food;
+since, in some measure, the knowledge of all men is laid up in
+granaries, for future use; much of it is at any given moment
+dormant, not fed upon or enjoyed, but in store. And by all
+it is to be remembered, that knowledge in this form may be
+kept without air till it rots, or in such unthreshed disorder that
+it is of no use; and that, however good or orderly, it is still
+only in being tasted that it becomes of use; and that men
+may easily starve in their own granaries, men of science, perhaps,
+most of all, for they are likely to seek accumulation of
+their store, rather than nourishment from it. Yet let it not
+be thought that I would undervalue them. The good and
+great among them are like Joseph, to whom all nations sought
+to buy corn; or like the sower going forth to sow beside all
+waters, sending forth thither the feet of the ox and the ass:
+only let us remember that this is not all men&rsquo;s work. We are
+not intended to be all keepers of granaries, nor all to be measured
+by the filling of a storehouse; but many, nay, most of
+us, are to receive day by day our daily bread, and shall be
+as well nourished and as fit for our labor, and often, also, fit
+for nobler and more divine labor, in feeding from the barrel
+of meal that does not waste, and from the cruse of oil that
+does not fail, than if our barns were filled with plenty, and our
+presses bursting out with new wine.</p>
+
+<p>§ <span class="scs">XXVIII.</span> It is for each man to find his own measure in this
+matter; in great part, also, for others to find it for him, while
+he is yet a youth. And the desperate evil of the whole Renaissance
+system is, that all idea of measure is therein forgotten,
+<span class="pagenum"><a name="page052"></a>52</span>
+that knowledge is thought the one and the only good,
+and it is never inquired whether men are vivified by it or
+paralyzed. Let us leave figures. The reader may not believe
+the analogy I have been pressing so far; but let him consider
+the subject in itself, let him examine the effect of knowledge
+in his own heart, and see whether the trees of knowledge and
+of life are one now, any more than in Paradise. He must feel
+that the real animating power of knowledge is only in the
+moment of its being first received, when it fills us with wonder
+and joy; a joy for which, observe, the previous ignorance
+is just as necessary as the present knowledge. That man is
+always happy who is in the presence of something which he
+cannot know to the full, which he is always going on to know.
+This is the necessary condition of a finite creature with
+divinely rooted and divinely directed intelligence; this, therefore,
+its happy state,&mdash;but observe, a state, not of triumph or
+joy in what it knows, but of joy rather in the continual discovery
+of new ignorance, continual self-abasement, continual
+astonishment. Once thoroughly our own, the knowledge
+ceases to give us pleasure. It may be practically useful to us,
+it may be good for others, or good for usury to obtain more;
+but, in itself, once let it be thoroughly familiar, and it is dead.
+The wonder is gone from it, and all the fine color which it had
+when first we drew it up out of the infinite sea. And what
+does it matter how much or how little of it we have laid aside,
+when our only enjoyment is still in the casting of that deep
+sea line? What does it matter? Nay, in one respect, it
+matters much, and not to our advantage. For one effect of
+knowledge is to deaden the force of the imagination and the
+original energy of the whole man: under the weight of his
+knowledge he cannot move so lightly as in the days of his
+simplicity. The pack-horse is furnished for the journey, the
+war-horse is armed for war; but the freedom of the field and
+the lightness of the limb are lost for both. Knowledge is, at
+best, the pilgrim&rsquo;s burden or the soldier&rsquo;s panoply, often a
+weariness to them both: and the Renaissance knowledge is
+like the Renaissance armor of plate, binding and cramping the
+<span class="pagenum"><a name="page053"></a>53</span>
+human form; while all good knowledge is like the crusader&rsquo;s
+chain mail, which throws itself into folds with the body,
+yet it is rarely so forged as that the clasps and rivets do not
+gall us. All men feel this, though they do not think of it,
+nor reason out its consequences. They look back to the days
+of childhood as of greatest happiness, because those were the
+days of greatest wonder, greatest simplicity, and most vigorous
+imagination. And the whole difference between a man of
+genius and other men, it has been said a thousand times, and
+most truly, is that the first remains in great part a child, seeing
+with the large eyes of children, in perpetual wonder, not
+conscious of much knowledge,&mdash;conscious, rather, of infinite
+ignorance, and yet infinite power; a fountain of eternal admiration,
+delight, and creative force within him meeting the
+ocean of visible and governable things around him.</p>
+
+<p>That is what we have to make men, so far as we may. All
+are to be men of genius in their degree,&mdash;rivulets or rivers, it
+does not matter, so that the souls be clear and pure; not dead
+walls encompassing dead heaps of things known and numbered,
+but running waters in the sweet wilderness of things
+unnumbered and unknown, conscious only of the living banks,
+on which they partly refresh and partly reflect the flowers,
+and so pass on.</p>
+
+<p>§ <span class="scs">XXIX.</span> Let each man answer for himself how far his knowledge
+has made him this, or how far it is loaded upon him as
+the pyramid is upon the tomb. Let him consider, also, how
+much of it has cost him labor and time that might have been
+spent in healthy, happy action, beneficial to all mankind;
+how many living souls may have been left uncomforted and
+unhelped by him, while his own eyes were failing by the midnight
+lamp; how many warm sympathies have died within
+him as he measured lines or counted letters; how many
+draughts of ocean air, and steps on mountain-turf, and openings
+of the highest heaven he has lost for his knowledge; how
+much of that knowledge, so dearly bought, is now forgotten
+or despised, leaving only the capacity of wonder less within
+him, and, as it happens in a thousand instances, perhaps even
+<span class="pagenum"><a name="page054"></a>54</span>
+also the capacity of devotion. And let him,&mdash;if, after thus
+dealing with his own heart, he can say that his knowledge
+has indeed been fruitful to him,&mdash;yet consider how many there
+are who have been forced by the inevitable laws of modern
+education into toil utterly repugnant to their natures, and that
+in the extreme, until the whole strength of the young soul
+was sapped away; and then pronounce with fearfulness how
+far, and in how many senses, it may indeed be true that the
+wisdom of this world is foolishness with God.</p>
+
+<p>§ <span class="scs">XXX.</span> Now all this possibility of evil, observe, attaches to
+knowledge pursued for the noblest ends, if it be pursued imprudently.
+I have assumed, in speaking of its effect both on
+men generally and on the artist especially, that it was sought
+in the true love of it, and with all honesty and directness of
+purpose. But this is granting far too much in its favor.
+Of knowledge in general, and without qualification, it is said
+by the Apostle that &ldquo;it puffeth up;&rdquo; and the father of all
+modern science, writing directly in its praise, yet asserts this
+danger even in more absolute terms, calling it a &ldquo;venomousness&rdquo;
+in the very nature of knowledge itself.</p>
+
+<p>§ <span class="scs">XXXI.</span> There is, indeed, much difference in this respect
+between the tendencies of different branches of knowledge; it
+being a sure rule that exactly in proportion as they are inferior,
+nugatory, or limited in scope, their power of feeding pride is
+greater. Thus philology, logic, rhetoric, and the other sciences
+of the schools, being for the most part ridiculous and trifling,
+have so pestilent an effect upon those who are devoted to them,
+that their students cannot conceive of any higher sciences than
+these, but fancy that all education ends in the knowledge of
+words: but the true and great sciences, more especially natural
+history, make men gentle and modest in proportion to the
+largeness of their apprehension, and just perception of the infiniteness
+of the things they can never know. And this, it
+seems to me, is the principal lesson we are intended to be
+caught by the book of Job; for there God has thrown open to
+us the heart of a man most just and holy, and apparently perfect
+in all things possible to human nature except humility.
+<span class="pagenum"><a name="page055"></a>55</span>
+For this he is tried: and we are shown that no suffering, no
+self-examination, however honest, however stern, no searching
+out of the heart by its own bitterness, is enough to convince
+man of his nothingness before God; but that the sight of God&rsquo;s
+creation will do it. For, when the Deity himself has willed
+to end the temptation, and to accomplish in Job that for
+which it was sent, He does not vouchsafe to reason with him,
+still less does He overwhelm him with terror, or confound him
+by laying open before his eyes the book of his iniquities. He
+opens before him only the arch of the dayspring, and the fountains
+of the deep; and amidst the covert of the reeds, and on
+the heaving waves, He bids him watch the kings of the children
+of pride,&mdash;&ldquo;Behold now Behemoth, which I made with thee:&rdquo;
+And the work is done.</p>
+
+<p>§ <span class="scs">XXXII.</span> Thus, if, I repeat, there is any one lesson in the
+whole book which stands forth more definitely than another, it
+is this of the holy and humbling influence of natural science
+on the human heart. And yet, even here, it is not the science,
+but the perception, to which the good is owing; and the
+natural sciences may become as harmful as any others, when
+they lose themselves in classification and catalogue-making.
+Still, the principal danger is with the sciences of words and
+methods; and it was exactly into those sciences that the whole
+energy of men during the Renaissance period was thrown.
+They discovered suddenly that the world for ten centuries had
+been living in an ungrammatical manner, and they made it
+forthwith the end of human existence to be grammatical. And
+it mattered thenceforth nothing what was said, or what was
+done, so only that it was said with scholarship, and done with
+system. Falsehood in a Ciceronian dialect had no opposers;
+truth in patois no listeners. A Roman phrase was thought
+worth any number of Gothic facts. The sciences ceased at once
+to be anything more than different kinds of grammars,&mdash;grammar
+of language, grammar of logic, grammar of ethics, grammar
+of art; and the tongue, wit, and invention of the human race
+were supposed to have found their utmost and most divine
+mission in syntax and syllogism, perspective and five orders.</p>
+
+<p><span class="pagenum"><a name="page056"></a>56</span></p>
+
+<p>Of such knowledge as this, nothing but pride could come;
+and, therefore, I have called the first mental characteristic of
+the Renaissance schools, the &ldquo;pride&rdquo; of science. If they had
+reached any science worth the name, they might have loved it;
+but of the paltry knowledge they possessed, they could only be
+proud. There was not anything in it capable of being loved.
+Anatomy, indeed, then first made a subject of accurate study,
+is a true science, but not so attractive as to enlist the affections
+strongly on its side: and therefore, like its meaner sisters, it
+became merely a ground for pride; and the one main purpose
+of the Renaissance artists, in all their work, was to show how
+much they knew.</p>
+
+<p>§ <span class="scs">XXXIII.</span> There were, of course, noble exceptions; but
+chiefly belonging to the earliest periods of the Renaissance,
+when its teaching had not yet produced its full effect. Raphael,
+Leonardo, and Michael Angelo were all trained in the old
+school; they all had masters who knew the true ends of art,
+and had reached them; masters nearly as great as they were
+themselves, but imbued with the old religious and earnest
+spirit, which their disciples receiving from them, and drinking
+at the same time deeply from all the fountains of knowledge
+opened in their day, became the world&rsquo;s wonders. Then the
+dull wondering world believed that their greatness rose out of
+their new knowledge, instead of out of that ancient religious
+root, in which to abide was life, from which to be severed was
+annihilation. And from that day to this, they have tried to
+produce Michael Angelos and Leonardos by teaching the barren
+sciences, and still have mourned and marvelled that no more
+Michael Angelos came; not perceiving that those great Fathers
+were only able to receive such nourishment because they were
+rooted on the rock of all ages, and that our scientific teaching,
+nowadays, is nothing more nor less than the assiduous watering
+of trees whose stems are cut through. Nay, I have even
+granted too much in saying that those great men were able to
+receive pure nourishment from the sciences; for my own conviction
+is, and I know it to be shared by most of those who
+love Raphael truly,&mdash;that he painted best when he knew least.
+<span class="pagenum"><a name="page057"></a>57</span>
+Michael Angelo was betrayed, again and again, into such vain
+and offensive exhibition of his anatomical knowledge as, to this
+day, renders his higher powers indiscernible by the greater
+part of men; and Leonardo fretted his life away in engineering,
+so that there is hardly a picture left to bear his name.
+But, with respect to all who followed, there can be no question
+that the science they possessed was utterly harmful; serving
+merely to draw away their hearts at once from the purposes of
+art and the power of nature, and to make, out of the canvas
+and marble, nothing more than materials for the exhibition of
+petty dexterity and useless knowledge.</p>
+
+<p>§ <span class="scs">XXXIV.</span> It is sometimes amusing to watch the naïve and
+childish way in which this vanity is shown. For instance,
+when perspective was first invented, the world thought it a
+mighty discovery, and the greatest men it had in it were as
+proud of knowing that retiring lines converge, as if all the
+wisdom of Solomon had been compressed into a vanishing
+point. And, accordingly, it became nearly impossible for any
+one to paint a Nativity, but he must turn the stable and manger
+into a Corinthian arcade, in order to show his knowledge
+of perspective; and half the best architecture of the time, instead
+of being adorned with historical sculpture, as of old, was
+set forth with bas-relief of minor corridors and galleries, thrown
+into perspective.</p>
+
+<p>Now that perspective can be taught to any schoolboy in a
+week, we can smile at this vanity. But the fact is, that all
+pride in knowledge is precisely as ridiculous, whatever its kind,
+or whatever its degree. There is, indeed, nothing of which
+man has any right to be proud; but the very last thing of
+which, with any show of reason, he can make his boast is his
+knowledge, except only that infinitely small portion of it which
+he has discovered for himself. For what is there to be more
+proud of in receiving a piece of knowledge from another person,
+than in receiving a piece of money? Beggars should not
+be proud, whatever kind of alms they receive. Knowledge is
+like current coin. A man may have some right to be proud
+of possessing it, if he has worked for the gold of it, and assayed
+<span class="pagenum"><a name="page058"></a>58</span>
+it, and stamped it, so that it may be received of all men as
+true; or earned it fairly, being already assayed: but if he has
+done none of these things, but only had it thrown in his face
+by a passer-by, what cause has he to be proud? And though,
+in this mendicant fashion, he had heaped together the wealth
+of Cr&oelig;sus, would pride any more, for this, become him, as, in
+some sort, it becomes the man who has labored for his fortune,
+however small? So, if a man tells me the sun is larger than
+the earth, have I any cause for pride in knowing it? or, if any
+multitude of men tell me any number of things, heaping all
+their wealth of knowledge upon me, have I any reason to be
+proud under the heap? And is not nearly all the knowledge
+of which we boast in these days cast upon us in this dishonorable
+way; worked for by other men, proved by them, and then
+forced upon us, even against our wills, and beaten into us in
+our youth, before we have the wit even to know if it be good
+or not? (Mark the distinction between knowledge and
+thought.) Truly a noble possession to be proud of! Be
+assured, there is no part of the furniture of a man&rsquo;s mind
+which he has a right to exult in, but that which he has hewn
+and fashioned for himself. He who has built himself a hut on
+a desert heath, and carved his bed, and table, and chair out of
+the nearest forest, may have some right to take pride in the appliances
+of his narrow chamber, as assuredly he will have joy in
+them. But the man who has had a palace built, and adorned,
+and furnished for him, may, indeed, have many advantages
+above the other, but he has no reason to be proud of his upholsterer&rsquo;s
+skill; and it is ten to one if he has half the joy in
+his couches of ivory that the other will have in his pallet of
+pine.</p>
+
+<p>§ <span class="scs">XXXV.</span> And observe how we feel this, in the kind of respect
+we pay to such knowledge as we are indeed capable of
+estimating the value of. When it is our own, and new to us,
+we cannot judge of it; but let it be another&rsquo;s also, and long
+familiar to us, and see what value we set on it. Consider how
+we regard a schoolboy, fresh from his term&rsquo;s labor. If he begin
+to display his newly acquired small knowledge to us, and
+<span class="pagenum"><a name="page059"></a>59</span>
+plume himself thereupon, how soon do we silence him with
+contempt! But it is not so if the schoolboy begins to feel or
+see anything. In the strivings of his soul within him he is
+our equal; in his power of sight and thought he stands separate
+from us, and may be a greater than we. We are ready to
+hear him forthwith. &ldquo;You saw that? you felt that? No
+matter for your being a child; let us hear.&rdquo;</p>
+
+<p>§ <span class="scs">XXXVI.</span> Consider that every generation of men stands in
+this relation to its successors. It is as the schoolboy: the
+knowledge of which it is proudest will be as the alphabet to
+those who follow. It had better make no noise about its knowledge;
+a time will come when its utmost, in that kind, will be
+food for scorn. Poor fools! was that all they knew? and behold
+how proud they were! But what we see and feel will
+never be mocked at. All men will be thankful to us for telling
+them that. &ldquo;Indeed!&rdquo; they will say, &ldquo;they felt that in
+their day? saw that? Would God we may be like them,
+before we go to the home where sight and thought are
+not!&rdquo;</p>
+
+<p>This unhappy and childish pride in knowledge, then, was
+the first constituent element of the Renaissance mind, and it
+was enough, of itself, to have cast it into swift decline: but it
+was aided by another form of pride, which was above called
+the Pride of State; and which we have next to examine.</p>
+
+<p>§ <span class="scs">XXXVII.</span> II. <span class="sc">Pride of State.</span> It was noticed in the
+second volume of &ldquo;Modern Painters,&rdquo; p. 122, that the principle
+which had most power in retarding the modern school of
+portraiture was its constant expression of individual vanity and
+pride. And the reader cannot fail to have observed that one
+of the readiest and commonest ways in which the painter ministers
+to this vanity, is by introducing the pedestal or shaft of
+a column, or some fragment, however simple, of Renaissance
+architecture, in the background of the portrait. And this is
+not merely because such architecture is bolder or grander than,
+in general, that of the apartments of a private house. No
+other architecture would produce the same effect in the same
+degree. The richest Gothic, the most massive Norman, would
+<span class="pagenum"><a name="page060"></a>60</span>
+not produce the same sense of exaltation as the simple and
+meagre lines of the Renaissance.</p>
+
+<p>§ <span class="scs">XXXVIII.</span> And if we think over this matter a little, we
+shall soon feel that in those meagre lines there is indeed an expression
+of aristocracy in its worst characters; coldness, perfectness
+of training, incapability of emotion, want of sympathy
+with the weakness of lower men, blank, hopeless, haughty self-sufficiency.
+All these characters are written in the Renaissance
+architecture as plainly as if they were graven on it in words.
+For, observe, all other architectures have something in them
+that common men can enjoy; some concession to the simplicities
+of humanity, some daily bread for the hunger of the
+multitude. Quaint fancy, rich ornament, bright color, something
+that shows a sympathy with men of ordinary minds and
+hearts; and this wrought out, at least in the Gothic, with a
+rudeness showing that the workman did not mind exposing his
+own ignorance if he could please others. But the Renaissance
+is exactly the contrary of all this. It is rigid, cold, inhuman;
+incapable of glowing, of stooping, of conceding for an instant.
+Whatever excellence it has is refined, high-trained, and deeply
+erudite; a kind which the architect well knows no common
+mind can taste. He proclaims it to us aloud. &ldquo;You cannot
+feel my work unless you study Vitruvius. I will give you no
+gay color, no pleasant sculpture, nothing to make you happy;
+for I am a learned man. All the pleasure you can have in
+anything I do is in its proud breeding, its rigid formalism, its
+perfect finish, its cold tranquillity. I do not work for the
+vulgar, only for the men of the academy and the court.&rdquo;</p>
+
+<p>§ <span class="scs">XXXIX.</span> And the instinct of the world felt this in a
+moment. In the new precision and accurate law of the classical
+forms, they perceived something peculiarly adapted to
+the setting forth of state in an appalling manner: Princes delighted
+in it, and courtiers. The Gothic was good for God&rsquo;s
+worship, but this was good for man&rsquo;s worship. The Gothic
+had fellowship with all hearts, and was universal, like nature:
+it could frame a temple for the prayer of nations, or shrink
+into the poor man&rsquo;s winding stair. But here was an architecture
+<span class="pagenum"><a name="page061"></a>61</span>
+that would not shrink, that had in it no submission, no
+mercy. The proud princes and lords rejoiced in it. It was
+full of insult to the poor in its every line. It would not be
+built of the materials at the poor man&rsquo;s hand; it would not roof
+itself with thatch or shingle, and black oak beams; it would
+not wall itself with rough stone or brick; it would not pierce
+itself with small windows where they were needed; it would
+not niche itself, wherever there was room for it, in the street
+corners. It would be of hewn stone; it would have its windows
+and its doors, and its stairs and its pillars, in lordly order,
+and of stately size; it would have its wings and its corridors,
+and its halls and its gardens, as if all the earth were its own.
+And the rugged cottages of the mountaineers, and the fantastic
+streets of the laboring burgher were to be thrust out of its
+way, as of a lower species.</p>
+
+<p>§ <span class="scs">XL.</span> It is to be noted also, that it ministered as much to
+luxury as to pride. Not to luxury of the eye, that is a holy
+luxury; Nature ministers to that in her painted meadows, and
+sculptured forests, and gilded heavens; the Gothic builder
+ministered to that in his twisted traceries, and deep-wrought
+foliage, and burning casements. The dead Renaissance drew
+back into its earthliness, out of all that was warm and heavenly;
+back into its pride, out of all that was simple and kind; back
+into its stateliness, out of all that was impulsive, reverent, and
+gay. But it understood the luxury of the body; the terraced
+and scented and grottoed garden, with its trickling fountains
+and slumbrous shades; the spacious hall and lengthened corridor
+for the summer heat; the well-closed windows, and perfect
+fittings and furniture, for defence against the cold; and
+the soft picture, and frescoed wall and roof, covered with the
+last lasciviousness of Paganism;&mdash;this is understood and possessed
+to the full, and still possesses. This is the kind of
+domestic architecture on which we pride ourselves, even to
+this day, as an infinite and honorable advance from the rough
+habits of our ancestors; from the time when the king&rsquo;s floor
+was strewn with rushes, and the tapestries swayed before the
+searching wind in the baron&rsquo;s hall.</p>
+
+<p><span class="pagenum"><a name="page062"></a>62</span></p>
+
+<p>§ <span class="scs">XLI.</span> Let us hear two stories of those rougher times.</p>
+
+<p>At the debate of King Edwin with his courtiers and priests,
+whether he ought to receive the Gospel preached to him by
+Paulinus, one of his nobles spoke as follows:</p>
+
+<p>&ldquo;The present life, O king! weighed with the time that is
+unknown, seems to me like this. When you are sitting at a
+feast with your earls and thanes in winter time, and the fire is
+lighted, and the hall is warmed, and it rains and snows, and
+the storm is loud without, there comes a sparrow, and flies
+through the house. It comes in at one door and goes out at
+the other. While it is within, it is not touched by the winter&rsquo;s
+storm; but it is but for the twinkling of an eye, for from
+winter it comes and to winter it returns. So also this life of
+man endureth for a little space; what goes before or what
+follows after, we know not. Wherefore, if this new lore bring
+anything more certain, it is fit that we should follow it.&rdquo;<a name="FnAnchor_13" href="#Footnote_13"><span class="sp">13</span></a></p>
+
+<p>That could not have happened in a Renaissance building.
+The bird could not have dashed in from the cold into the heat,
+and from the heat back again into the storm. It would have
+had to come up a flight of marble stairs, and through seven
+or eight antechambers; and so, if it had ever made its way
+into the presence chamber, out again through loggias and corridors
+innumerable. And the truth which the bird brought
+with it, fresh from heaven, has, in like manner, to make its
+way to the Renaissance mind through many antechambers,
+hardly, and as a despised thing, if at all.</p>
+
+<p>§ <span class="scs">XLII.</span> Hear another story of those early times.</p>
+
+<p>The king of Jerusalem, Godfrey of Bouillon, at the siege
+of Asshur, or Arsur, gave audience to some emirs from Samaria
+and Naplous. They found him seated on the ground on a
+sack of straw. They expressing surprise, Godfrey answered
+them: &ldquo;May not the earth, out of which we came, and which
+is to be our dwelling after death, serve us for a seat during
+life?&rdquo;</p>
+
+<p>It is long since such a throne has been set in the reception
+<span class="pagenum"><a name="page063"></a>63</span>
+chambers of Christendom, or such an answer heard from the
+lips of a king.</p>
+
+<p>Thus the Renaissance spirit became base both in its abstinence
+and its indulgence. Base in its abstinence; curtailing
+the bright and playful wealth of form and thought, which
+filled the architecture of the earlier ages with sources of
+delight for their hardy spirit, pure, simple, and yet rich as the
+fretwork of flowers and moss, watered by some strong and
+stainless mountain stream: and base in its indulgence; as it
+granted to the body what it withdrew from the heart, and
+exhausted, in smoothing the pavement for the painless feet,
+and softening the pillow for the sluggish brain, the powers of
+art which once had hewn rough ladders into the clouds of
+heaven, and set up the stones by which they rested for houses
+of God.</p>
+
+<p>§ <span class="scs">XLIII</span>. And just in proportion as this courtly sensuality
+lowered the real nobleness of the men whom birth or fortune
+raised above their fellows, rose their estimate of their own
+dignity, together with the insolence and unkindness of its
+expression, and the grossness of the flattery with which it
+was fed. Pride is indeed the first and the last among the sins
+of men, and there is no age of the world in which it has not
+been unveiled in the power and prosperity of the wicked.
+But there was never in any form of slavery, or of feudal supremacy,
+a forgetfulness so total of the common majesty of the
+human soul, and of the brotherly kindness due from man to
+man, as in the aristocratic follies in the Renaissance. I have
+not space to follow out this most interesting and extensive
+subject; but here is a single and very curious example of the
+kind of flattery with which architectural teaching was mingled
+when addressed to the men of rank of the day.</p>
+
+<p>§ <span class="scs">XLIV</span>. In St. Mark&rsquo;s library there is a very curious Latin
+manuscript of the twenty-five books of Averulinus, a Florentine
+architect, upon the principles of his art. The book was written
+in or about 1460, and translated into Latin, and richly illuminated
+for Corvinus, king of Hungary, about 1483. I extract
+from the third book the following passage on the nature of
+<span class="pagenum"><a name="page064"></a>64</span>
+stones. &ldquo;As there are three genera of men,&mdash;that is to say,
+nobles, men of the middle classes, and rustics,&mdash;so it appears
+that there are of stones. For the marbles and common stones
+of which we have spoken above, set forth the rustics. The
+porphyries and alabasters, and the other harder stones of
+mingled quality, represent the middle classes, if we are to deal
+in comparisons: and by means of these the ancients adorned
+their temples with incrustations and ornaments in a magnificent
+manner. And after these come the chalcedonies and
+sardonyxes, &amp;c., which are so transparent that there can be
+seen no spot in them.<a name="FnAnchor_14" href="#Footnote_14"><span class="sp">14</span></a> Thus men endowed with nobility lead
+a life in which no spot can be found.&rdquo;</p>
+
+<p>Canute or C&oelig;ur de Lion (I name not Godfrey or St. Louis)
+would have dashed their sceptres against the lips of a man
+who should have dared to utter to them flattery such as this.
+But in the fifteenth century it was rendered and accepted as
+a matter of course, and the tempers which delighted in it
+necessarily took pleasure also in every vulgar or false means,
+of taking worldly superiority. And among such false means
+largeness of scale in the dwelling-house was of course one of
+the easiest and most direct. All persons, however senseless
+or dull, could appreciate size: it required some exertion of
+intelligence to enter into the spirit of the quaint carving of the
+Gothic times, but none to perceive that one heap of stones
+was higher than another.<a name="FnAnchor_15" href="#Footnote_15"><span class="sp">15</span></a> And therefore, while in the execution
+and manner of work the Renaissance builders zealously
+vindicated for themselves the attribute of cold and superior
+learning, they appealed for such approbation as they needed
+from the multitude, to the lowest possible standard of taste;
+<span class="pagenum"><a name="page065"></a>65</span>
+and while the older workman lavished his labor on the minute
+niche and narrow casement, on the doorways no higher than
+the head, and the contracted angles of the turreted chamber,
+the Renaissance builder spared such cost and toil in his detail,
+that he might spend it in bringing larger stones from a
+distance; and restricted himself to rustication and five orders,
+that he might load the ground with colossal piers, and raise an
+ambitious barrenness of architecture, as inanimate as it was
+gigantic, above the feasts and follies of the powerful or the
+rich. The Titanic insanity extended itself also into ecclesiastical
+design: the principal church in Italy was built with little
+idea of any other admirableness than that which was to result
+from its being huge; and the religious impressions of those
+who enter it are to this day supposed to be dependent, in a
+great degree, on their discovering that they cannot span the
+thumbs of the statues which sustain the vessels for holy
+water.</p>
+
+<p>§ <span class="scs">XLV</span>. It is easy to understand how an architecture which
+thus appealed not less to the lowest instincts of dulness than
+to the subtlest pride of learning, rapidly found acceptance
+with a large body of mankind; and how the spacious pomp
+of the new manner of design came to be eagerly adopted by
+the luxurious aristocracies, not only of Venice, but of the
+other countries of Christendom, now gradually gathering
+themselves into that insolent and festering isolation, against
+which the cry of the poor sounded hourly in more ominous
+unison, bursting at last into thunder (mark where,&mdash;first
+among the planted walks and plashing fountains of the palace
+wherein the Renaissance luxury attained its utmost height in
+Europe, Versailles); that cry, mingling so much piteousness
+with its wrath and indignation, &ldquo;Our soul is filled with the
+scornful reproof of the wealthy, and with the despitefulness
+of the proud.&rdquo;</p>
+
+<p>§ <span class="scs">XLVI</span>. But of all the evidence bearing upon this subject
+presented by the various arts of the fifteenth century, none is
+so interesting or so conclusive as that deduced from its tombs.
+For, exactly in proportion as the pride of life became more
+<span class="pagenum"><a name="page066"></a>66</span>
+insolent, the fear of death became more servile; and the difference
+in the manner in which the men of early and later
+days adorned the sepulchre, confesses a still greater difference
+in their manner of regarding death. To those he came as the
+comforter and the friend, rest in his right hand, hope in his left;
+to these as the humiliator, the spoiler, and the avenger. And,
+therefore, we find the early tombs at once simple and lovely
+in adornment, severe and solemn in their expression; confessing
+the power, and accepting the peace, of death, openly and
+joyfully; and in all their symbols marking that the hope of
+resurrection lay only in Christ&rsquo;s righteousness; signed always
+with this simple utterance of the dead, &ldquo;I will lay me down
+in peace, and take my rest; for it is thou, Lord, only that
+makest me dwell in safety.&rdquo; But the tombs of the later ages
+are a ghastly struggle of mean pride and miserable terror:
+the one mustering the statues of the Virtues about the tomb,
+disguising the sarcophagus with delicate sculpture, polishing
+the false periods of the elaborate epitaph, and filling with
+strained animation the features of the portrait statue; and
+the other summoning underneath, out of the niche or from
+behind the curtain, the frowning skull, or scythed skeleton, or
+some other more terrible image of the enemy in whose defiance
+the whiteness of the sepulchre had been set to shine
+above the whiteness of the ashes.</p>
+
+<p>§ <span class="scs">XLVII</span>. This change in the feeling with which sepulchral
+monuments were designed, from the eleventh to the eighteenth
+centuries, has been common to the whole of Europe.
+But, as Venice is in other respects the centre of the Renaissance
+system, so also she exhibits this change in the manner
+of the sepulchral monument under circumstances peculiarly
+calculated to teach us its true character. For the severe
+guard which, in earlier times, she put upon every tendency to
+personal pomp and ambition, renders the tombs of her ancient
+monarchs as remarkable for modesty and simplicity as for
+their religious feeling; so that, in this respect, they are separated
+by a considerable interval from the more costly monuments
+erected at the same periods to the kings or nobles of
+<span class="pagenum"><a name="page067"></a>67</span>
+other European states. In later times, on the other hand, as
+the piety of the Venetians diminished, their pride overleaped
+all limits, and the tombs which in recent epochs, were erected
+for men who had lived only to impoverish or disgrace the
+state, were as much more magnificent than those contemporaneously
+erected for the nobles of Europe, as the monuments
+for the great Doges had been humbler. When, in addition to
+this, we reflect that the art of sculpture, considered as
+expressive of emotion, was at a low ebb in Venice in the
+twelfth century, and that in the seventeenth she took the lead
+in Italy in luxurious work, we shall at once see the chain of
+examples through which the change of feeling is expressed,
+must present more remarkable extremes here than it can in
+any other city; extremes so startling that their impressiveness
+cannot be diminished, while their intelligibility is greatly
+increased, by the large number of intermediate types which
+have fortunately been preserved.</p>
+
+<p>It would, however, too much weary the general reader if,
+without illustrations, I were to endeavor to lead him step by
+step through the aisles of St. John and Paul; and I shall
+therefore confine myself to a slight notice of those features in
+sepulchral architecture generally which are especially illustrative
+of the matter at present in hand, and point out the order
+in which, if possible, the traveller should visit the tombs in
+Venice, so as to be most deeply impressed with the true character
+of the lessons they convey.</p>
+
+<p>§ <span class="scs">XLVIII</span>. I have not such an acquaintance with the modes
+of entombment or memorial in the earliest ages of Christianity
+as would justify me in making any general statement respecting
+them: but it seems to me that the perfect type of a Christian
+tomb was not developed until toward the thirteenth century,
+sooner or later according to the civilization of each
+country; that perfect type consisting in the raised and perfectly
+visible sarcophagus of stone, bearing upon it a recumbent
+figure, and the whole covered by a canopy. Before that
+type was entirely developed, and in the more ordinary tombs
+contemporary with it, we find the simple sarcophagus, often
+<span class="pagenum"><a name="page068"></a>68</span>
+with only a rough block of stone for its lid, sometimes with a
+low-gabled lid like a cottage roof, derived from Egyptian
+forms, and bearing, either on the sides or the lid, at least a
+sculpture of the cross, and sometimes the name of the
+deceased, and date of erection of the tomb. In more elaborate
+examples rich figure-sculpture is gradually introduced;
+and in the perfect period the sarcophagus, even when it does
+not bear any recumbent figure, has generally a rich sculpture
+on its sides representing an angel presenting the dead, in person
+and dress as he lived, to Christ or to the Madonna, with
+lateral figures, sometimes of saints, sometimes&mdash;as in the tombs
+of the Dukes of Burgundy at Dijon&mdash;of mourners; but in
+Venice almost always representing the Annunciation, the
+angel being placed at one angle of the sarcophagus, and the
+Madonna at the other. The canopy, in a very simple foursquare
+form, or as an arch over a recess, is added above the
+sarcophagus, long before the life-size recumbent figure appears
+resting upon it. By the time that the sculptors had acquired
+skill enough to give much expression to this figure, the canopy
+attains an exquisite symmetry and richness; and, in the most
+elaborate examples, is surmounted by a statue, generally small,
+representing the dead person in the full strength and pride
+of life, while the recumbent figure shows him as he lay in
+death. And, at this point, the perfect type of the Gothic
+tomb is reached.</p>
+
+<p>§ <span class="scs">XLIX</span>. Of the simple sarcophagus tomb there are many
+exquisite examples both at Venice and Verona; the most
+interesting in Venice are those which are set in the recesses
+of the rude brick front of the Church of St. John and Paul,
+ornamented only, for the most part, with two crosses set in
+circles, and the legend with the name of the dead, and an
+&ldquo;Orate pro anima&rdquo; in another circle in the centre. And in
+this we may note one great proof of superiority in Italian
+over English tombs; the latter being often enriched with
+quatrefoils, small shafts, and arches, and other ordinary architectural
+decorations, which destroy their seriousness and solemnity,
+render them little more than ornamental, and have
+<span class="pagenum"><a name="page069"></a>69</span>
+no religious meaning whatever; while the Italian sarcophagi
+are kept massive, <span class="correction" title="corrected from 'smoth'">smooth</span>, and gloomy,&mdash;heavy-lidded dungeons
+of stone, like rock-tombs,&mdash;but bearing on their surface,
+sculptured with tender and narrow lines, the emblem of the
+cross, not presumptuously nor proudly, but dimly graven
+upon their granite, like the hope which the human heart holds,
+but hardly perceives in its heaviness.</p>
+
+<p>§ <span class="scs">L</span>. Among the tombs in front of the Church of St. John
+and Paul there is one which is peculiarly illustrative of the
+simplicity of these earlier ages. It is on the left of the
+entrance, a massy sarcophagus with low horns as of an altar,
+placed in a rude recess of the outside wall, shattered and worn,
+and here and there entangled among wild grass and weeds.
+Yet it is the tomb of two Doges, Jacopo and Lorenzo Tiepolo,
+by one of whom nearly the whole ground was given for the
+erection of the noble church in front of which his unprotected
+tomb is wasting away. The sarcophagus bears an inscription
+in the centre, describing the acts of the Doges, of which the
+letters show that it was added a considerable period after the
+erection of the tomb: the original legend is still left in other
+letters on its base, to this effect,</p>
+
+<p class="quote">&ldquo;Lord James, died 1251. Lord Laurence, died 1288.&rdquo;</p>
+
+<p>At the two corners of the sarcophagus are two angels bearing
+censers; and on its lid two birds, with crosses like crests upon
+their heads. For the sake of the traveller in Venice the
+reader will, I think, pardon me the momentary irrelevancy of
+telling the meaning of these symbols.</p>
+
+<p>§ <span class="scs">LI</span>. The foundation of the church of St. John and Paul
+was laid by the Dominicans about 1234, under the immediate
+protection of the Senate and the Doge Giacomo Tiepolo,
+accorded to them in consequence of a miraculous vision
+appearing to the Doge; of which the following account is
+given in popular tradition:</p>
+
+<p>&ldquo;In the year 1226, the Doge Giacomo Tiepolo dreamed a
+dream; and in his dream he saw the little oratory of the
+Dominicans, and, behold, the ground all around it (now occupied
+<span class="pagenum"><a name="page070"></a>70</span>
+by the church) was covered with roses of the color of
+vermilion, and the air was filled with their fragrance. And in
+the midst of the roses, there were seen flying to and fro a
+crowd of white doves, with golden crosses upon their heads.
+And while the Doge looked, and wondered, behold, two angels
+descended from heaven with golden censers, and passing through
+the oratory, and forth among the flowers, they filled the
+place with the smoke of their incense. Then the Doge heard
+suddenly a clear and loud voice which proclaimed, &lsquo;This is the
+place that I have chosen for my preachers;&rsquo; and having heard
+it, straightway he awoke and went to the Senate, and
+declared to them the vision. Then the Senate decreed that
+forty paces of ground should be given to enlarge the monastery;
+and the Doge Tiepolo himself made a still larger grant
+afterwards.&rdquo;</p>
+
+<p>There is nothing miraculous in the occurrence of such a
+dream as this to the devout Doge; and the fact, of which
+there is no doubt, that the greater part of the land on which
+the church stands was given by him, is partly a confirmation
+of the story. But, whether the sculptures on the tomb were
+records of the vision, or the vision a monkish invention from
+the sculptures on the tomb, the reader will not, I believe, look
+upon its doves and crosses, or rudely carved angels, any more
+with disdain; knowing how, in one way or another, they were
+connected with a point of deep religious belief.</p>
+
+<p>§ <span class="scs">LII</span>. Towards the beginning of the fourteenth century,
+in Venice, the recumbent figure begins to appear on the sarcophagus,
+the first dated example being also one of the most
+beautiful; the statue of the prophet Simeon, sculptured upon
+the tomb which was to receive his relics in the church dedicated
+to him under the name of San Simeone Grande. So soon
+as the figure appears, the sarcophagus becomes much more
+richly sculptured, but always with definite religious purpose.
+It is usually divided into two panels, which are filled with
+small bas-reliefs of the acts or martyrdom of the patron saints
+of the deceased: between them, in the centre, Christ, or the
+Virgin and Child, are richly enthroned, under a curtained
+<span class="pagenum"><a name="page071"></a>71</span>
+canopy; and the two figures representing the Annunciation
+are almost always at the angles; the promise of the Birth of
+Christ being taken as at once the ground and the type of the
+promise of eternal life to all men.</p>
+
+<p>§ <span class="scs">LIII</span>. These figures are always in Venice most rudely
+chiselled; the progress of figure sculpture being there comparatively
+tardy. At Verona, where the great Pisan school
+had strong influence, the monumental sculpture is immeasurably
+finer; and, so early as about the year 1335,<a name="FnAnchor_16" href="#Footnote_16"><span class="sp">16</span></a> the consummate
+form of the Gothic tomb occurs in the monument of Can
+Grande della Scala at Verona. It is set over the portal of the
+chapel anciently belonging to the family. The sarcophagus is
+sculptured with shallow bas-reliefs, representing (which is rare
+in the tombs with which I am acquainted in Italy, unless they
+are those of saints) the principal achievements of the warrior&rsquo;s
+life, especially the siege of Vicenza and battle of Placenza;
+these sculptures, however, form little more than a chased and
+roughened groundwork for the fully relieved statues representing
+the Annunciation, projecting boldly from the front of
+the sarcophagus. Above, the Lord of Verona is laid in his
+long robe of civil dignity, wearing the simple bonnet, consisting
+merely of a fillet bound round the brow, knotted and
+falling on the shoulder. He is laid as asleep; his arms crossed
+upon his body, and his sword by his side. Above him, a bold
+arched canopy is sustained by two projecting shafts, and on
+the pinnacle of its roof is the statue of the knight on his war-horse;
+his helmet, dragon-winged and crested with the dog&rsquo;s
+head, tossed back behind his shoulders, and the broad and
+blazoned drapery floating back from his horse&rsquo;s breast,&mdash;so
+truly drawn by the old workman from the life, that it seems
+to wave in the wind, and the knight&rsquo;s spear to shake, and his
+marble horse to be evermore quickening its pace, and starting
+into heavier and hastier charge, as the silver clouds float past
+behind it in the sky.</p>
+
+<p><span class="pagenum"><a name="page072"></a>72</span></p>
+
+<p>§ <span class="scs">LIV</span>. Now observe, in this tomb, as much concession is
+made to the pride of man as may ever consist with honor,
+discretion, or dignity. I do not enter into any question
+respecting the character of Can Grande, though there can be
+little doubt that he was one of the best among the nobles of
+his time; but that is not to our purpose. It is not the question
+whether his wars were just, or his greatness honorably
+achieved; but whether, supposing them to have been so, these
+facts are well and gracefully told upon his tomb. And I
+believe there can be no hesitation in the admission of its perfect
+feeling and truth. Though beautiful, the tomb is so little
+conspicuous or intrusive, that it serves only to decorate the
+portal of the little chapel, and is hardly regarded by the
+traveller as he enters. When it is examined, the history of
+the acts of the dead is found subdued into dim and minute
+ornament upon his coffin; and the principal aim of the monument
+is to direct the thoughts to his image as he lies in death,
+and to the expression of his hope of resurrection; while, seen
+as by the memory far away, diminished in the brightness of
+the sky, there is set the likeness of his armed youth, stately,
+as it stood of old, in the front of battle, and meet to be thus
+recorded for us, that we may now be able to remember the
+dignity of the frame, of which those who once looked upon it
+hardly remembered that it was dust.</p>
+
+<p>§ <span class="scs">LV</span>. This, I repeat, is as much as may ever be granted,
+but this ought always to be granted, to the honor and the affection
+of men. The tomb which stands beside that of Can
+Grande, nearest it in the little field of sleep, already shows the
+traces of erring ambition. It is the tomb of Mastino the
+Second, in whose reign began the decline of his family. It is
+altogether exquisite as a work of art; and the evidence of a
+less wise or noble feeling in its design is found only in this,
+that the image of a virtue, Fortitude, as belonging to the dead,
+is placed on the extremity of the sarcophagus, opposite to the
+Crucifixion. But for this slight circumstance, of which the
+significance will only be appreciated as we examine the series
+of later monuments, the composition of this monument of Can
+<span class="pagenum"><a name="page073"></a>73</span>
+Mastino would have been as perfect as its decoration is refined.
+It consists, like that of Can Grande, of the raised sarcophagus,
+bearing the recumbent statue, protected by a noble foursquare
+canopy, sculptured with ancient Scripture history. On one
+side of the sarcophagus is Christ enthroned, with Can Mastino
+kneeling before Him; on the other, Christ is represented in
+the mystical form, half-rising from the tomb, meant, I believe,
+to be at once typical of His passion and resurrection. The
+lateral panels are occupied by statues of saints. At one extremity
+of the sarcophagus is the Crucifixion; at the other, a
+noble statue of Fortitude, with a lion&rsquo;s skin thrown over her
+shoulders, its head forming a shield upon her breast, her flowing
+hair bound with a narrow fillet, and a three-edged sword
+in her gauntleted right hand, drawn back sternly behind her
+thigh, while, in her left, she bears high the shield of the Scalas.</p>
+
+<p>§ <span class="scs">LVI</span>. Close to this monument is another, the stateliest and
+most sumptuous of the three; it first arrests the eye of the
+stranger, and long detains it,&mdash;a many-pinnacled pile surrounded
+by niches with statues of the warrior saints.</p>
+
+<p>It is beautiful, for it still belongs to the noble time, the
+latter part of the fourteenth century; but its work is coarser
+than that of the other, and its pride may well prepare us to
+learn that it was built for himself, in his own lifetime, by the
+man whose statue crowns it, Can Signorio della Scala. Now
+observe, for this is infinitely significant. Can Mastino II. was
+feeble and wicked, and began the ruin of his house; his sarcophagus
+is the first which bears upon it the image of a virtue,
+but he lays claim only to Fortitude. Can Signorio was twice
+a fratricide, the last time when he lay upon his death-bed: <i>his</i>
+tomb bears upon its gables the images of six virtues,&mdash;Faith,
+Hope, Charity, Prudence, and (I believe) Justice and Fortitude.</p>
+
+<p>§ <span class="scs">LVII</span>. Let us now return to Venice, where, in the second
+chapel counting from right to left, at the west end of the
+Church of the Frari, there is a very early fourteenth, or perhaps
+late thirteenth, century tomb, another exquisite example
+of the perfect Gothic form. It is a knight&rsquo;s; but there is no
+<span class="pagenum"><a name="page074"></a>74</span>
+inscription upon it, and his name is unknown. It consists of a
+sarcophagus, supported on bold brackets against the chapel
+wall, bearing the recumbent figure, protected by a simple canopy
+in the form of a pointed arch, pinnacled by the knight&rsquo;s
+crest; beneath which the shadowy space is painted dark blue,
+and strewn with stars. The statue itself is rudely carved; but
+its lines, as seen from the intended distance, are both tender
+and masterly. The knight is laid in his mail, only the hands
+and face being bare. The hauberk and helmet are of chain-mail,
+the armor for the limbs of jointed steel; a tunic, fitting
+close to the breast, and marking the noble swell of it by two
+narrow embroidered lines, is worn over the mail; his dagger is
+at his right side; his long cross-belted sword, not seen by the
+spectator from below, at his left. His feet rest on a hound
+(the hound being his crest), which looks up towards its master.
+In general, in tombs of this kind, the face of the statue is
+slightly turned towards the spectator; in this monument, on
+the contrary, it is turned away from him, towards the depth of
+the arch: for there, just above the warrior&rsquo;s breast, is carved a
+small image of St. Joseph bearing the infant Christ, who looks
+down upon the resting figure; and to this image its countenance
+is turned. The appearance of the entire tomb is as if
+the warrior had seen the vision of Christ in his dying moments,
+and had fallen back peacefully <span class="correction" title="originally uppon">upon</span> his pillow, with his eyes
+still turned to it, and his hands clasped in prayer.</p>
+
+<p>§ <span class="scs">LVIII</span>. On the opposite side of this chapel is another very
+lovely tomb, to Duccio degli Alberti, a Florentine ambassador
+at Venice; noticeable chiefly as being the first in Venice on
+which any images of the Virtues appear. We shall return to it
+presently, but some account must first be given of the more
+important among the other tombs in Venice belonging to the
+perfect period. Of these, by far the most interesting, though
+not the most elaborate, is that of the great Doge Francesco
+Dandolo, whose ashes, it might have been thought, were honorable
+enough to have been permitted to rest undisturbed in the
+chapter-house of the Frari, where they were first laid. But,
+as if there were not room enough, nor waste houses enough in
+<span class="pagenum"><a name="page075"></a>75</span>
+the desolate city to receive a few convent papers, the monks,
+wanting an &ldquo;archivio,&rdquo; have separated the tomb into three
+pieces: the canopy, a simple arch sustained on brackets, still
+remains on the blank walls of the desecrated chamber; the
+sarcophagus has been transported to a kind of museum of antiquities,
+established in what was once the cloister of Santa
+Maria della Salute; and the painting which filled the lunette
+behind it is hung far out of sight, at one end of the sacristy of
+the same church. The sarcophagus is completely charged with
+bas-reliefs: at its two extremities are the types of St. Mark
+and St. John; in front, a noble sculpture of the death of
+the Virgin; at the angles, angels holding vases. The whole
+space is occupied by the sculpture; there are no spiral shafts
+or panelled divisions; only a basic plinth below, and crowning
+plinth above, the sculpture being raised from a deep concave
+field between the two, but, in order to give piquancy and
+picturesqueness to the mass of figures, two small trees are introduced
+at the head and foot of the Madonna&rsquo;s couch, an oak
+and a stone pine.</p>
+
+<p>§ <span class="scs">LIX</span>. It was said above,<a name="FnAnchor_17" href="#Footnote_17"><span class="sp">17</span></a> in speaking of the frequent disputes
+of the Venetians with the Pontifical power, which in
+their early days they had so strenuously supported, that &ldquo;the
+humiliation of Francesco Dandolo blotted out the shame of
+Barbarossa.&rdquo; It is indeed well that the two events should be
+remembered together. By the help of the Venetians, Alexander
+III. was enabled, in the twelfth century, to put his foot
+upon the neck of the emperor Barbarossa, quoting the words
+of the Psalm, &ldquo;Thou shalt tread upon the lion and the adder.&rdquo;
+A hundred and fifty years later, the Venetian ambassador,
+Francesco Dandolo, unable to obtain even an audience from
+the Pope, Clement V., to whom he had been sent to pray for
+a removal of the sentence of excommunication pronounced
+against the republic, concealed himself (according to the common
+tradition) beneath the Pontiff&rsquo;s dining-table; and thence
+coming out as he sat down to meat, embraced his feet, and obtained,
+<span class="pagenum"><a name="page076"></a>76</span>
+by tearful entreaties, the removal of the terrible sentence.</p>
+
+<p>I say, &ldquo;according to the common tradition;&rdquo; for there are
+some doubts cast upon the story by its supplement. Most of
+the Venetian historians assert that Francesco Dandolo&rsquo;s surname
+of &ldquo;Dog&rdquo; was given him first on this occasion, in insult,
+by the cardinals; and that the Venetians, in remembrance of
+the grace which his humiliation had won for them, made it a
+title of honor to him and to his race. It has, however, been
+proved<a name="FnAnchor_18" href="#Footnote_18"><span class="sp">18</span></a> that the surname was borne by the ancestors of
+Francesco Dandolo long before; and the falsity of this seal
+of the legend renders also its circumstances doubtful. But the
+main fact of grievous humiliation having been undergone,
+admits of no dispute; the existence of such a tradition at all
+is in itself a proof of its truth; it was not one likely to be
+either invented or received without foundation: and it will be
+well, therefore, that the reader should remember, in connection
+with the treatment of Barbarossa at the door of the Church
+of St. Mark&rsquo;s, that in the Vatican, one hundred and fifty
+years later, a Venetian noble, a future Doge, submitted to a
+degradation, of which the current report among his people
+was, that he had crept on his hands and knees from beneath
+the Pontiff&rsquo;s table to his feet, and had been spurned as a &ldquo;dog&rdquo;
+by the cardinals present.</p>
+
+<p>§ <span class="scs">LX</span>. There are two principal conclusions to be drawn from
+this: the obvious one respecting the insolence of the Papal
+dominion in the thirteenth century; the second, that there
+were probably most deep piety and humility in the character
+of the man who could submit to this insolence for the sake of
+a benefit to his country. Probably no motive would have
+been strong enough to obtain such a sacrifice from most men,
+however unselfish; but it was, without doubt, made easier to
+Dandolo by his profound reverence for the Pontifical office; a
+reverence which, however <i>we</i> may now esteem those who
+claimed it, could not but have been felt by nearly all good and
+<span class="pagenum"><a name="page077"></a>77</span>
+faithful men at the time of which we are speaking. This is
+the main point which I wish the reader to remember as we
+look at his tomb, this, and the result of it,&mdash;that, some years
+afterwards, when he was seated on the throne which his piety
+had saved, &ldquo;there were sixty princes&rsquo; ambassadors in Venice
+at the same time, requesting the judgment of the Senate on
+matters of various concernment, <i>so great was the fame of the
+uncorrupted justice of the Fathers</i>.&rdquo;<a name="FnAnchor_19" href="#Footnote_19"><span class="sp">19</span></a></p>
+
+<p>Observe, there are no virtues on this tomb. Nothing but
+religious history or symbols; the Death of the Virgin in front,
+and the types of St. Mark and St. John at the extremities.</p>
+
+<p>§ <span class="scs">LXI</span>. Of the tomb of the Doge Andrea Dandolo, in St.
+Mark&rsquo;s, I have spoken before. It is one of the first in Venice
+which presents, in a canopy, the Pisan idea of angels withdrawing
+curtains, as of a couch, to look down upon the dead.
+The sarcophagus is richly decorated with flower-work; the
+usual figures of the Annunciation are at the sides; an enthroned
+Madonna in the centre; and two bas-reliefs, one of
+the martyrdom of the Doge&rsquo;s patron saint, St. Andrew, occupy
+the intermediate spaces. All these tombs have been richly
+colored; the hair of the angels has here been gilded, their
+wings bedropped with silver, and their garments covered with
+the most exquisite arabesques. This tomb, and that of St.
+Isidore in another chapel of St. Mark&rsquo;s, which was begun by
+this very Doge, Andrea Dandolo, and completed after his
+death in 1354, are both nearly alike in their treatment, and
+are, on the whole, the best existing examples of Venetian
+monumental sculpture.</p>
+
+<p>§ <span class="scs">LXII</span>. Of much ruder workmanship, though still most precious,
+and singularly interesting from its quaintness, is a sarcophagus
+in the northernmost chapel, beside the choir of St.
+John and Paul, charged with two bas-reliefs and many figures,
+but which bears no inscription. It has, however, a shield with
+three dolphins on its brackets; and as at the feet of the Madonna
+in its centre there is a small kneeling figure of a Doge, we know
+<span class="pagenum"><a name="page078"></a>78</span>
+it to be the tomb of the Doge Giovanni Dolfino, who came to
+the throne in 1356.</p>
+
+<p>He was chosen Doge while, as provveditore, he was in Treviso,
+defending the city against the King of Hungary. The
+Venetians sent to the besiegers, praying that their newly
+elected Doge might be permitted to pass the Hungarian lines.
+Their request was refused, the Hungarians exulting that they
+held the Doge of Venice prisoner in Treviso. But Dolfino,
+with a body of two hundred horse, cut his way through their
+lines by night, and reached Mestre (Malghera) in safety, where
+he was met by the Senate. His bravery could not avert the
+misfortunes which were accumulating on the republic. The
+Hungarian war was ignominiously terminated by the surrender
+of Dalmatia: the Doge&rsquo;s heart was broken, his eyesight
+failed him, and he died of the plague four years after he had
+ascended the throne.</p>
+
+<p>§ <span class="scs">LXIII</span>. It is perhaps on this account, perhaps in consequence
+of later injuries, that the tomb has neither effigy nor
+inscription: that it has been subjected to some violence is
+evident from the dentil which once crowned its leaf-cornice
+being now broken away, showing the whole front. But,
+fortunately, the sculpture of the sarcophagus itself is little
+injured.</p>
+
+<p>There are two saints, male and female, at its angles, each
+in a little niche; a Christ, enthroned in the centre, the Doge
+and Dogaressa kneeling at his feet; in the two intermediate
+panels, on one side the Epiphany, on the other the Death of
+the Virgin; the whole supported, as well as crowned, by an
+elaborate leaf-plinth. The figures under the niches are rudely
+cut, and of little interest. Not so the central group. Instead
+of a niche, the Christ is seated under a square tent, or tabernacle,
+formed by curtains running on rods; the idea, of
+course, as usual, borrowed from the Pisan one, but here ingeniously
+applied. The curtains are opened in front, showing
+those at the back of the tent, behind the seated figure; the
+perspective of the two retiring sides being very tolerably suggested.
+<span class="pagenum"><a name="page079"></a>79</span>
+Two angels, of half the size of the seated figure,
+thrust back the near curtains, and look up reverently to the
+Christ; while again, at their feet, about one third of <i>their</i>
+size, and half-sheltered, as it seems, by their garments, are the
+two kneeling figures of the Doge and Dogaressa, though so
+small and carefully cut, full of life. The Christ raising one
+hand as to bless, and holding a book upright and open on the
+knees, does not look either towards them or to the angels, but
+forward; and there is a very noticeable effort to represent
+Divine abstraction in the countenance: the idea of the three
+magnitudes of spiritual being,&mdash;the God, the Angel, and the
+Man,&mdash;is also to be observed, aided as it is by the complete
+subjection of the angelic power to the Divine; for the angels
+are in attitudes of the most lowly watchfulness of the face of
+Christ, and appear unconscious of the presence of the human
+beings who are nestled in the folds of their garments.</p>
+
+<p>§ <span class="scs">LXIV</span>. With this interesting but modest tomb of one of
+the kings of Venice, it is desirable to compare that of one of
+her senators, of exactly the same date, which is raised against
+the western wall of the Frari, at the end of the north aisle. It
+bears the following remarkable inscription:</p>
+
+<div class="quote1">
+<p>&ldquo;<span class="sc">Anno MCCCLX. prima die Julii Sepultura . Domini . Simonii
+Dandolo . amador . de . Justisia . e . desiroso . de . acrese .
+el . ben . chomum</span>.&rdquo;</p>
+</div>
+
+<p>The &ldquo;Amador de Justitia&rdquo; has perhaps some reference to
+Simon Dandolo&rsquo;s having been one of the Giunta who condemned
+the Doge Faliero. The sarcophagus is decorated
+merely by the Annunciation group, and an enthroned Madonna
+with a curtain behind her throne, sustained by four tiny angels,
+who look over it as they hold it up; but the workmanship of
+the figures is more than usually beautiful.</p>
+
+<p>§ <span class="scs">LXV</span>. Seven years later, a very noble monument was placed
+on the north side of the choir of St. John and Paul, to the
+Doge Marco Cornaro, chiefly, with respect to our present subject,
+noticeable for the absence of religious imagery from the
+<span class="pagenum"><a name="page080"></a>80</span>
+sarcophagus, which is decorated with roses only; three very
+beautiful statues of the Madonna and two saints are, however,
+set in the canopy above. Opposite this tomb, though about
+fifteen years later in date, is the richest monument of the
+Gothic period in Venice; that of the Doge Michele Morosini,
+who died in 1382. It consists of a highly florid canopy,&mdash;an
+arch crowned by a gable, with pinnacles at the flanks, boldly
+crocketed, and with a huge finial at the top representing St.
+Michael,&mdash;a medallion of Christ set in the gable; under the
+arch, a mosaic, representing the Madonna presenting the Doge
+to Christ upon the cross; beneath, as usual, the sarcophagus,
+with a most noble recumbent figure of the Doge, his face
+meagre and severe, and sharp in its lines, but exquisite in the
+form of its small and princely features. The sarcophagus is
+adorned with elaborate wrinkled leafage, projecting in front
+of it into seven brackets, from which the statues are broken
+away; but by which, for there can be no doubt that these last
+statues represented the theological and cardinal Virtues, we
+must for a moment pause.</p>
+
+<p>§ <span class="scs">LXVI</span>. It was noticed above, that the tomb of the Florentine
+ambassador, Duccio, was the first in Venice which presented
+images of the Virtues. Its small lateral statues of
+Justice and Temperance are exquisitely beautiful, and were, I
+have no doubt, executed by a Florentine sculptor; the whole
+range of artistical power and religious feeling being, in Florence,
+full half a century in advance of that of Venice. But
+this is the first truly Venetian tomb which has the Virtues;
+and it becomes of importance, therefore, to know what was
+the character of Morosini.</p>
+
+<p>The reader must recollect, that I dated the commencement
+of the fall of Venice from the death of Carlo Zeno, considering
+that no state could be held as in decline, which numbered
+such a man amongst its citizens. Carlo Zeno was a candidate
+for the Ducal bonnet together with Michael Morosini; and
+Morosini was chosen. It might be anticipated, therefore, that
+there was something more than usually admirable or illustrious
+in his character. Yet it is difficult to arrive at a just estimate
+<span class="pagenum"><a name="page081"></a>81</span>
+of it, as the reader will at once understand by comparing the
+following statements:</p>
+
+<div class="quote">
+<p>§ <span class="scs">LXVI</span>. 1. &ldquo;To him (Andrea Contarini) succeeded Morosini, at the age
+of seventy-four years; a most learned and prudent man, who also reformed
+several laws.&rdquo;&mdash;<i>Sansovino</i>, Vite de&rsquo; Principi.</p>
+
+<p>2. &ldquo;It was generally believed that, if his reign had been longer, he
+would have dignified the state by many noble laws and institutes; but by
+so much as his reign was full of hope, by as much was it short in duration,
+for he died when he had been at the head of the republic but four months.&rdquo;&mdash;<i>Sabellico</i>,
+lib. viii.</p>
+
+<p>3. &ldquo;He was allowed but a short time to enjoy this high dignity, which
+he had so well deserved by his rare virtues, for God called him to Himself
+on the 15th of October.&rdquo;&mdash;<i>Muratori</i>, Annali de&rsquo; Italia.</p>
+
+<p>4. &ldquo;Two candidates presented themselves; one was Zeno, the other that
+Michael Morosini who, during the war, had tripled his fortune by his
+speculations. The suffrages of the electors fell upon him, and he was proclaimed
+Doge on the 10th of June.&rdquo;&mdash;<i>Daru</i>, Histoire de Venise, lib. x.</p>
+
+<p>5. &ldquo;The choice of the electors was directed to Michele Morosini, a noble
+of illustrious birth, derived from a stock which, coeval with the republic
+itself, had produced the conqueror of Tyre, given a queen to Hungary,
+and more than one Doge to Venice. The brilliancy of this descent was
+tarnished in the present chief representative of the family by the most
+base and grovelling avarice; for at that moment, in the recent war, at
+which all other Venetians were devoting their whole fortunes to the service
+of the state, Morosini sought in the distresses of his country an opening for
+his own private enrichment, and employed his ducats, not in the assistance
+of the national wants, but in speculating upon houses which were brought
+to market at a price far beneath their real value, and which, upon the
+return of peace, insured the purchaser a fourfold profit. &lsquo;What matters
+the fall of Venice to me, so as I fall not together with her?&rsquo; was his
+selfish and sordid reply to some one who expressed surprise at the transaction.&rdquo;&mdash;<i>Sketches
+of Venetian History</i>. Murray, 1831.</p>
+</div>
+
+<p>§ <span class="scs">LXVIII</span>. The writer of the unpretending little history from
+which the last quotation is taken has not given his authority
+for this statement, and I could not find it, but believed, from
+the general accuracy of the book, that some authority might
+exist better than Daru&rsquo;s. Under these circumstances, wishing
+if possible to ascertain the truth, and to clear the character of
+this great Doge from the accusation, if it proved groundless,
+I wrote to the Count Carlo Morosini, his descendant, and one
+of the few remaining representatives of the ancient noblesse
+<span class="pagenum"><a name="page082"></a>82</span>
+of Venice; one, also, by whom his great ancestral name is
+revered, and in whom it is exalted. His answer appears to
+me altogether conclusive as to the utter fallacy of the reports
+of Daru and the English history. I have placed his letter in
+the close of this volume (<a href="#app_6">Appendix 6</a>), in order that the reader
+may himself be the judge upon this point; and I should not
+have alluded to Daru&rsquo;s report, except for the purpose of contradicting
+it, but that it still appears to me impossible that
+any modern historian should have gratuitously invented the
+whole story, and that, therefore, there must have been a trace
+in the documents which Daru himself possessed, of some scandal
+of this kind raised by Morosini&rsquo;s enemies, perhaps at the
+very time of the disputed election with Carlo Zeno. The
+occurrence of the Virtues upon his tomb, for the first time in
+Venetian monumental work, and so richly and conspicuously
+placed, may partly have been in public contradiction of such
+a floating rumor. But the face of the statue is a more explicit
+contradiction still; it is resolute, thoughtful, serene, and full
+of beauty; and we must, therefore, for once, allow the somewhat
+boastful introduction of the Virtues to have been perfectly
+just: though the whole tomb is most notable, as furnishing
+not only the exact intermediate condition in style
+between the pure Gothic and its final Renaissance corruption,
+but, at the same time, the exactly intermediate condition of
+<i>feeling</i> between the pure calmness of early Christianity, and
+the boastful pomp of the Renaissance faithlessness; for here
+we have still the religious humility remaining in the mosaic
+of the canopy, which shows the Doge kneeling before the
+cross, while yet this tendency to self-trust is shown in the surrounding
+of the coffin by the Virtues.</p>
+
+<p>§ <span class="scs">LXIX</span>. The next tomb by the side of which they appear is
+that of Jacopo Cavalli, in the same chapel of St. John and Paul
+which contains the tomb of the Doge Delfin. It is peculiarly
+rich in religious imagery, adorned by boldly cut types of the
+four evangelists, and of two saints, while, on projecting
+brackets in front of it, stood three statues of Faith, Hope, and
+Charity, now lost, but drawn in Zanotto&rsquo;s work. It is all rich
+<span class="pagenum"><a name="page083"></a>83</span>
+in detail, and its sculptor has been proud of it, thus recording
+his name below the epitaph:</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+<p class="ind03 sc">&ldquo;<span class="uscore">Qst</span> opera dintalgio e fatto in piera,</p>
+<p class="sc">Unvenician lafe chanome Polo,</p>
+<p class="sc">Nato di Jachomel chataiapiera.&rdquo;</p>
+
+<p class="stanza">This work of sculpture is done in stone;</p>
+<p>A Venetian did it, named Paul,</p>
+<p>Son of Jachomel the stone-cutter.</p>
+</div>
+</td></tr></table>
+
+<p>Jacopo Cavalli died in 1384. He was a bold and active
+Veronese soldier, did the state much service, was therefore
+ennobled by it, and became the founder of the house of the
+Cavalli; but I find no especial reason for the images of the
+Virtues, especially that of Charity, appearing at his tomb,
+unless it be this: that at the siege of Feltre, in the war against
+Leopold of Austria, he refused to assault the city, because the
+senate would not grant his soldiers the pillage of the town.
+The feet of the recumbent figure, which is in full armor, rest
+on a dog, and its head on two lions; and these animals (neither
+of which form any part of the knight&rsquo;s bearings) are said by
+Zanotto to be intended to symbolize his bravery and fidelity.
+If, however, the lions are meant to set forth courage, it is a
+pity they should have been represented as howling.</p>
+
+<p>§ <span class="scs">LXX</span>. We must next pause for an instant beside the tomb
+of Michael Steno, now in the northern aisle of St. John and
+Paul, having been removed there from the destroyed church
+of the Servi: first, to note its remarkable return to the early
+simplicity, the sarcophagus being decorated only with two
+crosses in quatrefoils, though it is of the fifteenth century,
+Steno dying in 1413; and, in the second place, to observe the
+peculiarity of the epitaph, which eulogises Steno as having
+been &ldquo;amator justitie, pacis, et ubertatis,&rdquo; &ldquo;a lover of justice,
+peace, and plenty.&rdquo; In the epitaphs of this period, the virtues
+which are made most account of in public men are those which
+were most useful to their country. We have already seen one
+example in the epitaph on Simon Dandolo; and similar expressions
+occur constantly in laudatory mentions of their later
+<span class="pagenum"><a name="page084"></a>84</span>
+Doges by the Venetian writers. Thus Sansovino of Marco
+Cornaro, &ldquo;Era savio huomo, eloquente, e amava molto la
+pace e l&rsquo; abbondanza della citta;&rdquo; and of Tomaso Mocenigo,
+&ldquo;Huomo oltre modo desideroso della pace.&rdquo;</p>
+
+<p>Of the tomb of this last-named Doge mention has before
+been made. Here, as in Morosini&rsquo;s, the images of the Virtues
+have no ironical power, although their great conspicuousness
+marks the increase of the boastful feeling in the treatment
+of monuments. For the rest, this tomb is the last in
+Venice which can be considered as belonging to the Gothic
+period. Its mouldings are already rudely classical, and it has
+meaningless figures in Roman armor at the angles; but its
+tabernacle above is still Gothic, and the recumbent figure is
+very beautiful. It was carved by two Florentine sculptors in
+1423.</p>
+
+<p>§ <span class="scs">LXXI</span>. Tomaso Mocenigo was succeeded by the renowned
+Doge, Francesco Foscari, under whom, it will be remembered,
+the last additions were made to the Gothic Ducal Palace;
+additions which, in form only, not in spirit, corresponded to
+the older portions; since, during his reign, the transition took
+place which permits us no longer to consider the Venetian
+architecture as Gothic at all. He died in 1457, and his tomb
+is the first important example of Renaissance art.</p>
+
+<p>Not, however, a good characteristic example. It is remarkable
+chiefly as introducing all the faults of the Renaissance
+at an early period, when its merits, such as they are, were yet
+undeveloped. Its claim to be rated as a classical composition
+is altogether destroyed by the remnants of Gothic feeling
+which cling to it here and there in their last forms of degradation;
+and of which, now that we find them thus corrupted,
+the sooner we are rid the better. Thus the sarcophagus is
+supported by a species of trefoil arches; the bases of the
+shafts have still their spurs; and the whole tomb is covered
+by a pediment, with crockets and a pinnacle. We shall find
+that the perfect Renaissance is at least pure in its insipidity,
+and subtle in its vice; but this monument is remarkable as
+showing the refuse of one style encumbering the embryo of
+<span class="pagenum"><a name="page085"></a>85</span>
+another, and all principles of life entangled either in the swaddling
+clothes or the shroud.</p>
+
+<p>§ <span class="scs">LXXII</span>. With respect to our present purpose, however, it
+is a monument of enormous importance. We have to trace,
+be it remembered, the pride of state in its gradual intrusion
+upon the sepulchre; and the consequent and correlative vanishing
+of the expressions of religious feeling and heavenly
+hope, together with the more and more arrogant setting forth
+of the virtues of the dead. Now this tomb is the largest and
+most costly we have yet seen; but its means of religious
+expression are limited to a single statue of Christ, small and
+used merely as a pinnacle at the top. The rest of the composition
+is as curious as it is vulgar. The conceit, so often
+noticed as having been borrowed from the Pisan school, of
+angels withdrawing the curtains of the couch to look down
+upon the dead, was brought forward with increasing prominence
+by every succeeding sculptor; but, as we draw nearer
+to the Renaissance period, we find that the <i>angels</i> become of
+less importance, and the <i>curtains</i> of more. With the Pisans,
+the curtains are introduced as a motive for the angels; with
+the Renaissance sculptors, the angels are introduced merely
+as a motive for the curtains, which become every day more
+huge and elaborate. In the monument of Mocenigo, they
+have already expanded into a tent, with a pole in the centre
+of it: and in that of Foscari, for the first time, the <i>angels are
+absent altogether</i>; while the curtains are arranged in the form
+of an enormous French tent-bed, and are sustained at the
+flanks by two diminutive figures in Roman armor; substituted
+for the angels, merely that the sculptor might <i>show his knowledge</i>
+of classical costume. And now observe how often a
+fault in feeling induces also a fault in style. In the old tombs,
+the angels used to stand on or by the side of the sarcophagus;
+but their places are here to be occupied by the Virtues, and
+therefore, to sustain the diminutive Roman figures at the
+necessary height, each has a whole Corinthian pillar to himself,
+a pillar whose shaft is eleven feet high, and some three
+or four feet round: and because this was not high enough, it
+<span class="pagenum"><a name="page086"></a>86</span>
+is put on a pedestal four feet and a half high; and has a
+spurred base besides of its own, a tall capital, then a huge
+bracket above the capital, and then another pedestal above the
+bracket, and on the top of all the diminutive figure who has
+charge of the curtains.</p>
+
+<p>§ <span class="scs">LXXIII</span>. Under the canopy, thus arranged, is placed the
+sarcophagus with its recumbent figure. The statues of the
+Virgin and the saints have disappeared from it. In their
+stead, its panels are filled with half-length figures of Faith,
+Hope, and Charity; while Temperance and Fortitude are at
+the Doge&rsquo;s feet, Justice and Prudence at his head, figures now
+the size of life, yet nevertheless recognizable only by their
+attributes: for, except that Hope raises her eyes, there is no
+difference in the character or expression of any of their faces,&mdash;they
+are nothing more than handsome Venetian women, in
+rather full and courtly dresses, and tolerably well thrown into
+postures for effect from below. Fortitude could not of course
+be placed in a graceful one without some sacrifice of her character,
+but that was of no consequence in the eyes of the
+sculptors of this period, so she leans back languidly, and
+nearly overthrows her own column; while Temperance, and
+Justice opposite to her, as neither the left hand of the one
+nor the right hand of the other could be seen from below,
+have been <i>left with one hand each</i>.</p>
+
+<p>§ <span class="scs">LXXIV</span>. Still these figures, coarse and feelingless as they
+are, have been worked with care, because the principal effect
+of the tomb depends on them. But the effigy of the Doge,
+of which nothing but the side is visible, has been utterly neglected;
+and the ingenuity of the sculptor is not so great, at
+the best, as that he can afford to be slovenly. There is, indeed,
+nothing in the history of Foscari which would lead us to
+expect anything particularly noble in his face; but I trust,
+nevertheless, it has been misrepresented by this despicable
+carver; for no words are strong enough to express the baseness
+of the portraiture. A huge, gross, bony clown&rsquo;s face,
+with the peculiar sodden and sensual cunning in it which is
+seen so often in the countenances of the worst Romanist
+<span class="pagenum"><a name="page087"></a>87</span>
+priest; a face part of iron and part of clay, with the immobility
+of the one, and the foulness of the other, double chinned,
+blunt-mouthed, bony-cheeked, with its brows drawn down
+into meagre lines and wrinkles over the eyelids; the face of a
+man incapable either of joy or sorrow, unless such as may be
+caused by the indulgence of passion, or the mortification of
+pride. Even had he been such a one, a noble workman would
+not have written it so legibly on his tomb; and I believe it to be
+the image of the carver&rsquo;s own mind that is there hewn in the
+marble, not that of the Doge Foscari. For the same mind is
+visible enough throughout, the traces of it mingled with those
+of the evil taste of the whole time and people. There is not
+anything so small but it is shown in some portion of its treatment;
+for instance, in the placing of the shields at the back of
+the great curtain. In earlier times, the shield, as we have
+seen, was represented as merely suspended against the tomb by
+a thong, or if sustained in any other manner, still its form was
+simple and undisguised. Men in those days used their shields
+in war, and therefore there was no need to add dignity to their
+form by external ornament. That which, through day after
+day of mortal danger, had borne back from them the waves
+of battle, could neither be degraded by simplicity, nor exalted
+by decoration. By its rude leathern thong it seemed to be
+fastened to their tombs, and the shield of the mighty was not
+cast away, though capable of defending its master no more.</p>
+
+<p>§ <span class="scs">LXXV</span>. It was otherwise in the fifteenth and sixteenth centuries.
+The changed system of warfare was rapidly doing
+away with the practical service of the shield; and the chiefs
+who directed the battle from a distance, or who passed the
+greater part of their lives in the council-chamber, soon came
+to regard the shield as nothing more than a field for their
+armorial bearings. It then became a principal object of their
+Pride of State to increase the conspicuousness of these marks
+of family distinction by surrounding them with various and
+fantastic ornament, generally scroll or flower work, which of
+course deprived the shield of all appearance of being intended
+for a soldier&rsquo;s use. Thus the shield of the Foscari is introduced
+<span class="pagenum"><a name="page088"></a>88</span>
+in two ways. On the sarcophagus, the bearings are
+three times repeated, enclosed in circular disks, which are
+sustained each by a couple of naked infants. Above the
+canopy, two shields of the usual form are set in the centre of
+circles filled by a radiating ornament of shell flutings, which
+give them the effect of ventilators; and their circumference is
+farther adorned by gilt rays, undulating to represent a glory.</p>
+
+<p>§ <span class="scs">LXXVI</span>. We now approach that period of the early Renaissance
+which was noticed in the preceding chapter as being at
+first a very visible improvement on the corrupted Gothic. The
+tombs executed during the period of the Byzantine Renaissance
+exhibit, in the first place, a consummate skill in handling
+the chisel, perfect science of drawing and anatomy, high
+appreciation of good classical models, and a grace of composition
+and delicacy of ornament derived, I believe, principally
+from the great Florentine sculptors. But, together with this
+science, they exhibit also, for a short time, some return to the
+early religious feeling, forming a school of sculpture which
+corresponds to that of the school of the Bellini in painting;
+and the only wonder is that there should not have been more
+workmen in the fifteenth century doing in marble what Perugino,
+Francia, and Bellini did on canvas. There are, indeed,
+some few, as I have just said, in whom the good and pure
+temper shows itself: but the sculptor was necessarily led
+sooner than the painter to an exclusive study of classical
+models, utterly adverse to the Christian imagination; and he
+was also deprived of the great purifying and sacred element
+of color, besides having much more of merely mechanical and
+therefore degrading labor to go through in the realization of
+his thought. Hence I do not know any example in sculpture
+at this period, at least in Venice, which has not conspicuous
+faults (not faults of imperfection, as in early sculpture, but of
+purpose and sentiment), staining such beauties as it may possess;
+and the whole school soon falls away, and merges into
+vain pomp and meagre metaphor.</p>
+
+<p>§ <span class="scs">LXXVII</span>. The most celebrated monument of this period is
+that to the Doge Andrea Vendramin, in the Church of St.
+<span class="pagenum"><a name="page089"></a>89</span>
+John and Paul, sculptured about 1480, and before alluded to
+in the first chapter of the first volume. It has attracted public
+admiration, partly by its costliness, partly by the delicacy and
+precision of its chiselling; being otherwise a very base and unworthy
+example of the school, and showing neither invention
+nor feeling. It has the Virtues, as usual, dressed like heathen
+goddesses, and totally devoid of expression, though graceful
+and well studied merely as female figures. The rest of its
+sculpture is all of the same kind; perfect in workmanship,
+and devoid of thought. Its dragons are covered with marvellous
+scales, but have no terror nor sting in them; its birds are
+perfect in plumage, but have no song in them; its children
+lovely of limb, but have no childishness in them.</p>
+
+<p>§ <span class="scs">LXXVIII</span>. Of far other workmanship are the tombs of
+Pietro and Giovanni Mocenigo, in St. John and Paul, and of
+Pietro Bernardo in the Frari; in all which the details are as
+full of exquisite fancy, as they are perfect in execution; and
+in the two former, and several others of similar feeling, the
+old religious symbols return; the Madonna is again seen
+enthroned under the canopy, and the sarcophagus is decorated
+with legends of the saints. But the fatal errors of sentiment
+are, nevertheless, always traceable. In the first place, the
+sculptor is always seen to be intent upon the exhibition of his
+skill, more than on producing any effect on the spectator&rsquo;s
+mind; elaborate backgrounds of landscape, with tricks of perspective,
+imitations of trees, clouds, and water, and various
+other unnecessary adjuncts, merely to show how marble could
+be subdued; together with useless under-cutting, and over-finish
+in subordinate parts, continually exhibiting the same
+cold vanity and unexcited precision of mechanism. In the
+second place, the figures have all the peculiar tendency to
+posture-making, which, exhibiting itself first painfully in Perugino,
+rapidly destroyed the veracity of composition in all art.
+By posture-making I mean, in general, that action of figures
+which results from the painter&rsquo;s considering, in the first place,
+not how, under the circumstances, they would actually have
+walked, or stood, or looked, but how they may most gracefully
+<span class="pagenum"><a name="page090"></a>90</span>
+and harmoniously walk or stand. In the hands of a great man,
+posture, like everything else, becomes noble, even when over-studied,
+as with Michael Angelo, who was, perhaps, more than
+any other, the cause of the mischief; but, with inferior men,
+this habit of composing attitudes ends necessarily in utter lifelessness
+and abortion. Giotto was, perhaps, of all painters, the most
+free from the infection of the poison, always conceiving an incident
+naturally, and drawing it unaffectedly; and the absence
+of posture-making in the works of the Pre-Raphaelites, as opposed
+to the Attitudinarianism of the modern school, has been
+both one of their principal virtues, and of the principal causes
+of outcry against them.</p>
+
+<p>§ <span class="scs">LXXIX</span>. But the most significant change in the treatment
+of these tombs, with respect to our immediate object, is in the
+form of the sarcophagus. It was above noted, that, exactly in
+proportion to the degree of the pride of life expressed in any
+monument, would be also the fear of death; and therefore, as
+these tombs increase in splendor, in size, and beauty of workmanship,
+we perceive a gradual desire to <i>take away from the
+definite character of the sarcophagus</i>. In the earliest times,
+as we have seen, it was a gloomy mass of stone; gradually it
+became charged with religious sculpture; but never with the
+slightest desire to disguise its form, until towards the middle
+of the fifteenth century. It then becomes enriched with
+flower-work and hidden by the Virtues; and, finally, losing its
+foursquare form, it is modelled on graceful types of ancient
+vases, made as little like a coffin as possible, and refined away
+in various elegancies, till it becomes, at last, a mere pedestal
+or stage for the portrait statue. This statue, in the meantime,
+has been gradually coming back to life, through a curious
+series of transitions. The Vendramin monument is one of the
+last which shows, or pretends to show, the recumbent figure
+laid in death. A few years later, this idea became disagreeable
+to polite minds; and, lo! the figures which before had
+been laid at rest upon the tomb pillow, raised themselves on
+their elbows, and began to look round them. The soul of the
+sixteenth century dared not contemplate its body in death.</p>
+
+<p><span class="pagenum"><a name="page091"></a>91</span></p>
+
+<p>§ <span class="scs">LXXX</span>. The reader cannot but remember many instances
+of this form of monument, England being peculiarly rich in
+examples of them; although, with her, tomb sculpture, after
+the fourteenth century, is altogether imitative, and in no degree
+indicative of the temper of the people. It was from Italy
+that the authority for the change was derived; and in Italy
+only, therefore, that it is truly correspondent to the change in
+the national mind. There are many monuments in Venice of
+this semi-animate type, most of them carefully sculptured, and
+some very admirable as portraits, and for the casting of the
+drapery, especially those in the Church of San Salvador; but
+I shall only direct the reader to one, that of Jacopo Pesaro,
+Bishop of Paphos, in the Church of the Frari; notable not
+only as a very skilful piece of sculpture, but for the
+epitaph, singularly characteristic of the period, and confirmatory
+of all that I have alleged against it:</p>
+
+<div class="quote1">
+<p>&ldquo;James Pesaro, Bishop of Paphos, who conquered the Turks in war,
+himself in peace, transported from a noble family among the Venetians
+to a nobler among the angels, laid here, expects the noblest crown,
+which the just Judge shall give to him in that day. He lived the years
+of Plato. He died 24th March, 1547.&rdquo;<a name="FnAnchor_20" href="#Footnote_20"><span class="sp">20</span></a></p>
+</div>
+
+<p>The mingled classicism and carnal pride of this epitaph
+surely need no comment. The crown is expected as a right
+from the justice of the judge, and the nobility of the Venetian
+family is only a little lower than that of the angels. The
+quaint childishness of the &ldquo;Vixit annos Platonicos&rdquo; is also
+very notable.</p>
+
+<p>§ <span class="scs">LXXXI</span>. The statue, however, did not long remain in this
+partially recumbent attitude. Even the expression of peace
+became painful to the frivolous and thoughtless Italians, and
+they required the portraiture to be rendered in a manner that
+should induce no memory of death. The statue rose up, and
+presented itself in front of the tomb, like an actor upon a stage,
+<span class="pagenum"><a name="page092"></a>92</span>
+surrounded now not merely, or not at all, by the Virtues, but by
+allegorical figures of Fame and Victory, by genii and muses,
+by personifications of humbled kingdoms and adoring nations,
+and by every circumstance of pomp, and symbol of adulation,
+that flattery could suggest, or insolence could claim.</p>
+
+<p>§ <span class="scs">LXXXII</span>. As of the intermediate monumental type, so also
+of this, the last and most gross, there are unfortunately many
+examples in our own country; but the most wonderful, by
+far, are still at Venice. I shall, however, particularize only
+two; the first, that of the Doge John Pesaro, in the Frari.
+It is to be observed that we have passed over a considerable
+interval of time; we are now in the latter half of the seventeenth
+century; the progress of corruption has in the meantime
+been incessant, and sculpture has here lost its taste and
+learning as well as its feeling. The monument is a huge accumulation
+of theatrical scenery in marble: four colossal negro
+caryatides, grinning and horrible, with faces of black marble
+and white eyes, sustain the first story of it; above this, two
+monsters, long-necked, half dog and half dragon, sustain an
+ornamental sarcophagus, on the top of which the full-length
+statue of the Doge in robes of state stands forward with its
+arms expanded, like an actor courting applause, under a huge
+canopy of metal, like the roof of a bed, painted crimson and
+gold; on each side of him are sitting figures of genii, and
+unintelligible personifications gesticulating in Roman armor;
+below, between the negro caryatides, are two ghastly figures
+in bronze, half corpse, half skeleton, carrying tablets on which
+is written the eulogium: but in large letters graven in gold,
+the following words are the first and last that strike the eye;
+the first two phrases, one on each side, on tablets in the lower
+story, the last under the portrait statue above:</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+<p class="sc">Vixit annos LXX.      <span style="padding-left: 6em; ">Devixit anno MDCLIX.</span></p>
+<p class="sc"><span style="padding-left: 6em; ">&ldquo;Hic revixit anno MDCLXIX.&rdquo;</span></p>
+</div>
+</td></tr></table>
+
+<p class="noind">We have here, at last, the horrible images of death in violent
+contrast with the defiant monument, which pretends to bring
+<span class="pagenum"><a name="page093"></a>93</span>
+the resurrection down to earth, &ldquo;Hic revixit;&rdquo; and it seems
+impossible for false taste and base feeling to sink lower. Yet
+even this monument is surpassed by one in St. John and Paul.</p>
+
+<p>§ <span class="scs">LXXXIII</span>. But before we pass to this, the last with which I
+shall burden the reader&rsquo;s attention, let us for a moment, and
+that we may feel the contrast more forcibly, return to a tomb
+of the early times.</p>
+
+<p>In a dark niche in the outer wall of the outer corridor of
+St. Mark&rsquo;s&mdash;not even in the church, observe, but in the
+atrium or porch of it, and on the north side of the church,&mdash;is
+a solid sarcophagus of white marble, raised only about two
+feet from the ground on four stunted square pillars. Its lid
+is a mere slab of stone; on its extremities are sculptured two
+crosses; in front of it are two rows of rude figures, the uppermost
+representing Christ with the Apostles: the lower row is
+of six figures only, alternately male and female, holding up
+their hands in the usual attitude of benediction; the sixth is
+smaller than the rest, and the midmost of the other five has a
+glory round its head. I cannot tell the meaning of these
+figures, but between them are suspended censers attached to
+crosses; a most beautiful symbolic expression of Christ&rsquo;s
+mediatorial function. The whole is surrounded by a rude
+wreath of vine leaves, proceeding out of the foot of a cross.</p>
+
+<p>On the bar of marble which separates the two rows of
+figures are inscribed these words:</p>
+
+<p class="quote">&ldquo;Here lies the Lord Marin Morosini, Duke.&rdquo;</p>
+
+<p class="noind">It is the tomb of the Doge Marino Morosini, who reigned
+from 1249 to 1252.</p>
+
+<p>§ <span class="scs">LXXXIV</span>. From before this rude and solemn sepulchre let
+us pass to the southern aisle of the church of St. John and
+Paul; and there, towering from the pavement to the vaulting
+of the church, behold a mass of marble, sixty or seventy feet
+in height, of mingled yellow and white, the yellow carved into
+the form of an enormous curtain, with ropes, fringes, and
+tassels, sustained by cherubs; in front of which, in the now
+usual stage attitudes, advance the statues of the Doge Bertuccio
+<span class="pagenum"><a name="page094"></a>94</span>
+Valier, his son the Doge Silvester Falier, and his son&rsquo;s
+wife, Elizabeth. The statues of the Doges, though mean and
+Polonius-like, are partly redeemed by the Ducal robes; but
+that of the Dogaressa is a consummation of grossness, vanity,
+and ugliness,&mdash;the figure of a large and wrinkled woman, with
+elaborate curls in stiff projection round her face, covered from
+her shoulders to her feet with ruffs, furs, lace, jewels, and embroidery.
+Beneath and around are scattered Virtues, Victories,
+Fames, genii,&mdash;the entire company of the monumental
+stage assembled, as before a drop scene,&mdash;executed by various
+sculptors, and deserving attentive study as exhibiting every
+condition of false taste and feeble conception. The Victory in
+the centre is peculiarly interesting; the lion by which she is
+accompanied, springing on a dragon, has been intended to
+look terrible, but the incapable sculptor could not conceive
+any form of dreadfulness, could not even make the lion look
+angry. It looks only lachrymose; and its lifted forepaws,
+there being no spring nor motion in its body, give it the
+appearance of a dog begging. The inscriptions under the
+two principal statues are as follows:</p>
+
+   <p class="poems"> &ldquo;Bertucius Valier, Duke,</p>
+  <p class="poem">Great in wisdom and eloquence,</p>
+<p class="poem">Greater in his Hellespontic victory,</p>
+  <p class="poem">Greatest in the Prince his son.</p>
+    <p class="poem">Died in the year 1658.&rdquo;</p>
+
+    <p class="poems">&ldquo;Elisabeth Quirina,</p>
+  <p class="poem">The wife of Silvester,</p>
+<p class="poem">Distinguished by Roman virtue,</p>
+  <p class="poem">By Venetian piety,</p>
+    <p class="poem">And by the Ducal crown,</p>
+        <p class="poem">Died 1708.&rdquo;</p>
+
+<p>The writers of this age were generally anxious to make the
+world aware that they understood the degrees of comparison,
+and a large number of epitaphs are principally constructed
+with this object (compare, in the Latin, that of the Bishop of
+Paphos, given above): but the latter of these epitaphs is also
+interesting from its mention, in an age now altogether given
+<span class="pagenum"><a name="page095"></a>95</span>
+up to the pursuit of worldly honor, of that &ldquo;Venetian piety&rdquo;
+which once truly distinguished the city from all others; and
+of which some form and shadow, remaining still, served to
+point an epitaph, and to feed more cunningly and speciously
+the pride which could not be satiated with the sumptuousness
+of the sepulchre.</p>
+
+<p>§ LXXXV. Thus far, then, of the second element of the Renaissance
+spirit, the Pride of State; nor need we go farther to
+learn the reason of the fall of Venice. She was already likened
+in her thoughts, and was therefore to be likened in her ruin,
+to the Virgin of Babylon. The Pride of State and the Pride
+of Knowledge were no new passions: the sentence against
+them had gone forth from everlasting. &ldquo;Thou saidst, I shall
+be a lady for ever; so that thou didst not lay these things to
+thine heart ... <i>Thy wisdom and thy knowledge, it hath
+perverted thee</i>; and thou hast said in thine heart, I am, and
+none else beside me. Therefore shall evil come upon thee
+...; thy merchants from thy youth, they shall wander
+every one to his quarter; none shall save thee.&rdquo;<a name="FnAnchor_21" href="#Footnote_21"><span class="sp">21</span></a></p>
+
+<p>§ LXXXVI. III. <span class="sc">Pride of System</span>. I might have illustrated
+these evil principles from a thousand other sources, but I have
+not time to pursue the subject farther, and must pass to the
+third element above named, the Pride of System. It need
+not detain us so long as either of the others, for it is at once
+more palpable and less dangerous. The manner in which the
+pride of the fifteenth century corrupted the sources of knowledge,
+and diminished the majesty, while it multiplied the trappings,
+of state, is in general little observed; but the reader is
+probably already well and sufficiently aware of the curious
+tendency to formulization and system which, under the name
+of philosophy, encumbered the minds of the Renaissance
+schoolmen. As it was above stated, grammar became the
+first of sciences; and whatever subject had to be treated, the
+first aim of the philosopher was to subject its principles to a
+code of laws, in the observation of which the merit of the
+<span class="pagenum"><a name="page096"></a>96</span>
+speaker, thinker, or worker, in or on that subject, was thereafter
+to consist; so that the whole mind of the world was
+occupied by the exclusive study of Restraints. The sound of
+the forging of fetters was heard from sea to sea. The doctors
+of all the arts and sciences set themselves daily to the invention
+of new varieties of cages and manacles; they themselves
+wore, instead of gowns, a chain mail, whose purpose was not
+so much to avert the weapon of the adversary as to restrain
+the motions of the wearer; and all the acts, thoughts, and
+workings of mankind,&mdash;poetry, painting, architecture, and
+philosophy,&mdash;were reduced by them merely to so many different
+forms of fetter-dance.</p>
+
+<p>§ <span class="scs">LXXXVII.</span> Now, I am very sure that no reader who has
+given any attention to the former portions of this work, or the
+tendency of what else I have written, more especially the last
+chapter of the &ldquo;Seven Lamps,&rdquo; will suppose me to underrate
+the importance, or dispute the authority, of law. It has been
+necessary for me to allege these again and again, nor can they
+ever be too often or too energetically alleged, against the vast
+masses of men who now disturb or retard the advance of civilization;
+heady and high-minded, despisers of discipline, and refusers
+of correction. But law, so far as it can be reduced to
+form and system, and is not written upon the heart,&mdash;as it is,
+in a Divine loyalty, upon the hearts of the great hierarchies
+who serve and wait about the throne of the Eternal Lawgiver,&mdash;this
+lower and formally expressible law has, I say, two objects.
+It is either for the definition and restraint of sin, or
+the guidance of simplicity; it either explains, forbids, and
+punishes wickedness, or it guides the movements and actions
+both of lifeless things and of the more simple and untaught
+among responsible agents. And so long, therefore, as sin and
+foolishness are in the world, so long it will be necessary for
+men to submit themselves painfully to this lower law, in proportion
+to their need of being corrected, and to the degree of
+childishness or simplicity by which they approach more nearly
+to the condition of the unthinking and inanimate things which
+are governed by law altogether; yet yielding, in the manner
+<span class="pagenum"><a name="page097"></a>97</span>
+of their submission to it, a singular lesson to the pride of man,&mdash;being
+obedient more perfectly in proportion to their greatness.<a name="FnAnchor_22" href="#Footnote_22"><span class="sp">22</span></a>
+But, so far as men become good and wise, and rise
+above the state of children, so far they become emancipated
+from this written law, and invested with the perfect freedom
+which consists in the fulness and joyfulness of compliance
+with a higher and unwritten law; a law so universal, so subtle,
+so glorious, that nothing but the heart can keep it.</p>
+
+<p>§ <span class="scs">LXXXVIII.</span> Now pride opposes itself to the observance of
+this Divine law in two opposite ways: either by brute resistance,
+which is the way of the rabble and its leaders, denying
+or defying law altogether; or by formal compliance, which is
+the way of the Pharisee, exalting himself while he pretends to
+obedience, and making void the infinite and spiritual commandment
+by the finite and lettered commandment. And it
+is easy to know which law we are obeying: for any law which
+we magnify and keep through pride, is always the law of the
+letter; but that which we love and keep through humility, is
+the law of the Spirit: And the letter killeth, but the Spirit
+giveth life.</p>
+
+<p>§ <span class="scs">LXXXIX.</span> In the appliance of this universal principle to
+what we have at present in hand, it is to be noted, that all
+written or writable law respecting the arts is for the childish
+and ignorant: that in the beginning of teaching, it is possible
+to say that this or that must or must not be done; and laws of
+color and shade may be taught, as laws of harmony are to the
+young scholar in music. But the moment a man begins to be
+anything deserving the name of an artist, all this teachable law
+has become a matter of course with him; and if, thenceforth,
+he boast himself anywise in the law, or pretend that he lives
+and works by it, it is a sure sign that he is merely tithing
+cummin, and that there is no true art nor religion in him. For
+the true artist has that inspiration in him which is above all
+law, or rather, which is continually working out such magnificent
+and perfect obedience to supreme law, as can in no wise
+<span class="pagenum"><a name="page098"></a>98</span>
+be rendered by line and rule. There are more laws perceived
+and fulfilled in the single stroke of a great workman, than
+could be written in a volume. His science is inexpressibly
+subtle, directly taught him by his Maker, not in any wise communicable
+or imitable.<a name="FnAnchor_23" href="#Footnote_23"><span class="sp">23</span></a> Neither can any written or definitely
+observable laws enable us to do any great thing. It is possible,
+by measuring and administering quantities of color, to paint a
+room wall so that it shall not hurt the eye; but there are no laws
+by observing which we can become Titians. It is possible so to
+measure and administer syllables, as to construct harmonious
+verse; but there are no laws by which we can write Iliads.
+Out of the poem or the picture, once produced, men may elicit
+laws by the volume, and study them with advantage, to the
+better understanding of the existing poem or picture; but no
+more write or paint another, than by discovering laws of vegetation
+they can make a tree to grow. And therefore, wheresoever
+we find the system and formality of rules much dwelt
+upon, and spoken of as anything else than a help for children,
+there we may be sure that noble art is not even understood, far
+less reached. And thus it was with all the common and public
+mind in the fifteenth and sixteenth centuries. The greater
+men, indeed, broke through the thorn hedges; and, though
+much time was lost by the learned among them in writing
+Latin verses and anagrams, and arranging the framework of
+quaint sonnets and dexterous syllogisms, still they tore their
+way through the sapless thicket by force of intellect or of
+piety; for it was not possible that, either in literature or in
+painting, rules could be received by any strong mind, so as
+materially to interfere with its originality: and the crabbed
+discipline and exact scholarship became an advantage to the
+men who could pass through and despise them; so that in
+spite of the rules of the drama we had Shakspeare, and in spite
+of the rules of art we had Tintoret,&mdash;both of them, to this day,
+doing perpetual violence to the vulgar scholarship and dim-eyed
+proprieties of the multitude.</p>
+
+<p>§ <span class="scs">XC.</span> But in architecture it was not so; for that was the
+<span class="pagenum"><a name="page099"></a>99</span>
+art of the multitude, and was affected by all their errors; and
+the great men who entered its field, like Michael Angelo, found
+expression for all the best part of their minds in sculpture, and
+made the architecture merely its shell. So the simpletons and
+sophists had their way with it: and the reader can have no
+conception of the inanities and puerilities of the writers, who,
+with the help of Vitruvius, re-established its &ldquo;five orders,&rdquo;
+determined the proportions of each, and gave the various recipes
+for sublimity and beauty, which have been thenceforward
+followed to this day, but which may, I believe, in this age of
+perfect machinery, be followed out still farther. If, indeed,
+there are only five perfect forms of columns and architraves,
+and there be a fixed proportion to each, it is certainly possible,
+with a little ingenuity, so to regulate a stonecutting machine,
+as that it shall furnish pillars and friezes to the size ordered,
+of any of the five orders, on the most perfect Greek models,
+in any quantity; an epitome, also, of Vitruvius, may be made
+so simple, as to enable any bricklayer to set them up at their
+proper distances, and we may dispense with our architects
+altogether.</p>
+
+<p>§ <span class="scs">XCI.</span> But if this be not so, and there be any truth in the
+faint persuasion which still lurks in men&rsquo;s minds that architecture
+<i>is</i> an art, and that it requires some gleam of intellect to
+practise it, then let the whole system of the orders and their
+proportions be cast out and trampled down as the most vain,
+barbarous, and paltry deception that was ever stamped on
+human prejudice; and let us understand this plain truth, common
+to all work of man, that, if it be good work, it is not a
+copy, nor anything done by rule, but a freshly and divinely
+imagined thing. Five orders! There is not a side chapel in
+any Gothic cathedral but it has fifty orders, the worst of them
+better than the best of the Greek ones, and all new; and a
+single inventive human soul could create a thousand orders in
+an hour.<a name="FnAnchor_24" href="#Footnote_24"><span class="sp">24</span></a> And this would have been discovered even in the
+<span class="pagenum"><a name="page100"></a>100</span>
+worst times, but that, as I said, the greatest men of the age
+found expression for their invention in the other arts, and the
+best of those who devoted themselves to architecture were in
+great part occupied in adapting the construction of buildings
+to new necessities, such as those developed by the invention
+of gunpowder (introducing a totally new and most interesting
+science of fortification, which directed the ingenuity of Sanmicheli
+and many others from its proper channel), and found
+interest of a meaner kind in the difficulties of reconciling the
+obsolete architectural laws they had consented to revive, and
+the forms of Roman architecture which they agreed to copy,
+with the requirements of the daily life of the sixteenth
+century.</p>
+
+<p>§ <span class="scs">XCII.</span> These, then, were the three principal directions in
+which the Renaissance pride manifested itself, and its impulses
+were rendered still more fatal by the entrance of another element,
+inevitably associated with pride. For, as it is written,
+&ldquo;He that trusteth in his own heart is a fool,&rdquo; so also it is
+written, &ldquo;The fool hath said in his heart, There is no God;&rdquo;
+and the self-adulation which influenced not less the learning of
+the age than its luxury, led gradually to the forgetfulness of all
+things but self, and to an infidelity only the more fatal because
+it still retained the form and language of faith.</p>
+
+<p>§ <span class="scs">XCIII.</span> IV. <span class="sc">Infidelity</span>. In noticing the more prominent
+forms in which this faithlessness manifested itself, it is necessary
+to distinguish justly between that which was the consequence
+of respect for Paganism, and that which followed from the
+corruption of Catholicism. For as the Roman architecture is
+not to be made answerable for the primal corruption of the
+Gothic, so neither is the Roman philosophy to be made
+answerable for the primal corruption of Christianity. Year
+after year, as the history of the life of Christ sank back into
+the depths of time, and became obscured by the misty atmosphere
+of the history of the world,&mdash;as intermediate actions
+and incidents multiplied in number, and countless changes in
+men&rsquo;s modes of life, and tones of <span class="correction" title="corrected from throught">thought</span>, rendered it more
+difficult for them to imagine the facts of distant time,&mdash;it became
+<span class="pagenum"><a name="page101"></a>101</span>
+daily, almost hourly, a greater effort for the faithful
+heart to apprehend the entire veracity and vitality of the story
+of its Redeemer; and more easy for the thoughtless and
+remiss to deceive themselves as to the true character of the
+belief they had been taught to profess. And this must have
+been the case, had the pastors of the Church never failed in
+their watchfulness, and the Church itself never erred in its
+practice or doctrine. But when every year that removed the
+truths of the Gospel into deeper distance, added to them also
+some false or foolish tradition; when wilful distortion was
+added to natural obscurity, and the dimness of memory was
+disguised by the fruitfulness of fiction; when, moreover, the
+enormous temporal power granted to the clergy attracted into
+their ranks multitudes of men who, but for such temptation,
+would not have pretended to the Christian name, so that
+grievous wolves entered in among them, not sparing the flock;
+and when, by the machinations of such men, and the remissness
+of others, the form and administrations of Church doctrine
+and discipline had become little more than a means of aggrandizing
+the power of the priesthood, it was impossible any
+longer for men of thoughtfulness or piety to remain in an
+unquestioning serenity of faith. The Church had become so
+mingled with the world that its witness could no longer be received;
+and the professing members of it, who were placed in
+circumstances such as to enable them to become aware of its
+corruptions, and whom their interest or their simplicity did not
+bribe or beguile into silence, gradually separated themselves
+into two vast multitudes of adverse energy, one tending to
+Reformation, and the other to Infidelity.</p>
+
+<p>§ <span class="scs">XCIV.</span> Of these, the last stood, as it were, apart, to watch
+the course of the struggle between Romanism and Protestantism;
+a struggle which, however necessary, was attended with
+infinite calamity to the Church. For, in the first place, the
+Protestant movement was, in reality, not <i>reformation</i> but <i>reanimation</i>.
+It poured new life into the Church, but it did not
+form or define her anew. In some sort it rather broke down
+her hedges, so that all they who passed by might pluck off her
+<span class="pagenum"><a name="page102"></a>102</span>
+grapes. The reformers speedily found that the enemy was
+never far behind the sower of good seed; that an evil spirit
+might enter the ranks of reformation as well as those of resistance;
+and that though the deadly blight might be checked
+amidst the wheat, there was no hope of ever ridding the wheat
+itself from the tares. New temptations were invented by
+Satan wherewith to oppose the revived strength of Christianity:
+as the Romanist, confiding in his human teachers, had
+ceased to try whether they were teachers sent from God, so the
+Protestant, confiding in the teaching of the Spirit, believed
+every spirit, and did not try the spirits whether they were of
+God. And a thousand enthusiasms and heresies speedily
+obscured the faith and divided the force of the Reformation.</p>
+
+<p>§ <span class="scs">XCV.</span> But the main evils rose out of the antagonism of the
+two great parties; primarily, in the mere fact of the existence
+of an antagonism. To the eyes of the unbeliever the Church
+of Christ, for the first time since its foundation, bore the aspect
+of a house divided against itself. Not that many forms
+of schism had not before arisen in it; but either they had been
+obscure and silent, hidden among the shadows of the Alps
+and the marshes of the Rhine; or they had been outbreaks of
+visible and unmistakable error, cast off by the Church, rootless,
+and speedily withering away, while, with much that was
+erring and criminal, she still retained within her the pillar and
+ground of the truth. But here was at last a schism in which
+truth and authority were at issue. The body that was cast off
+withered away no longer. It stretched out its boughs to the
+sea and its branches to the river, and it was the ancient trunk
+that gave signs of decrepitude. On one side stood the
+reanimated faith, in its right hand the book open, and its left
+hand lifted up to heaven, appealing for its proof to the Word
+of the Testimony and the power of the Holy Ghost. On the
+other stood, or seemed to stand, all beloved custom and believed
+tradition; all that for fifteen hundred years had been
+closest to the hearts of men, or most precious for their help.
+Long-trusted legend; long-reverenced power; long-practised
+discipline; faiths that had ruled the destiny, and sealed the
+<span class="pagenum"><a name="page103"></a>103</span>
+departure, of souls that could not be told or numbered for
+multitude; prayers, that from the lips of the fathers to those
+of the children had distilled like sweet waterfalls, sounding
+through the silence of ages, breaking themselves into heavenly
+dew to return upon the pastures of the wilderness; hopes, that
+had set the face as a flint in the torture, and the sword as a
+flame in the battle, that had pointed the purposes and ministered
+the strength of life, brightened the last glances and
+shaped the last syllables of death; charities, that had bound
+together the brotherhoods of the mountain and the desert, and
+had woven chains of pitying or aspiring communion between
+this world and the unfathomable beneath and above; and,
+more than these, the spirits of all the innumerable, undoubting,
+dead, beckoning to the one way by which they had been content
+to follow the things that belonged unto their peace;&mdash;these
+all stood on the other side: and the choice must have
+been a bitter one, even at the best; but it was rendered tenfold
+more bitter by the natural, but most sinful animosity of
+the two divisions of the Church against each other.</p>
+
+<p>§ <span class="scs">XCVI.</span> On one side this animosity was, of course, inevitable.
+The Romanist party, though still including many Christian
+men, necessarily included, also, all the worst of those who
+called themselves Christians. In the fact of its refusing correction,
+it stood confessed as the Church of the unholy; and,
+while it still counted among its adherents many of the simple
+and believing,&mdash;men unacquainted with the corruption of the
+body to which they belonged, or incapable of accepting any
+form of doctrine but that which they had been taught from
+their youth,&mdash;it gathered together with them whatever was
+carnal and sensual in priesthood or in people, all the lovers of
+power in the one, and of ease in the other. And the rage of
+these men was, of course, unlimited against those who either
+disputed their authority, reprehended their manner of life, or
+cast suspicion upon the popular methods of lulling the conscience
+in the lifetime, or purchasing salvation on the death-bed.</p>
+
+<p>§ <span class="scs">XCVII.</span> Besides this, the reassertion and defence of various
+<span class="pagenum"><a name="page104"></a>104</span>
+tenets which before had been little more than floating errors
+in the popular mind, but which, definitely attacked by Protestantism,
+it became necessary to fasten down with a band
+of iron and brass, gave a form at once more rigid, and less
+rational, to the whole body of Romanist Divinity. Multitudes
+of minds which in other ages might have brought honor and
+strength to the Church, preaching the more vital truths which
+it still retained, were now occupied in pleading for arraigned
+falsehoods, or magnifying disused frivolities; and it can hardly
+be doubted by any candid observer, that the nascent or latent
+errors which God pardoned in times of ignorance, became unpardonable
+when they were formally defined and defended;
+that fallacies which were forgiven to the enthusiasm of a multitude,
+were avenged upon the stubbornness of a Council; that,
+above all, the great invention of the age, which rendered God&rsquo;s
+word accessible to every man, left all sins against its light incapable
+of excuse or expiation; and that from the moment
+when Rome set herself in direct opposition to the Bible, the
+judgment was pronounced upon her, which made her the scorn
+and the prey of her own children, and cast her down from the
+throne where she had magnified herself against heaven, so low,
+that at last the unimaginable scene of the Bethlehem humiliation
+was mocked in the temples of Christianity. Judea had
+seen her God laid in the manger of the beasts of burden; it
+was for Christendom to stable the beasts of burden by the altar
+of her God.</p>
+
+<p>§ <span class="scs">XCVIII.</span> Nor, on the other hand, was the opposition of
+Protestantism to the Papacy less injurious to itself. That opposition
+was, for the most part, intemperate, undistinguishing,
+and incautious. It could indeed hardly be otherwise. Fresh
+bleeding from the sword of Rome, and still trembling at her
+anathema, the reformed churches were little likely to remember
+any of her benefits, or to regard any of her teaching. Forced
+by the Romanist contumely into habits of irreverence, by the
+Romanist fallacies into habits of disbelief, the self-trusting,
+rashly-reasoning spirit gained ground among them daily. Sect
+branched out of sect, presumption rose over presumption; the
+<span class="pagenum"><a name="page105"></a>105</span>
+miracles of the early Church were denied and its martyrs forgotten,
+though their power and palm were claimed by the
+members of every persecuted sect; pride, malice, wrath, love
+of change, masked themselves under the thirst for truth, and
+mingled with the just resentment of deception, so that it became
+impossible even for the best and truest men to know the
+plague of their own hearts; while avarice and impiety openly
+transformed reformation into robbery, and reproof into sacrilege.
+Ignorance could as easily lead the foes of the Church, as lull
+her slumber; men who would once have been the unquestioning
+recipients, were now the shameless inventors of absurd or
+perilous superstitions; they who were of the temper that
+walketh in darkness, gained little by having discovered their
+guides to be blind; and the simplicity of the faith, ill understood
+and contumaciously alleged, became an excuse for the
+rejection of the highest arts and most tried wisdom of mankind:
+while the learned infidel, standing aloof, drew his own
+conclusions, both from the rancor of the antagonists, and from
+their errors; believed each in all that he alleged against the
+other; and smiled with superior humanity, as he watched the
+winds of the Alps drift the ashes of Jerome, and the dust of
+England drink the blood of King Charles.</p>
+
+<p>§ <span class="scs">XCIX.</span> Now all this evil was, of course, entirely independent
+of the renewal of the study of Pagan writers. But that
+renewal found the faith of Christendom already weakened and
+divided; and therefore it was itself productive of an effect
+tenfold greater than could have been apprehended from it at
+another time. It acted first, as before noticed, in leading the
+attention of all men to words instead of things; for it was discovered
+that the language of the middle ages had been corrupt,
+and the primal object of every scholar became now to purify
+his style. To this study of words, that of forms being added,
+both as of matters of the first importance, half the intellect of
+the age was at once absorbed in the base sciences of grammar,
+logic, and rhetoric; studies utterly unworthy of the serious
+labor of men, and necessarily rendering those employed upon
+them incapable of high thoughts or noble emotion. Of the
+<span class="pagenum"><a name="page106"></a>106</span>
+debasing tendency of philology, no proof is needed beyond once
+reading a grammarian&rsquo;s notes on a great poet: logic is unnecessary
+for men who can reason; and about as useful to those who
+cannot, as a machine for forcing one foot in due succession before
+the other would be to a man who could not walk: while
+the study of rhetoric is exclusively one for men who desire to
+deceive or be deceived; he who has the truth at his heart need
+never fear the want of persuasion on his tongue, or, if he fear
+it, it is because the base rhetoric of dishonesty keeps the truth
+from being heard.</p>
+
+<p>§ <span class="scs">C.</span> The study of these sciences, therefore, naturally made
+men shallow and dishonest in general; but it had a peculiarly
+fatal effect with respect to religion, in the view which men
+took of the Bible. Christ&rsquo;s teaching was discovered not to be
+rhetorical, St. Paul&rsquo;s preaching not to be logical, and the Greek
+of the New Testament not to be grammatical. The stern
+truth, the profound pathos, the impatient period, leaping from
+point to point and leaving the intervals for the hearer to fill,
+the comparatively Hebraized and unelaborate idiom, had little
+in them of attraction for the students of phrase and syllogism;
+and the chief knowledge of the age became one of the chief
+stumbling-blocks to its religion.</p>
+
+<p>§ <span class="scs">CI.</span> But it was not the grammarian and logician alone
+who was thus retarded or perverted; in them there had been
+small loss. The men who could truly appreciate the higher
+excellences of the classics were carried away by a current of
+enthusiasm which withdrew them from every other study.
+Christianity was still professed as a matter of form, but neither
+the Bible nor the writings of the Fathers had time left for their
+perusal, still less heart left for their acceptance. The human
+mind is not capable of more than a certain amount of admiration
+or reverence, and that which was given to Horace was
+withdrawn from David. Religion is, of all subjects, that
+which will least endure a second place in the heart or thoughts,
+and a languid and occasional study of it was sure to lead to
+error or infidelity. On the other hand, what was heartily admired
+and unceasingly contemplated was soon brought nigh to
+<span class="pagenum"><a name="page107"></a>107</span>
+being believed; and the systems of Pagan mythology began
+gradually to assume the places in the human mind from which
+the unwatched Christianity was wasting. Men did not indeed
+openly sacrifice to Jupiter, or build silver shrines for Diana,
+but the ideas of Paganism nevertheless became thoroughly
+vital and present with them at all times; and it did not matter
+in the least, as far as respected the power of true religion,
+whether the Pagan image was believed in or not, so long as it
+entirely occupied the thoughts. The scholar of the sixteenth
+century, if he saw the lightning shining from the east unto
+the west, thought forthwith of Jupiter, not of the coming of
+the Son of Man; if he saw the moon walking in brightness,
+he thought of Diana, not of the throne which was to be established
+for ever as a faithful witness in heaven; and though his
+heart was but secretly enticed, yet thus he denied the God that
+is above.<a name="FnAnchor_25" href="#Footnote_25"><span class="sp">25</span></a></p>
+
+<p>And, indeed, this double creed, of Christianity confessed
+and Paganism beloved, was worse than Paganism itself, inasmuch
+as it refused effective and practical belief altogether. It
+would have been better to have worshipped Diana and Jupiter
+at once, than to have gone on through the whole of life naming
+one God, imagining another, and dreading none. Better, a
+thousandfold, to have been &ldquo;a Pagan suckled in some creed
+outworn,&rdquo; than to have stood by the great sea of Eternity and
+seen no God walking on its waves, no heavenly world on its
+horizon.</p>
+
+<p>§ <span class="scs">CII.</span> This fatal result of an enthusiasm for classical literature
+was hastened and heightened by the misdirection of the
+powers of art. The imagination of the age was actively set to
+realize these objects of Pagan belief; and all the most exalted
+faculties of man, which, up to that period, had been employed
+in the service of Faith, were now transferred to the service of
+Fiction. The invention which had formerly been both sanctified
+and strengthened by laboring under the command of
+settled intention, and on the ground of assured belief, had now
+<span class="pagenum"><a name="page108"></a>108</span>
+the reins laid upon its neck by passion, and all ground of fact
+cut from beneath its feet; and the imagination which formerly
+had helped men to apprehend the truth, now tempted them to
+believe a falsehood. The faculties themselves wasted away in
+their own treason; one by one they fell in the potter&rsquo;s field;
+and the Raphael who seemed sent and inspired from heaven
+that he might paint Apostles and Prophets, sank at once into
+powerlessness at the feet of Apollo and the Muses.</p>
+
+<p>§ <span class="scs">CIII.</span> But this was not all. The habit of using the greatest
+gifts of imagination upon fictitious subjects, of course destroyed
+the honor and value of the same imagination used in the cause
+of truth. Exactly in the proportion in which Jupiters and
+Mercuries were embodied and believed, in that proportion
+Virgins and Angels were disembodied and disbelieved. The
+images summoned by art began gradually to assume one average
+value in the spectator&rsquo;s mind; and incidents from the Iliad and
+from the Exodus to come within the same degrees of credibility.
+And, farther, while the powers of the imagination
+were becoming daily more and more languid, because unsupported
+by faith, the manual skill and science of the artist were
+continually on the increase. When these had reached a certain
+point, they began to be the principal things considered in the
+picture, and its story or scene to be thought of only as a theme
+for their manifestation. Observe the difference. In old times,
+men used their powers of painting to show the objects of faith;
+in later times, they used the objects of faith that they might
+show their powers of painting. The distinction is enormous,
+the difference incalculable as irreconcilable. And thus, the
+more skilful the artist, the less his subject was regarded; and
+the hearts of men hardened as their handling softened, until
+they reached a point when sacred, profane, or sensual subjects
+were employed, with absolute indifference, for the display of
+color and execution; and gradually the mind of Europe congealed
+into that state of utter apathy,&mdash;inconceivable, unless it
+had been witnessed, and unpardonable, unless by us, who have
+been infected by it,&mdash;which permits us to place the Madonna
+and the Aphrodite side by side in our galleries, and to pass,
+<span class="pagenum"><a name="page109"></a>109</span>
+with the same unmoved inquiry into the manner of their handling,
+from a Bacchanal to a Nativity.</p>
+
+<p>Now all this evil, observe, would have been merely the
+necessary and natural operation of an enthusiasm for the
+classics, and of a delight in the mere science of the artist, on
+the most virtuous mind. But this operation took place upon
+minds enervated by luxury, and which were tempted, at the
+very same period, to forgetfulness or denial of all religious
+principle by their own basest instincts. The faith which had
+been undermined by the genius of Pagans, was overthrown
+by the crimes of Christians; and the ruin which was begun
+by scholarship, was completed by sensuality. The characters
+of the heathen divinities were as suitable to the manners of
+the time as their forms were agreeable to its taste; and Paganism
+again became, in effect, the religion of Europe. That
+is to say, the civilized world is at this moment, collectively,
+just as Pagan as it was in the second century; a small body
+of believers being now, as they were then, representative of
+the Church of Christ in the midst of the faithless: but there
+is just this difference, and this very fatal one, between the
+second and nineteenth centuries, that the Pagans are nominally
+and fashionably Christians, and that there is every conceivable
+variety and shade of belief between the two; so that
+not only is it most difficult theoretically to mark the point
+where hesitating trust and failing practice change into definite
+infidelity, but it has become a point of politeness not to inquire
+too deeply into our neighbor&rsquo;s religious opinions; and, so
+that no one be offended by violent breach of external forms,
+to waive any close examination into the tenets of faith. The
+fact is, we distrust each other and ourselves so much, that
+we dare not press this matter; we know that if, on any occasion
+of general intercourse, we turn to our next neighbor,
+and put to him some searching or testing question, we shall,
+in nine cases out of ten, discover him to be only a Christian in
+his own way, and as far as he thinks proper, and that he
+doubts of many things which we ourselves do not believe
+strongly enough to hear doubted without danger. What is
+<span class="pagenum"><a name="page110"></a>110</span>
+in reality cowardice and faithlessness, we call charity; and
+consider it the part of benevolence sometimes to forgive men&rsquo;s
+evil practice for the sake of their accurate faith, and sometimes
+to forgive their confessed heresy for the sake of their admirable
+practice. And under this shelter of charity, humility, and
+faintheartedness, the world, unquestioned by others or by
+itself, mingles with and overwhelms the small body of Christians,
+legislates for them, moralizes for them, reasons for
+them; and, though itself of course greatly and beneficently
+influenced by the association, and held much in check by its
+pretence to Christianity, yet undermines, in nearly the same
+degree, the sincerity and practical power of Christianity itself,
+until at last, in the very institutions of which the administration
+may be considered as the principal test of the genuineness
+of national religion, those devoted to education, the Pagan
+system is completely triumphant; and the entire body of the
+so-called Christian world has established a system of instruction
+for its youth, wherein neither the history of Christ&rsquo;s
+Church, nor the language of God&rsquo;s law, is considered a study
+of the smallest importance; wherein, of all subjects of human
+inquiry, his own religion is the one in which a youth&rsquo;s ignorance
+is most easily forgiven;<a name="FnAnchor_26" href="#Footnote_26"><span class="sp">26</span></a> and in which it is held a light
+matter that he should be daily guilty of lying, or debauchery,
+or of blasphemy, so only that he write Latin verses accurately,
+and with speed.</p>
+
+<p>I believe that in few years more we shall wake from all
+these errors in astonishment, as from evil dreams; having
+been preserved, in the midst of their madness, by those hidden
+roots of active and earnest Christianity which God&rsquo;s grace
+has bound in the English nation with iron and brass. But in
+the Venetian, those roots themselves had withered; and, from
+<span class="pagenum"><a name="page111"></a>111</span>
+the palace of their ancient religion, their pride cast them forth
+hopelessly to the pasture of the brute. From pride to infidelity,
+from infidelity to the unscrupulous and insatiable pursuit
+of pleasure, and from this to irremediable degradation, the
+transitions were swift, like the falling of a star. The great
+palaces of the haughtiest nobles of Venice were stayed, before
+they had risen far above their foundations, by the blast of a
+penal poverty; and the wild grass, on the unfinished fragments
+of their mighty shafts, waves at the tide-mark where
+the power of the godless people first heard the &ldquo;Hitherto
+shalt thou come.&rdquo; And the regeneration in which they had
+so vainly trusted,&mdash;the new birth and clear dawning, as they
+thought it, of all art, all knowledge, and all hope,&mdash;became
+to them as that dawn which Ezekiel saw on the hills of
+Israel: &ldquo;Behold the day; behold, it is come. The rod hath
+blossomed, pride hath budded, violence is risen up into a rod
+of wickedness. None of them shall remain, nor of their multitude;
+let not the buyer rejoice, nor the seller mourn, for
+wrath is upon all the multitude thereof.&rdquo;</p>
+
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_8" href="#FnAnchor_8"><span class="fn">8</span></a> Or, more briefly, science has to do with facts, art with phenomena.
+To science, phenomena are of use only as they lead to facts; and to art
+facts are of use only as they lead to phenomena. I use the word &ldquo;art&rdquo; here
+with reference to the fine arts only, for the lower arts of mechanical production
+I should reserve the word &ldquo;manufacture.&rdquo;</p>
+
+<p><a name="Footnote_9" href="#FnAnchor_9"><span class="fn">9</span></a> Tintoret.</p>
+
+<p><a name="Footnote_10" href="#FnAnchor_10"><span class="fn">10</span></a> St. Bernard.</p>
+
+<p><a name="Footnote_11" href="#FnAnchor_11"><span class="fn">11</span></a> Society always has a destructive influence upon an artist: first by its
+sympathy with his meanest powers; secondly, by its chilling want of understanding
+of his greatest; and, thirdly, by its vain occupation of his time
+and thoughts. Of course a painter of men must be <i>among</i> men; but it
+ought to be as a watcher, not as a companion.</p>
+
+<p><a name="Footnote_12" href="#FnAnchor_12"><span class="fn">12</span></a> I intended in this place to have introduced some special consideration
+of the science of anatomy, which I believe to have been in great part the
+cause of the decline of modern art; but I have been anticipated by a writer
+better able to treat the subject. I have only glanced at his book; and there
+is something in the spirit of it which I do not like, and some parts of it are
+assuredly wrong; but, respecting anatomy, it seems to me to settle the question
+indisputably, more especially as being written by a master of the science.
+I quote two passages, and must refer the reader to the sequel.</p>
+
+<p>&ldquo;<i>The scientific men of forty centuries</i> have failed to describe so accurately,
+so beautifully, so artistically, as Homer did, the organic elements constituting
+the emblems of youth and beauty, and the waste and decay which these
+sustain by time and age. All these Homer understood better, and has described
+more truthfully than the scientific men of forty centuries....</p>
+
+<p>&ldquo;Before I approach this question, permit me to make a few remarks on
+the pre-historic period of Greece; that era which seems to have produced
+nearly all the great men.</p>
+
+<p>&ldquo;On looking attentively at the statues within my observation, I cannot
+find the slightest foundation for the assertion that their sculptors must have
+dissected the human frame and been well acquainted with the human anatomy.
+They, like Homer, had discovered Nature&rsquo;s secret, and bestowed
+their whole attention on the exterior. The exterior they read profoundly,
+and studied deeply&mdash;the <i>living exterior</i> and the <i>dead</i>. Above all, they avoided
+displaying the dead and dissected interior, through the exterior. They had
+discovered that the interior presents hideous shapes, but not forms. Men
+during the philosophic era of Greece saw all this, each reading the antique
+to the best of his abilities. The man of genius rediscovered the canon of
+the ancient masters, and wrought on its principles. The greater number,
+as now, unequal to this step, merely imitated and copied those who preceded
+them.&rdquo;&mdash;<i>Great Artists and Great Anatomists</i>. By R. Knox, M.D.
+London, Van Voorst, 1852.</p>
+
+<p>Respecting the value of literary knowledge in general as regards art, the
+reader will also do well to meditate on the following sentences from
+Hallam&rsquo;s &ldquo;Literature of Europe;&rdquo; remembering at the same time what I
+have above said, that &ldquo;the root of all great art in Europe is struck in the
+thirteenth century,&rdquo; and that the great time is from 1250 to 1350:</p>
+
+<p>&ldquo;In Germany the tenth century, Leibnitz declares, was a golden age of
+learning compared with the thirteenth.&rdquo;</p>
+
+<p>&ldquo;The writers of the thirteenth century display an incredible ignorance,
+not only of pure idiom, but of common grammatical rules.&rdquo;</p>
+
+<p>The fourteenth century was &ldquo;not superior to the thirteenth in learning....
+We may justly praise Richard of Bury for his zeal in collecting
+books. But his erudition appears crude, his style indifferent, and his
+thoughts superficial.&rdquo;</p>
+
+<p>I doubt the superficialness of the <i>thoughts</i>: at all events, this is not a
+character of the time, though it may be of the writer; for this would affect
+art more even than literature.</p>
+
+<p><a name="Footnote_13" href="#FnAnchor_13"><span class="fn">13</span></a> Churton&rsquo;s &ldquo;Early English Church.&rdquo; London, 1840.</p>
+
+<p><a name="Footnote_14" href="#FnAnchor_14"><span class="fn">14</span></a> &ldquo;Quibus nulla macula inest quæ non cernatur. Ita viri nobilitate
+præditi eam vitam peragant cui nulla nota possit inviri.&rdquo; The first sentence
+is literally, &ldquo;in which there is no spot that may not be seen.&rdquo; But I imagine
+the writer meant it as I have put it in the text, else his comparison
+does not hold.</p>
+
+<p><a name="Footnote_15" href="#FnAnchor_15"><span class="fn">15</span></a> Observe, however, that the magnitude spoken of here and in the following
+passages, is the finished and polished magnitude sought for the sake
+of pomp: not the rough magnitude sought for the sake of sublimity:
+respecting which see the &ldquo;Seven Lamps,&rdquo; chap. iii. § 5, 6, and 8.</p>
+
+<p><a name="Footnote_16" href="#FnAnchor_16"><span class="fn">16</span></a> Can Grande died in 1329: we can hardly allow more than five years for
+the erection of his tomb.</p>
+
+<p><a name="Footnote_17" href="#FnAnchor_17"><span class="fn">17</span></a> Vol. I. <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#chap_1">Chap. I</a>.</p>
+
+<p><a name="Footnote_18" href="#FnAnchor_18"><span class="fn">18</span></a> Sansovino, lib. xiii.</p>
+
+<p><a name="Footnote_19" href="#FnAnchor_19"><span class="fn">19</span></a> Tentori, vi. 142, i. 157.</p>
+
+<p><a name="Footnote_20" href="#FnAnchor_20"><span class="fn">20</span></a> &ldquo;Jacobus Pisaurius Paphi Episcopus qui Turcos bello, se ipsum pace
+vincebat, ex nobili inter Venetas, ad nobiliorem inter Angelos familiam
+delatus, nobilissimam in illa die Coronam justo Judice reddente, hic situs
+expectat Vixit annos Platonicos. Obijt MDXLVII. IX. Kal. Aprilis.&rdquo;</p>
+
+<p><a name="Footnote_21" href="#FnAnchor_21"><span class="fn">21</span></a> Isaiah xlvii. 7, 10, 11, 15.</p>
+
+<p><a name="Footnote_22" href="#FnAnchor_22"><span class="fn">22</span></a> Compare &ldquo;Seven Lamps,&rdquo; chap. vii. § 3.</p>
+
+<p><a name="Footnote_23" href="#FnAnchor_23"><span class="fn">23</span></a> See the farther remarks on Inspiration, in the fourth chapter.</p>
+
+<p><a name="Footnote_24" href="#FnAnchor_24"><span class="fn">24</span></a> That is to say, orders separated by such distinctions as the old Greek
+ones: considered with reference to the bearing power of the capital, all
+orders may be referred to two, as long ago stated; just as trees may be referred
+to the two great classes, monocotyledonous and dicotyledonous.</p>
+
+<p><a name="Footnote_25" href="#FnAnchor_25"><span class="fn">25</span></a> Job xxi: 26-28; Psalm lxxxix. 37.</p>
+
+<p><a name="Footnote_26" href="#FnAnchor_26"><span class="fn">26</span></a> I shall not forget the impression made upon me at Oxford, when, going
+up for my degree, and mentioning to one of the authorities that I had not
+had time enough to read the Epistles properly, I was told, that &ldquo;the Epistles
+were separate sciences, and I need not trouble myself about them.&rdquo;</p>
+
+<p>The reader will find some farther notes on this subject in <a href="#app_7">Appendix 7</a>,
+&ldquo;Modern Education.&rdquo;</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page112"></a>112</span></p>
+
+<h3><a name="chap_3" id="chap_3"></a>CHAPTER III.</h3>
+
+<h5>GROTESQUE RENAISSANCE.</h5>
+
+
+<p>§ <span class="scs">I</span>. In the close of the last chapter it was noted that the
+phases of transition in the moral temper of the falling Venetians,
+during their fall, were from pride to infidelity, and from
+infidelity to the unscrupulous <i>pursuit of pleasure</i>. During
+the last years of the existence of the state, the minds both of
+the nobility and the people seem to have been set simply upon
+the attainment of the means of self-indulgence. There was
+not strength enough in them to be proud, nor forethought
+enough to be ambitious. One by one the possessions of the
+state were abandoned to its enemies; one by one the channels
+of its trade were forsaken by its own languor, or occupied and
+closed against it by its more energetic rivals; and the time,
+the resources, and the thoughts of the nation were exclusively
+occupied in the invention of such fantastic and costly pleasures
+as might best amuse their apathy, lull their remorse, or disguise
+their ruin.</p>
+
+<p>§ <span class="scs">II</span>. The architecture raised at Venice during this period is
+amongst the worst and basest ever built by the hands of men,
+being especially distinguished by a spirit of brutal mockery
+and insolent jest, which, exhausting itself in deformed and
+monstrous sculpture, can sometimes be hardly otherwise defined
+than as the perpetuation in stone of the ribaldries of drunkenness.
+On such a period, and on such work, it is painful to
+dwell, and I had not originally intended to do so; but I found
+that the entire spirit of the Renaissance could not be comprehended
+unless it was followed to its consummation; and that
+there were many most interesting questions arising out of the
+study of this particular spirit of jesting, with reference to
+<span class="pagenum"><a name="page113"></a>113</span>
+which I have called it the <i>Grotesque</i> Renaissance. For it is
+not this period alone which is distinguished by such a spirit.
+There is jest&mdash;perpetual, careless, and not unfrequently obscene&mdash;in
+the most noble work of the Gothic periods; and it
+becomes, therefore, of the greatest possible importance to
+examine into the nature and essence of the Grotesque itself,
+and to ascertain in what respect it is that the jesting of art in
+its highest flight, differs from its jesting in its utmost degradation.</p>
+
+<p>§ <span class="scs">III</span>. The place where we may best commence our inquiry
+is one renowned in the history of Venice, the space of ground
+before the Church of Santa Maria Formosa; a spot which,
+after the Rialto and St. Mark&rsquo;s Place, ought to possess a peculiar
+interest in the mind of the traveller, in consequence of its
+connexion with the most touching and true legend of the
+Brides of Venice. That legend is related at length in every
+Venetian history, and, finally, has been told by the poet
+Rogers, in a way which renders it impossible for any one to
+tell it after him. I have only, therefore, to remind the reader
+that the capture of the brides took place in the cathedral
+church, St. Pietro di Castello; and that this of Santa Maria
+Formosa is connected with the tale, only because it was yearly
+visited with prayers by the Venetian maidens, on the anniversary
+of their ancestors&rsquo; deliverance. For that deliverance,
+their thanks were to be rendered to the Virgin; and there was
+no church then dedicated to the Virgin, in Venice, except
+this.<a name="FnAnchor_27" href="#Footnote_27"><span class="sp">27</span></a></p>
+
+<p>Neither of the cathedral church, nor of this dedicated to
+St. Mary the Beautiful, is one stone left upon another. But,
+from that which has been raised on the site of the latter, we
+may receive a most important lesson, introductory to our immediate
+subject, if first we glance back to the traditional history
+of the church which has been destroyed.</p>
+
+<p>§ <span class="scs">IV</span>. No more honorable epithet than &ldquo;traditional&rdquo; can
+<span class="pagenum"><a name="page114"></a>114</span>
+be attached to what is recorded concerning it, yet I should
+grieve to lose the legend of its first erection. The Bishop of
+Uderzo, driven by the Lombards from his Bishopric, as he
+was praying, beheld in a vision the Virgin Mother, who
+ordered him to found a church in her honor, in the place
+where he should see a white cloud rest. And when he went
+out, the white cloud went before him; and on the place
+where it rested he built a church, and it was called the Church
+of St. Mary the Beautiful, from the loveliness of the form in
+which she had appeared in the vision.<a name="FnAnchor_28" href="#Footnote_28"><span class="sp">28</span></a></p>
+
+<p>The first church stood only for about two centuries. It was
+rebuilt in 864, and enriched with various relics some fifty
+years later; relics belonging principally to St. Nicodemus,
+and much lamented when they and the church were together
+destroyed by fire in 1105.</p>
+
+<p>It was then rebuilt in &ldquo;magnifica forma,&rdquo; much resembling,
+according to Corner, the architecture of the chancel of St.
+Mark;<a name="FnAnchor_29" href="#Footnote_29"><span class="sp">29</span></a> but the information which I find in various writers,
+as to the period at which it was reduced to its present condition,
+is both sparing and contradictory.</p>
+
+<p>§ <span class="scs">V</span>. Thus, by Corner, we are told that this church, resembling
+St. Mark&rsquo;s, &ldquo;remained untouched for more than four
+centuries,&rdquo; until, in 1689, it was thrown down by an earthquake,
+and restored by the piety of a rich merchant, Turrin
+Toroni, &ldquo;in ornatissima forma;&rdquo; and that, for the greater
+beauty of the renewed church, it had added to it two façades
+of marble. With this information that of the Padre dell&rsquo;
+Oratoria agrees, only he gives the date of the earlier rebuilding
+of the church in 1175, and ascribes it to an architect of the
+name of Barbetta. But Quadri, in his usually accurate little
+<span class="pagenum"><a name="page115"></a>115</span>
+guide, tells us that this Barbetta rebuilt the church in
+the fourteenth century; and that of the two façades, so much
+admired by Corner, one is of the sixteenth century, and its
+architect unknown; and the rest of the church is of the seventeenth,
+&ldquo;in the style of Sansovino.&rdquo;</p>
+
+<p>§ <span class="scs">VI</span>. There is no occasion to examine, or endeavor to reconcile,
+these conflicting accounts. All that is necessary for the
+reader to know is, that every vestige of the church in which
+the ceremony took place was destroyed <i>at least</i> as early as
+1689; and that the ceremony itself, having been abolished in
+the close of the fourteenth century, is only to be conceived as
+taking place in that more ancient church, resembling St.
+Mark&rsquo;s, which, even according to Quadri, existed until that
+period. I would, therefore, endeavor to fix the reader&rsquo;s
+mind, for a moment, on the contrast between the former and
+latter aspect of this plot of ground; the former, when it had
+its Byzantine church, and its yearly procession of the Doge
+and the Brides; and the latter, when it has its Renaissance
+church &ldquo;in the style of Sansovino,&rdquo; and its yearly honoring is
+done away.</p>
+
+<p>§ <span class="scs">VII</span>. And, first, let us consider for a little the significance
+and nobleness of that early custom of the Venetians, which
+brought about the attack and the rescue of the year 943: that
+there should be but one marriage day for the nobles of the
+whole nation,<a name="FnAnchor_30" href="#Footnote_30"><span class="sp">30</span></a> so that all might rejoice together; and that
+the sympathy might be full, not only of the families who that
+year beheld the alliance of their children, and prayed for
+them in one crowd, weeping before the altar, but of all the
+families of the state, who saw, in the day which brought happiness
+to others, the anniversary of their own. Imagine the
+strong bond of brotherhood thus sanctified among them, and
+consider also the effect on the minds of the youth of the state;
+the greater deliberation and openness necessarily given to the
+contemplation of marriage, to which all the people were
+<span class="pagenum"><a name="page116"></a>116</span>
+solemnly to bear testimony; the more lofty and unselfish tone
+which it would give to all their thoughts. It was the exact
+contrary of stolen marriage. It was marriage to which God
+and man were taken for witnesses, and every eye was invoked
+for its glance, and every tongue for its prayers.<a name="FnAnchor_31" href="#Footnote_31"><span class="sp">31</span></a></p>
+
+<p>§ <span class="scs">VIII</span>. Later historians have delighted themselves in dwelling
+on the pageantry of the marriage day itself, but I do not
+find that they have authority for the splendor of their descriptions.
+I cannot find a word in the older Chronicles about the
+jewels or dress of the brides, and I believe the ceremony to
+have been more quiet and homely than is usually supposed.
+The only sentence which gives color to the usual accounts of
+it is one of Sansovino&rsquo;s, in which he says that the magnificent
+dress of the brides in his day was founded &ldquo;on ancient custom.&rdquo;<a name="FnAnchor_32" href="#Footnote_32"><span class="sp">32</span></a>
+However this may have been, the circumstances of
+the rite were otherwise very simple. Each maiden brought
+her dowry with her in a small &ldquo;cassetta,&rdquo; or chest; they
+went first to the cathedral, and waited for the youths, who
+having come, they heard mass together, and the bishop
+preached to them and blessed them: and so each bridegroom
+took his bride and her dowry and bore her home.</p>
+
+<p>§ <span class="scs">IX</span>. It seems that the alarm given by the attack of the
+<span class="pagenum"><a name="page117"></a>117</span>
+pirates put an end to the custom of fixing one day for all
+marriages: but the main objects of the institution were still
+attained by the perfect publicity given to the marriages of all
+the noble families; the bridegroom standing in the Court of
+the Ducal Palace to receive congratulations on his betrothal,
+and the whole body of the nobility attending the nuptials, and
+rejoicing, &ldquo;as at some personal good fortune; since, by the
+constitution of the state, they are for ever incorporated together,
+as if of one and the same family.&rdquo;<a name="FnAnchor_33" href="#Footnote_33"><span class="sp">33</span></a> But the festival
+of the 2nd of February, after the year 943, seems to have been
+observed only in memory of the deliverance of the brides, and
+no longer set apart for public nuptials.</p>
+
+<p>§ <span class="scs">X.</span> There is much difficulty in reconciling the various
+accounts, or distinguishing the inaccurate ones, of the manner
+of keeping this memorable festival. I shall first give Sansovino&rsquo;s,
+which is the popular one, and then note the points of
+importance in the counter-statements. Sansovino says that
+the success of the pursuit of the pirates was owing to the ready
+help and hard fighting of the men of the district of Sta. Maria
+Formosa, for the most part trunkmakers; and that they,
+having been presented after the victory to the Doge and the
+Senate, were told to ask some favor for their reward. &ldquo;The
+good men then said that they desired the Prince, with his
+wife and the Signory, to visit every year the church of their
+district, on the day of its feast. And the Prince asking them,
+&lsquo;Suppose it should rain?&rsquo; they answered, &lsquo;We will give you
+hats to cover you; and if you are thirsty, we will give you to
+drink.&rsquo; Whence is it that the Vicar, in the name of the people,
+presents to the Doge, on his visit, two flasks of malvoisie<a name="FnAnchor_34" href="#Footnote_34"><span class="sp">34</span></a> and
+two oranges; and presents to him two gilded hats, bearing the
+arms of the Pope, of the Prince, and of the Vicar. And thus
+was instituted the Feast of the Maries, which was called noble
+<span class="pagenum"><a name="page118"></a>118</span>
+and famous because the people from all round came together
+to behold it. And it was celebrated in this manner:....&rdquo; The
+account which follows is somewhat prolix; but its substance
+is, briefly, that twelve maidens were elected, two for each division
+of the city; and that it was decided by lot which contrade,
+or quarters of the town, should provide them with dresses.
+This was done at enormous expense, one contrada contending
+with another, and even the jewels of the treasury of St. Mark
+being lent for the occasion to the &ldquo;Maries,&rdquo; as the twelve
+damsels were called. They, being thus dressed with gold, and
+silver, and jewels, went in their galley to St. Mark&rsquo;s for the
+Doge, who joined them with the Signory, and went first to
+San Pietro di Castello to hear mass on St. Mark&rsquo;s day, the
+31st of January, and to Santa Maria Formosa on the 2nd of
+February, the intermediate day being spent in passing in
+procession through the streets of the city; &ldquo;and sometimes
+there arose quarrels about the places they should pass through,
+for every one wanted them to pass by his house.&rdquo;</p>
+
+<p>§ <span class="scs">XI.</span> Nearly the same account is given by Corner, who,
+however, does not say anything about the hats or the malvoisie.
+These, however, we find again in the Matricola de&rsquo; Casseleri,
+which, of course, sets the services of the trunkmakers and the
+privileges obtained by them in the most brilliant light. The
+quaintness of the old Venetian is hardly to be rendered into
+English. &ldquo;And you must know that the said trunkmakers
+were the men who were the cause of such victory, and of
+taking the galley, and of cutting all the Triestines to pieces,
+because, at that time, they were valiant men and well in order.
+The which victory was on the 2nd February, on the day of the
+Madonna of candles. And at the request and entreaties of the
+said trunkmakers, it was decreed that the Doge, every year,
+as long as Venice shall endure, should go on the eve of the
+said feast to vespers in the said church, with the Signory.
+And be it noted, that the vicar is obliged to give to the Doge
+two flasks of malvoisie, with two oranges besides. And so
+it is observed, and will be observed always.&rdquo; The reader
+must observe the continual confusion between St. Mark&rsquo;s day
+<span class="pagenum"><a name="page119"></a>119</span>
+the 31st of January, and Candlemas the 2nd of February.
+The fact appears to be, that the marriage day in the old
+republic was St. Mark&rsquo;s day, and the recovery of the brides
+was the same day at evening; so that, as we are told by
+Sansovino, the commemorative festival began on that day, but
+it was continued to the day of the Purification, that especial
+thanks might be rendered to the Virgin; and, the visit to
+Sta. Maria Formosa being the most important ceremony of the
+whole festival, the old chroniclers, and even Sansovino, got
+confused, and asserted the victory itself to have taken place
+on the day appointed for that pilgrimage.</p>
+
+<p>§ <span class="scs">XII.</span> I doubt not that the reader who is acquainted with
+the beautiful lines of Rogers is as much grieved as I am at the
+interference of the &ldquo;casket-makers&rdquo; with the achievement
+which the poet ascribes to the bridegrooms alone; an interference
+quite as inopportune as that of old Le Balafré with
+the victory of his nephew, in the unsatisfactory conclusion of
+&ldquo;Quentin Durward.&rdquo; I am afraid I cannot get the casket-makers
+quite out of the way; but it may gratify some of my
+readers to know that a chronicle of the year 1378, quoted by
+Galliciolli, denies the agency of the people of Sta. Maria
+Formosa altogether, in these terms: &ldquo;Some say that the people
+of Sta. M. Formosa were those who recovered the <i>spoil</i>
+(&ldquo;predra;&rdquo; I may notice, in passing, that most of the old
+chroniclers appear to consider the recovery of the <i>caskets</i>
+rather more a subject of congratulation than that of the
+brides), and that, for their reward, they asked the Doge and
+Signory to visit Sta. M. Formosa; but <i>this is false</i>. The
+going to Sta. M. Formosa was because the thing had succeeded
+on that day, and because this was then the only church in
+Venice in honor of the Virgin.&rdquo; But here is again the mistake
+about the day itself; and besides if we get rid altogether
+of the trunkmakers, how are we to account for the ceremony
+of the oranges and hats, of which the accounts seem authentic?
+If, however, the reader likes to substitute &ldquo;carpenters&rdquo; or
+&ldquo;house-builders&rdquo; for casket-makers, he may do so with great
+reason (vide Galliciolli, lib. ii. § 1758); but I fear that one or
+<span class="pagenum"><a name="page120"></a>120</span>
+the other body of tradesmen must be allowed to have had no
+small share in the honor of the victory.</p>
+
+<p>§ <span class="scs">XIII</span>. But whatever doubt attaches to the particular circumstances
+of its origin, there is none respecting the splendor
+of the festival itself, as it was celebrated for four centuries
+afterwards. We find that each contrada spent from 800 to
+1000 zecchins in the dress of the &ldquo;Maries&rdquo; entrusted to it;
+but I cannot find among how many contrade the twelve Maries
+were divided; it is also to be supposed that most of the
+accounts given refer to the later periods of the celebration of
+the festival. In the beginning of the eleventh century, the
+good Doge Pietro Orseolo II. left in his will the third of his
+entire fortune &ldquo;per la Festa della Marie;&rdquo; and, in the fourteenth
+century, so many people came from the rest of Italy to
+see it, that special police regulations were made for it, and the
+Council of Ten were twice summoned before it took place.<a name="FnAnchor_35" href="#Footnote_35"><span class="sp">35</span></a>
+The expense lavished upon it seems to have increased till the
+year 1379, when all the resources of the republic were required
+for the terrible war of Chiozza, and all festivity was for
+that time put an end to. The issue of the war left the Venetians
+with neither the power nor the disposition to restore the
+festival on its ancient scale, and they seem to have been
+ashamed to exhibit it in reduced splendor. It was entirely
+abolished.</p>
+
+<p>§ <span class="scs">XIV</span>. As if to do away even with its memory, every feature
+of the surrounding scene which was associated with that
+festival has been in succeeding ages destroyed. With one solitary
+exception,<a name="FnAnchor_36" href="#Footnote_36"><span class="sp">36</span></a> there is not a house left in the whole Piazza
+of Santa Maria Formosa from whose windows the festa of the
+Maries has ever been seen: of the church in which they worshipped,
+not a stone is left, even the form of the ground and
+direction of the neighboring canals are changed; and there is
+now but one landmark to guide the steps of the traveller to
+the place where the white cloud rested, and the shrine was
+<span class="pagenum"><a name="page121"></a>121</span>
+built to St. Mary the Beautiful. Yet the spot is still worth
+his pilgrimage, for he may receive a lesson upon it, though a
+painful one. Let him first fill his mind with the fair images
+of the ancient festival, and then seek that landmark the tower
+of the modern church, built upon the place where the daughters
+of Venice knelt yearly with her noblest lords; and let him
+look at the head that is carved on the base of the tower,<a name="FnAnchor_37" href="#Footnote_37"><span class="sp">37</span></a> still
+dedicated to St. Mary the Beautiful.</p>
+
+<p>§ <span class="scs">XV</span>. A head,&mdash;huge, inhuman, and monstrous,&mdash;leering in
+bestial degradation, too foul to be either pictured or described,
+or to be beheld for more than an instant: yet let it be endured
+for that instant; for in that head is embodied the type of the
+evil spirit to which Venice was abandoned in the fourth period
+of her decline; and it is well that we should see and feel the
+full horror of it on this spot, and know what pestilence it was
+that came and breathed upon her <span class="correction" title="changed from beaaty">beauty</span>, until it melted away
+like the white cloud from the ancient fields of Santa Maria
+Formosa.</p>
+
+<p>§ <span class="scs">XVI</span>. This head is one of many hundreds which disgrace
+the latest buildings of the city, all more or less agreeing in
+their expression of sneering mockery, in most cases enhanced
+by thrusting out the tongue. Most of them occur upon the
+bridges, which were among the very last works undertaken by
+the republic, several, for instance, upon the Bridge of Sighs;
+and they are evidences of a delight in the contemplation of
+bestial vice, and the expression of low sarcasm, which is, I believe,
+the most hopeless state into which the human mind can
+fall. This spirit of idiotic mockery is, as I have said, the most
+striking characteristic of the last period of the Renaissance,
+which, in consequence of the character thus imparted to its
+sculpture, I have called grotesque; but it must be our immediate
+task, and it will be a most interesting one, to distinguish
+between this base grotesqueness, and that magnificent condition
+of fantastic imagination, which was above noticed as one of the
+chief elements of the Northern Gothic mind. Nor is this a
+<span class="pagenum"><a name="page122"></a>122</span>
+question of interesting speculation merely: for the distinction
+between the true and false grotesque is one which the present
+tendencies of the English mind have rendered it practically
+important to ascertain; and that in a degree which, until he
+has made some progress in the consideration of the subject, the
+reader will hardly anticipate.</p>
+
+<p>§ <span class="scs">XVII</span>. But, first, I have to note one peculiarity in the late
+architecture of Venice, which will materially assist us in understanding
+the true nature of the spirit which is to be the subject
+of our inquiry; and this peculiarity, singularly enough, is
+first exemplified in the very façade of Santa Maria Formosa
+which is flanked by the grotesque head to which our attention
+has just been directed. This façade, whose architect is unknown,
+consists of a pediment, sustained on four Corinthian
+pilasters, and is, I believe, the earliest in Venice which appears
+<i>entirely destitute of every religious symbol, sculpture, or inscription</i>;
+unless the Cardinal&rsquo;s hat upon the shield in the
+centre of the impediment be considered a religious symbol.
+The entire façade is nothing else than a monument to the Admiral
+Vincenzo Cappello. Two tablets, one between each pair
+of flanking pillars, record his acts and honors; and, on the corresponding
+spaces upon the base of the church, are two circular
+trophies, composed of halberts, arrows, flags, tridents, helmets,
+and lances: sculptures which are just as valueless in a military
+as in an ecclesiastical point of view; for, being all copied from
+the forms of Roman arms and armor, they cannot even be referred
+to for information respecting the costume of the period.
+Over the door, as the chief ornament of the façade, exactly in
+the spot which in the &ldquo;barbarous&rdquo; St. Mark&rsquo;s is occupied by
+the figure of Christ, is the statue of Vincenzo Cappello, in
+Roman armor. He died in 1542; and we have, therefore, the
+latter part of the sixteenth century fixed as the period when, in
+Venice, churches were first built to the glory of man, instead
+of the glory of God.</p>
+
+<p>§ <span class="scs">XVIII</span>. Throughout the whole of Scripture history, nothing
+is more remarkable than the close connection of punishment
+with the sin of vain-glory. Every other sin is occasionally permitted
+<span class="pagenum"><a name="page123"></a>123</span>
+to remain, for lengthened periods, without definite
+chastisement; but the forgetfulness of God, and the claim of
+honor by man, as belonging to himself, are visited at once,
+whether in Hezekiah, Nebuchadnezzar, or Herod, with the
+most tremendous punishment. We have already seen, that the
+first reason for the fall of Venice was the manifestation of such
+a spirit; and it is most singular to observe the definiteness with
+which it is here marked,&mdash;as if so appointed, that it might be
+impossible for future ages to miss the lesson. For, in the long
+inscriptions<a name="FnAnchor_38" href="#Footnote_38"><span class="sp">38</span></a> which record the acts of Vincenzo Cappello, it
+might, at least, have been anticipated that some expressions
+would occur indicative of remaining pretence to religious feeling,
+or formal acknowledgement of Divine power. But there
+are none whatever. The name of God does not once occur;
+that of St. Mark is found only in the statement that Cappello
+was a procurator of the church: there is no word touching
+either on the faith or hope of the deceased; and the only sentence
+<span class="pagenum"><a name="page124"></a>124</span>
+which alludes to supernatural powers at all, alludes to
+them under the heathen name of <i>fates</i>, in its explanation of
+what the Admiral Cappello <i>would</i> have accomplished, &ldquo;nisi
+fata Christianis adversa vetuissent.&rdquo;</p>
+
+<p>§ <span class="scs">XIX</span>. Having taken sufficient note of all the baseness of
+mind which these facts indicate in the people, we shall not be
+surprised to find immediate signs of dotage in the conception
+of their architecture. The churches raised throughout this
+period are so grossly debased, that even the Italian critics of
+the present day, who are partially awakened to the true state
+of art in Italy, though blind, as yet, to its true cause, exhaust
+their terms of reproach upon these last efforts of the Renaissance
+builders. The two churches of San Moisè and Santa
+Maria Zobenigo, which are among the most remarkable in Venice
+for their manifestation of insolent atheism, are characterized by
+Lazari, the one as &ldquo;culmine d&rsquo;ogni follia architettonica,&rdquo; the
+other as &ldquo;orrido ammasso di pietra d&rsquo;Istria,&rdquo; with added expressions
+of contempt, as just as it is unmitigated.</p>
+
+<p>§ <span class="scs">XX</span>. Now both these churches, which I should like the
+reader to visit in succession, if possible, after that of Sta.
+Maria Formosa, agree with that church, and with each other,
+in being totally destitute of religious symbols, and entirely
+dedicated to the honor of two Venetian families. In San
+Moisè, a bust of Vincenzo Fini is set on a tall narrow pyramid,
+above the central door, with this marvellous inscription:</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr scs">
+<p class="ind03">&ldquo;OMNE FASTIGIVM</p>
+<p>VIRTVTE IMPLET</p>
+<p>VINCENTIVS FINI.&rdquo;</p>
+</div>
+</td></tr></table>
+
+<p>It is very difficult to translate this; for fastigium, besides
+its general sense, has a particular one in architecture, and refers
+to the part of the building occupied by the bust; but the main
+meaning of it is that &ldquo;Vincenzo Fini fills all height with his
+virtue.&rdquo; The inscription goes on into farther praise, but this example
+is enough. Over the two lateral doors are two other
+laudatory inscriptions of younger members of the Fini family,
+the dates of death of the three heroes being 1660, 1685, and
+1726, marking thus the period of consummate degradation.</p>
+
+<p><span class="pagenum"><a name="page125"></a>125</span></p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">III.</td>
+</tr>
+<tr>
+  <td class="figcenter">
+    <a name="plate_3"><img src="images/img125.jpg" width="650" height="396" alt="NOBLE AND IGNOBLE GROTESQUE." title="NOBLE AND IGNOBLE GROTESQUE." /></a></td>
+</tr>
+<tr>
+  <td class="caption">NOBLE AND IGNOBLE GROTESQUE.</td>
+</tr>
+</table>
+
+<p>§ <span class="scs">XXI</span>. In like manner, the Church of Santa Maria Zobenigo
+is entirely dedicated to the Barbaro family; the only religious
+symbols with which it is invested being statues of angels blowing
+brazen trumpets, intended to express the spreading of the
+fame of the Barbaro family in heaven. At the top of the
+church is Venice crowned, between Justice and Temperance,
+Justice holding a pair of grocer&rsquo;s scales, of iron, swinging in
+the wind. There is a two-necked stone eagle (the Barbaro
+crest), with a copper crown, in the centre of the pediment.
+A huge statue of a Barbaro in armor, with a fantastic head-dress,
+over the central door; and four Barbaros in niches, two
+on each side of it, strutting statues, in the common stage
+postures of the period,&mdash;Jo. Maria Barbaro, sapiens ordinum;
+Marinus Barbaro, Senator (reading a speech in a Ciceronian
+attitude); Franc. Barbaro, legatus in classe (in armor, with
+high-heeled boots, and looking resolutely fierce); and Carolus
+Barbaro, sapiens ordinum: the decorations of the façade being
+completed by two trophies, consisting of drums, trumpets, flags
+and cannon; and six plans, sculptured in relief, of the towns
+of Zara, Candia, Padua, Rome, Corfu, and Spalatro.</p>
+
+<p>§ <span class="scs">XXII</span>. When the traveller has sufficiently considered the
+meaning of this façade, he ought to visit the Church of St.
+Eustachio, remarkable for the dramatic effect of the group of
+sculpture on its façade, and then the Church of the Ospedaletto
+(see Index, under head Ospedaletto); noticing, on his
+way, the heads on the foundations of the Palazzo Corner della
+Regina, and the Palazzo Pesaro, and any other heads carved
+on the modern bridges, closing with those on the Bridge of
+Sighs.</p>
+
+<p>He will then have obtained a perfect idea of the style and
+feeling of the Grotesque Renaissance. I cannot pollute this
+volume by any illustration of its worst forms, but the head
+turned to the front, on the right-hand in the opposite Plate,
+will give the general reader an idea of its most graceful and
+refined developments. The figure set beside it, on the left, is
+a piece of noble grotesque, from fourteenth century Gothic;
+and it must be our present task to ascertain the nature of the
+<span class="pagenum"><a name="page126"></a>126</span>
+difference which exists between the two, by an accurate inquiry
+into the true essence of the grotesque spirit itself.</p>
+
+<p>§ <span class="scs">XXIII</span>. First, then, it seems to me that the grotesque is, in
+almost all cases, composed of two elements, one ludicrous, the
+other fearful; that, as one or other of these elements prevails,
+the grotesque falls into two branches, sportive grotesque and
+terrible grotesque; but that we cannot legitimately consider it
+under these two aspects, because there are hardly any examples
+which do not in some degree combine both elements;
+there are few grotesques so utterly playful as to be overcast
+with no shade of fearfulness, and few so fearful as absolutely
+to exclude all ideas of jest. But although we cannot
+separate the grotesque itself into two branches, we may easily
+examine separately the two conditions of mind which it seems
+to combine; and consider successively what are the kinds of
+jest, and what the kinds of fearfulness, which may be legitimately
+expressed in the various walks of art, and how their
+expressions actually occur in the Gothic and Renaissance
+schools.</p>
+
+<p>First, then, what are the conditions of playfulness which
+we may fitly express in noble art, or which (for this is the
+same thing) are consistent with nobleness in humanity? In
+other words, what is the proper function of play, with respect
+not to youth merely, but to all mankind?</p>
+
+<p>§ <span class="scs">XXIV</span>. It is a much more serious question than may be at
+first supposed; for a healthy manner of play is necessary in
+order to a healthy manner of work: and because the choice
+of our recreation is, in most cases, left to ourselves, while the
+nature of our work is generally fixed by necessity or authority,
+it may be well doubted whether more distressful consequences
+may not have resulted from mistaken choice in play than from
+mistaken direction in labor.</p>
+
+<p>§ <span class="scs">XXV</span>. Observe, however, that we are only concerned,
+here, with that kind of play which causes laughter or implies
+recreation, not with that which consists in the excitement of
+the energies whether of body or mind. Muscular exertion is,
+indeed, in youth, one of the conditions of recreation; &ldquo;but
+<span class="pagenum"><a name="page127"></a>127</span>
+neither the violent bodily labor which children of all ages
+agree to call play,&rdquo; nor the grave excitement of the mental
+faculties in games of skill or chance, are in anywise connected
+with the state of feeling we have here to investigate, namely,
+that sportiveness which man possesses in common with many
+inferior creatures, but to which his higher faculties give nobler
+expression in the various manifestations of wit, humor, and
+fancy.</p>
+
+<p>With respect to the manner in which this instinct of playfulness
+is indulged or repressed, mankind are broadly distinguishable
+into four classes: the men who play wisely; who
+play necessarily; who play inordinately; and who play not at
+all.</p>
+
+<p>§ <span class="scs">XXVI</span>. First: Those who play wisely. It is evident that
+the idea of any kind of play can only be associated with the
+idea of an imperfect, childish, and fatigable nature. As far
+as men can raise that nature, so that it shall no longer be interested
+by trifles or exhausted by toils, they raise it above
+play; he whose heart is at once fixed upon heaven, and open
+to the earth, so as to apprehend the importance of heavenly
+doctrines, and the compass of human sorrow, will have little
+disposition for jest; and exactly in proportion to the breadth
+and depth of his character and intellect, will be, in general,
+the incapability of surprise, or exuberant and sudden emotion,
+which must render play impossible. It is, however, evidently
+not intended that many men should even reach, far less pass
+their lives in, that solemn state of thoughtfulness, which
+brings them into the nearest brotherhood with their Divine
+Master; and the highest and healthiest state which is competent
+to ordinary humanity appears to be that which, accepting
+the necessity of recreation, and yielding to the impulses of
+natural delight springing out of health and innocence, does,
+indeed, condescend often to playfulness, but never without
+such deep love of God, of truth, and of humanity, as shall
+make even its slightest words reverent, its idlest fancies profitable,
+and its keenest satire indulgent. Wordsworth and
+Plato furnish us with, perhaps, the finest and highest examples
+<span class="pagenum"><a name="page128"></a>128</span>
+of this playfulness: in the one case, unmixed with satire,
+the perfectly simple effusion of that spirit&mdash;in</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+<p class="ind03">&ldquo;Which gives to all the self-same bent,</p>
+<p>Whose life is wise, and innocent;&rdquo;</p>
+</div>
+</td></tr></table>
+
+<p>Plato, and, by the by, in a very wise book of our own
+times, not unworthy of being named in such companionship,
+&ldquo;Friends in Council,&rdquo; mingled with an exquisitely tender and
+loving satire.</p>
+
+<p>§ <span class="scs">XXVII</span>. Secondly: The men who play necessarily. That
+highest species of playfulness, which we have just been considering,
+is evidently the condition of a mind, not only highly
+cultivated, but so habitually trained to intellectual labor that
+it can bring a considerable force of accurate thought into its
+moments even of recreation. This is not possible, unless so
+much repose of mind and heart are enjoyed, even at the
+periods of greatest exertion, that the rest required by the system
+is diffused over the whole life. To the majority of mankind,
+such a state is evidently unattainable. They must, perforce,
+pass a large part of their lives in employments both irksome
+and toilsome, demanding an expenditure of energy which exhausts
+the system, and yet consuming that energy upon subjects
+incapable of interesting the nobler faculties. When such
+employments are intermitted, those noble instincts, fancy,
+imagination, and curiosity, are all hungry for the food which
+the labor of the day has denied to them, while yet the weariness
+of the body, in a great degree, forbids their application
+to any serious subject. They therefore exert themselves without
+any determined purpose, and under no vigorous restraint,
+but gather, as best they may, such various nourishment, and
+put themselves to such fantastic exercise, as may soonest indemnify
+them for their past imprisonment, and prepare them
+to endure their recurrence. This sketching of the mental
+limbs as their fetters fall away,&mdash;this leaping and dancing of
+the heart and intellect, when they are restored to the fresh air
+of heaven, yet half paralyzed by their captivity, and unable to
+turn themselves to any earnest purpose,&mdash;I call necessary play.
+<span class="pagenum"><a name="page129"></a>129</span>
+It is impossible to exaggerate its importance, whether in polity,
+or in art.</p>
+
+<p>§ <span class="scs">XXVIII</span>. Thirdly: The men who play inordinately. The
+most perfect state of society which, consistently with due understanding
+of man&rsquo;s nature, it may be permitted us to conceive,
+would be one in which the whole human race were
+divided, more or less distinctly, into workers and thinkers; that
+is to say, into the two classes, who only play wisely, or play
+necessarily. But the number and the toil of the working class
+are enormously increased, probably more than doubled, by the
+vices of the men who neither play wisely nor necessarily, but
+are enabled by circumstances, and permitted by their want of
+principle, to make amusement the object of their existence.
+There is not any moment of the lives of such men which is
+not injurious to others; both because they leave the work undone
+which was appointed for them, and because they necessarily
+think wrongly, whenever it becomes compulsory upon
+them to think at all. The greater portion of the misery of
+this world arises from the false opinions of men whose idleness
+has physically incapacitated them from forming true ones.
+Every duty which we omit obscures some truth which we
+should have known; and the guilt of a life spent in the pursuit
+of pleasure is twofold, partly consisting in the perversion
+of action, and partly in the dissemination of falsehood.</p>
+
+<p>§ <span class="scs">XXIX</span>. There is, however, a less criminal, though hardly
+less dangerous condition of mind; which, though not failing
+in its more urgent duties, fails in the finer conscientiousness
+which regulates the degree, and directs the choice, of amusement,
+at those times when amusement is allowable. The most
+frequent error in this respect is the want of reverence in approaching
+subjects of importance or sacredness, and of caution
+in the expression of thoughts which may encourage like irreverence
+in others: and these faults are apt to gain upon the
+mind until it becomes habitually more sensible to what is ludicrous
+and accidental, than to what is grave and essential, in
+any subject that is brought before it; or even, at last, desires
+to perceive or to know nothing but what may end in jest.
+<span class="pagenum"><a name="page130"></a>130</span>
+Very generally minds of this character are active and able;
+and many of them are so far conscientious, that they believe
+their jesting forwards their work. But it is difficult to calculate
+the harm they do, by destroying the reverence which is
+our best guide into all truth; for weakness and evil are easily
+visible, but greatness and goodness are often latent; and we do
+infinite mischief by exposing weakness to eyes which cannot
+comprehend greatness. This error, however, is more connected
+with abuses of the satirical than of the playful instinct; and I
+shall have more to say of it presently.</p>
+
+<p>§ <span class="scs">XXX</span>. Lastly: The men who do not play at all: those
+who are so dull or so morose as to be incapable of inventing or
+enjoying jest, and in whom care, guilt, or pride represses all
+healthy exhilaration of the fancy; or else men utterly oppressed
+with labor, and driven too hard by the necessities of
+the world to be capable of any species of happy relaxation.</p>
+
+<p>§ <span class="scs">XXXI</span>. We have now to consider the way in which the presence
+or absence of joyfulness, in these several classes, is expressed
+in art.</p>
+
+<p>1. Wise play. The first and noblest class hardly ever
+speak through art, except seriously; they feel its nobleness
+too profoundly, and value the time necessary for its production
+too highly, to employ it in the rendering of trivial
+thoughts. The playful fancy of a moment may innocently be
+expressed by the passing word; but he can hardly have
+learned the preciousness of life, who passes days in the elaboration
+of a jest. And, as to what regards the delineation of
+human character, the nature of all noble art is to epitomize and
+embrace so much at once, that its subject can never be altogether
+ludicrous; it must possess all the solemnities of the
+whole, not the brightness of the partial, truth. For all truth
+that makes us smile is partial. The novelist amuses us by his
+relation of a particular incident; but the painter cannot set
+any one of his characters before us without giving some glimpse
+of its whole career. That of which the historian informs us
+in successive pages, it is the task of the painter to inform us of
+at once, writing upon the countenance not merely the expression
+<span class="pagenum"><a name="page131"></a>131</span>
+of the moment, but the history of the life: and the history of
+a life can never be a jest.</p>
+
+<p>Whatever part, therefore, of the sportive energy of these
+men of the highest class would be expressed in verbal wit or
+humor finds small utterance through their art, and will assuredly
+be confined, if it occur there at all, to scattered and
+trivial incidents. But so far as their minds can recreate
+themselves by the imagination of strange, yet not laughable,
+forms, which, either in costume, in landscape, or in any other
+accessaries, may be combined with those necessary for their
+more earnest purposes, we find them delighting in such inventions;
+and a species of grotesqueness thence arising in all their
+work, which is indeed one of its most valuable characteristics,
+but which is so intimately connected with the sublime or terrible
+form of the grotesque, that it will be better to notice it
+under that head.</p>
+
+<p>§ <span class="scs">XXXII</span>. 2. Necessary play. I have dwelt much in a
+former portion of this work, on the justice and desirableness
+of employing the minds of inferior workmen, and of the lower
+orders in general, in the production of objects of art of one
+kind or another. So far as men of this class are compelled to
+hard manual labor for their daily bread, so far forth their
+artistical efforts must be rough and ignorant, and their artistical
+perceptions comparatively dull. Now it is not possible,
+with blunt perceptions and rude hands, to produce works
+which shall be pleasing by their beauty; but it is perfectly
+possible to produce such as shall be interesting by their character
+or amusing by their satire. For one hard-working man
+who possesses the finer instincts which decide on perfection of
+lines and harmonies of color, twenty possess dry humor or
+quaint fancy; not because these faculties were originally given
+to the human race, or to any section of it, in greater degree
+than the sense of beauty, but because these are exercised in
+our daily intercourse with each other, and developed by the
+interest which we take in the affairs of life, while the others
+are not. And because, therefore, a certain degree of success will
+probably attend the effort to express this humor or fancy, while
+<span class="pagenum"><a name="page132"></a>132</span>
+comparative failure will assuredly result from an ignorant
+struggle to reach the forms of solemn beauty, the working-man,
+who turns his attention partially to art, will probably,
+and wisely, choose to do that which he can do best, and indulge
+the pride of an effective satire rather than subject himself to
+assured mortification in the pursuit of beauty; and this the
+more, because we have seen that his application to art is to be
+playful and recreative, and it is not in recreation that the conditions
+of perfection can be fulfilled.</p>
+
+<p>§ <span class="scs">XXXIII</span>. Now all the forms of art which result from the
+comparatively recreative exertion of minds more or less blunted
+or encumbered by other cares and toils, the art which we may
+call generally art of the wayside, as opposed to that which is
+the business of men&rsquo;s lives, is, in the best sense of the word,
+Grotesque. And it is noble or inferior, first, according to the
+tone of the minds which have produced it, and in proportion
+to their knowledge, wit, love of truth, and kindness; secondly,
+according to the degree of strength they have been able to
+give forth; but yet, however much we may find in it needing
+to be forgiven, always delightful so long as it is the work of
+good and ordinarily intelligent men. And its delightfulness
+ought mainly to consist <i>in those very imperfections</i> which
+mark it for work done in times of rest. It is not its own
+merit so much as the enjoyment of him who produced it,
+which is to be the source of the spectator&rsquo;s pleasure; it is to
+the strength of his sympathy, not to the accuracy of his criticism,
+that it makes appeal; and no man can indeed be a lover
+of what is best in the higher walks of art, who has not feeling
+and charity enough to rejoice with the rude sportiveness of
+hearts that have escaped out of prison, and to be thankful for
+the flowers which men have laid their burdens down to sow by
+the wayside.</p>
+
+<p>§ <span class="scs">XXXIV</span>. And consider what a vast amount of human work
+this right understanding of its meaning will make fruitful and
+admirable to us, which otherwise we could only have passed
+by with contempt. There is very little architecture in the
+world which is, in the full sense of the words, good and noble.
+<span class="pagenum"><a name="page133"></a>133</span>
+A few pieces of Italian Gothic and Romanesque, a few scattered
+fragments of Gothic cathedrals, and perhaps two or
+three of Greek temples, are all that we possess approaching
+to an ideal of perfection. All the rest&mdash;Egyptian, Norman,
+Arabian, and most Gothic, and, which is very noticeable, for
+the most part all the strongest and mightiest&mdash;depend for their
+power on some developement of the grotesque spirit; but
+much more the inferior domestic architecture of the middle
+ages, and what similar conditions remain to this day in countries
+from which the life of art has not yet been banished by
+its laws. The fantastic gables, built up in scroll-work and
+steps, of the Flemish street; the pinnacled roofs set with
+their small humorist double windows, as if with so many ears
+and eyes, of Northern France; the blackened timbers, crossed
+and carved into every conceivable waywardness of imagination,
+of Normandy and old England; the rude hewing of the
+pine timbers of the Swiss cottage; the projecting turrets and
+bracketed oriels of the German street; these, and a thousand
+other forms, not in themselves reaching any high degree of
+excellence, are yet admirable, and most precious, as the fruits
+of a rejoicing energy in uncultivated minds. It is easier to
+take away the energy, than to add the cultivation; and the
+only effect of the better knowledge which civilized nations
+now possess, has been, as we have seen in a former chapter,
+to forbid their being happy, without enabling them to be
+great.</p>
+
+<p>§ <span class="scs">XXXV</span>. It is very necessary, however, with respect to this
+provincial or rustic architecture, that we should carefully distinguish
+its truly grotesque from its picturesque elements. In
+the &ldquo;Seven Lamps&rdquo; I defined the picturesque to be &ldquo;parasitical
+sublimity,&rdquo; or sublimity belonging to the external or accidental
+characters of a thing, not to the thing itself. For
+instance, when a highland cottage roof is covered with fragments
+of shale instead of slates, it becomes picturesque, because
+the irregularity and rude fractures of the rocks, and
+their grey and gloomy color, give to it something of the
+savageness, and much of the general aspect, of the slope of a
+<span class="pagenum"><a name="page134"></a>134</span>
+mountain side. But as a mere cottage roof, it cannot be sublime,
+and whatever sublimity it derives from the wildness or
+sternness which the mountains have given it in its covering,
+is, so far forth, parasitical. The mountain itself would have
+been grand, which is much more than picturesque; but the
+cottage cannot be grand as such, and the parasitical grandeur
+which it may possess by accidental qualities, is the character
+for which men have long agreed to use the inaccurate word
+&ldquo;Picturesque.&rdquo;</p>
+
+<p>§ <span class="scs">XXXVI</span>. On the other hand, beauty cannot be parasitical.
+There is nothing so small or so contemptible, but it may be
+beautiful in its own right. The cottage may be beautiful, and
+the smallest moss that grows on its roof, and the minutest
+fibre of that moss which the microscope can raise into visible
+form, and all of them in their own right, not less than the
+mountains and the sky; so that we use no peculiar term to
+express their beauty, however diminutive, but only when the
+sublime element enters, without sufficient worthiness in the
+nature of the thing to which it is attached.</p>
+
+<p>§ <span class="scs">XXXVII</span>. Now this picturesque element, which is always
+given, if by nothing else, merely by ruggedness, adds usually
+very largely to the pleasurableness of grotesque work, especially
+to that of its inferior kinds; but it is not for this reason
+to be confounded with the grotesqueness itself. The knots
+and rents of the timbers, the irregular lying of the shingles on
+the roofs, the vigorous light and shadow, the fractures and
+weather-stains of the old stones, which were so deeply loved
+and so admirably rendered by our lost Prout, are the picturesque
+elements of the architecture: the grotesque ones are
+those which are not produced by the working of nature and
+of time, but exclusively by the fancy of man; and, as also for
+the most part by his indolent and uncultivated fancy, they are
+always, in some degree, wanting in grandeur, unless the picturesque
+element be united with them.</p>
+
+<p>§ <span class="scs">XXXVIII</span>. 3. Inordinate play. The reader will have some
+difficulty, I fear, in keeping clearly in his mind the various
+divisions of our subject; but, when he has once read the
+<span class="pagenum"><a name="page135"></a>135</span>
+chapter through, he will see their places and coherence. We
+have next to consider the expression throughout of the minds
+of men who indulge themselves in unnecessary play. It is
+evident that a large number of these men will be more refined
+and more highly educated than those who only play necessarily;
+the power of pleasure-seeking implies, in general, fortunate
+circumstances of life. It is evident also that their play
+will not be so hearty, so simple, or so joyful; and this
+deficiency of brightness will affect it in proportion to its
+unnecessary and unlawful continuance, until at last it becomes
+a restless and dissatisfied indulgence in excitement, or a painful
+delving after exhausted springs of pleasure.</p>
+
+<p>The art through which this temper is expressed will, in all
+probability, be refined and sensual,&mdash;therefore, also, assuredly
+feeble; and because, in the failure of the joyful energy of the
+mind, there will fail, also, its perceptions and its sympathies,
+it will be entirely deficient in expression of character, and
+acuteness of thought, but will be peculiarly restless, manifesting
+its desire for excitement in idle changes of subject and
+purpose. Incapable of true imagination, it will seek to supply
+its place by exaggerations, incoherencies, and monstrosities;
+and the form of the grotesque to which it gives rise
+will be an incongruous chain of hackneyed graces, idly thrown
+together,&mdash;prettinesses or sublimities, not of its own invention,
+associated in forms which will be absurd without being
+fantastic, and monstrous without being terrible. And because,
+in the continual pursuit of pleasure, men lose both cheerfulness
+and charity, there will be small hilarity, but much malice,
+in this grotesque; yet a weak malice, incapable of expressing
+its own bitterness, not having grasp enough of truth to
+become forcible, and exhausting itself in impotent or disgusting
+caricature.</p>
+
+<p>§ <span class="scs">XXXIX</span>. Of course, there are infinite ranks and kinds of
+this grotesque, according to the natural power of the minds
+which originate it, and to the degree in which they have lost
+themselves. Its highest condition is that which first developed
+itself among the enervated Romans, and which was brought
+<span class="pagenum"><a name="page136"></a>136</span>
+to the highest perfection of which it was capable, by Raphael,
+in the arabesques of the Vatican. It may be generally described
+as an elaborate and luscious form of nonsense. Its
+lower conditions are found in the common upholstery and
+decorations which, over the whole of civilized Europe, have
+sprung from this poisonous root; an artistical pottage, composed
+of nymphs, cupids, and satyrs, with shreddings of heads
+and paws of meek wild beasts, and nondescript vegetables.
+And the lowest of all are those which have not even graceful
+models to recommend them, but arise out of the corruption
+of the higher schools, mingled with clownish or bestial satire,
+as is the case in the latter Renaissance of Venice, which we
+were above examining. It is almost impossible to believe the
+depth to which the human mind can be debased in following
+this species of grotesque. In a recent Italian garden, the
+favorite ornaments frequently consist of stucco images, representing,
+in dwarfish caricature, the most disgusting types of
+manhood and womanhood which can be found amidst the
+dissipation of the modern drawingroom; yet without either
+veracity or humor, and dependent, for whatever interest they
+possess, upon simple grossness of expression and absurdity of
+costume. Grossness, of one kind or another, is, indeed, an
+unfailing characteristic of the style; either latent, as in the
+refined sensuality of the more graceful arabesques, or, in the
+worst examples, manifested in every species of obscene conception
+and abominable detail. In the head, described in the
+opening of this chapter, at Santa Maria Formosa, the <i>teeth</i> are
+represented as <i>decayed</i>.</p>
+
+<p>§ <span class="scs">XL</span>. 4. The minds of the fourth class of men who do not
+play at all, are little likely to find expression in any trivial
+form of art, except in bitterness of mockery; and this character
+at once stamps the work in which it appears, as belonging
+to the class of terrible, rather than of playful, grotesque. We
+have, therefore, now to examine the state of mind which gave
+rise to this second and more interesting branch of imaginative
+work.</p>
+
+<p>§ <span class="scs">XLI</span>. Two great and principal passions are evidently appointed
+<span class="pagenum"><a name="page137"></a>137</span>
+by the Deity to rule the life of man; namely, the love
+of God, and the fear of sin, and of its companion&mdash;Death.
+How many motives we have for Love, how much there is in
+the universe to kindle our admiration and to claim our gratitude,
+there are, happily, multitudes among us who both feel
+and teach. But it has not, I think, been sufficiently considered
+how evident, throughout the system of creation, is the purpose
+of God that we should often be affected by Fear; not the sudden,
+selfish, and contemptible fear of immediate danger, but
+the fear which arises out of the contemplation of great powers
+in destructive operation, and generally from the perception of
+the presence of death. Nothing appears to me more remarkable
+than the array of scenic magnificence by which the imagination
+is appalled, in myriads of instances, when the actual
+danger is comparatively small; so that the utmost possible
+impression of awe shall be produced upon the minds of all,
+though direct suffering is inflicted upon few. Consider, for
+instance, the moral effect of a single thunder-storm. Perhaps
+two or three persons may be struck dead within the space of a
+hundred square miles; and their deaths, unaccompanied by
+the scenery of the storm, would produce little more than a
+momentary sadness in the busy hearts of living men. But
+the preparation for the Judgment by all that mighty gathering
+of clouds; by the questioning of the forest leaves, in their
+terrified stillness, which way the winds shall go forth; by the
+murmuring to each other, deep in the distance, of the destroying
+angels before they draw forth their swords of fire; by the
+march of the funeral darkness in the midst of the noon-day,
+and the rattling of the dome of heaven beneath the chariot-wheels
+of death;&mdash;on how many minds do not these produce
+an impression almost as great as the actual witnessing of the
+fatal issue! and how strangely are the expressions of the
+threatening elements fitted to the apprehension of the human
+soul! The lurid color, the long, irregular, convulsive sound,
+the ghastly shapes of flaming and heaving cloud, are all as
+true and faithful in their appeal to our instinct of danger, as
+the moaning or wailing of the human voice itself is to our
+<span class="pagenum"><a name="page138"></a>138</span>
+instinct of pity. It is not a reasonable calculating terror which
+they awake in us; it is no matter that we count distance by
+seconds, and measure probability by averages. That shadow of
+the thunder-cloud will still do its work upon our hearts, and
+we shall watch its passing away as if we stood upon the
+threshing-floor of Araunah.</p>
+
+<p>§ <span class="scs">XLII</span>. And this is equally the case with respect to all the
+other destructive phenomena of the universe. From the
+mightiest of them to the gentlest, from the earthquake to the
+summer shower, it will be found that they are attended by
+certain aspects of threatening, which strike terror into the
+hearts of multitudes more numerous a thousandfold than those
+who actually suffer from the ministries of judgment; and
+that, besides the fearfulness of these immediately dangerous
+phenomena, there is an occult and subtle horror belonging to
+many aspects of the creation around us, calculated often to fill
+us with serious thought, even in our times of quietness and
+peace. I understand not the most dangerous, because most
+attractive form of modern infidelity, which, pretending to
+exalt the beneficence of the Deity, degrades it into a reckless
+infinitude of mercy, and blind obliteration of the work of sin;
+and which does this chiefly by dwelling on the manifold appearances
+of God&rsquo;s kindness on the face of creation. Such
+kindness is indeed everywhere and always visible; but not
+alone. Wrath and threatening are invariably mingled with
+the love; and in the utmost solitudes of nature, the existence
+of Hell seems to me as legibly declared by a thousand spiritual
+utterances, as that of Heaven. It is well for us to dwell with
+thankfulness on the unfolding of the flower, and the falling of
+the dew, and the sleep of the green fields in the sunshine; but
+the blasted trunk, the barren rock, the moaning of the bleak
+winds, the roar of the black, perilous, merciless whirlpools of
+the mountain streams, the solemn solitudes of moors and seas,
+the continual fading of all beauty into darkness, and of all
+strength into dust, have these no language for us? We may
+seek to escape their teaching by reasonings touching the good
+which is wrought out of all evil; but it is vain sophistry.
+<span class="pagenum"><a name="page139"></a>139</span>
+The good succeeds to the evil as day succeeds the night, but
+so also the evil to the good. Gerizim and Ebal, birth and
+death, light and darkness, heaven and hell, divide the existence
+of man, and his Futurity.<a name="FnAnchor_39" href="#Footnote_39"><span class="sp">39</span></a></p>
+
+<p>§ <span class="scs">XLIII</span>. And because the thoughts of the choice we have
+to make between these two, ought to rule us continually, not
+so much in our own actions (for these should, for the most
+part, be governed by settled habit and principle) as in our
+manner of regarding the lives of other men, and our own
+responsibilities with respect to them; therefore, it seems to
+me that the healthiest state into which the human mind can
+be brought is that which is capable of the greatest love, and
+the greatest awe: and this we are taught even in our times
+of rest; for when our minds are rightly in tone, the merely
+pleasurable excitement which they seek with most avidity is
+that which rises out of the contemplation of beauty or of terribleness.
+We thirst for both, and, according to the height
+and tone of our feeling, desire to see them in noble or inferior
+forms. Thus there is a Divine beauty, and a terribleness or
+sublimity coequal with it in rank, which are the subjects of
+the highest art; and there is an inferior or ornamental beauty,
+and an inferior terribleness coequal with it in rank, which are
+the subjects of grotesque art. And the state of mind in which
+the terrible form of the grotesque is developed, is that which
+in some irregular manner, dwells upon certain conditions of
+terribleness, into the complete depth of which it does not
+enter for the time.</p>
+
+<p>§ <span class="scs">XLIV</span>. Now the things which are the proper subjects of
+human fear are twofold; those which have the power of
+Death, and those which have the nature of Sin. Of which
+there are many ranks, greater or less in power and vice, from
+the evil angels themselves down to the serpent which is their
+<span class="pagenum"><a name="page140"></a>140</span>
+type, and which though of a low and contemptible class,
+appears to unite the deathful and sinful natures in the most
+clearly visible and intelligible form; for there is nothing else
+which we know, of so small strength and occupying so unimportant
+a place in the economy of creation, which yet is so
+mortal and so malignant. It is, then, on these two classes of
+objects that the mind fixes for its excitement, in that mood
+which gives rise to the terrible grotesque; and its subject will
+be found always to unite some expression of vice and danger,
+but regarded in a peculiar temper; sometimes (<span class="scs">A</span>) of predetermined
+or involuntary apathy, sometimes (<span class="scs">B</span>) of mockery, sometimes
+(<span class="scs">C</span>) of diseased and ungoverned imaginativeness.</p>
+
+<p>§ <span class="scs">XLV</span>. For observe, the difficulty which, as I above stated,
+exists in distinguishing the playful from the terrible grotesque
+arises out of this cause; that the mind, under certain phases
+of excitement, <i>plays</i> with <i>terror</i>, and summons images which,
+if it were in another temper, would be awful, but of which,
+either in weariness or in irony, it refrains for the time to
+acknowledge the true terribleness. And the mode in which
+this refusal takes place distinguishes the noble from the ignoble
+grotesque. For the master of the noble grotesque knows
+the depth of all at which he seems to mock, and would feel
+it at another time, or feels it in a certain undercurrent of
+thought even while he jests with it; but the workman of the
+ignoble grotesque can feel and understand nothing, and mocks
+at all things with the laughter of the idiot and the cretin.</p>
+
+<p>To work out this distinction completely is the chief difficulty
+in our present inquiry; and, in order to do so, let us
+consider the above-named three conditions of mind in succession,
+with relation to objects of terror.</p>
+
+<p>§ <i>XLVI</i>. (<span class="scs">A</span>). Involuntary or predetermined apathy. We
+saw above that the grotesque was produced, chiefly in subordinate
+or ornamental art, by rude, and in some degree uneducated
+men, and in their times of rest. At such times, and in
+such subordinate work, it is impossible that they should represent
+any solemn or terrible subject with a full and serious
+entrance into its feeling. It is not in the languor of a leisure
+<span class="pagenum"><a name="page141"></a>141</span>
+hour that a man will set his whole soul to conceive the means
+of representing some important truth, nor to the projecting
+angle of a timber bracket that he would trust its representation,
+if conceived. And yet, in this languor, and in this
+trivial work, he must find some expression of the serious part
+of his soul, of what there is within him capable of awe, as well
+as of love. The more noble the man is, the more impossible
+it will be for him to confine his thoughts to mere loveliness,
+and that of a low order. Were his powers and his time unlimited,
+so that, like Frà Angelico, he could paint the Seraphim,
+in that order of beauty he could find contentment, bringing
+down heaven to earth. But by the conditions of his being, by
+his hard-worked life, by his feeble powers of execution, by the
+meanness of his employment and the languor of his heart, he
+is bound down to earth. It is the world&rsquo;s work that he is
+doing, and world&rsquo;s work is not to be done without fear. And
+whatever there is of deep and eternal consciousness within
+him, thrilling his mind with the sense of the presence of sin
+and death around him, must be expressed in that slight work,
+and feeble way, come of it what will. He cannot forget it,
+among all that he sees of beautiful in nature; he may not
+bury himself among the leaves of the violet on the rocks, and
+of the lily in the glen, and twine out of them garlands of perpetual
+gladness. He sees more in the earth than these,&mdash;misery
+and wrath, and discordance, and danger, and all the work
+of the dragon and his angels; this he sees with too deep feeling
+ever to forget. And though when he returns to his idle
+work,&mdash;it may be to gild the letters upon the page, or to carve
+the timbers of the chamber, or the stones of the pinnacle,&mdash;he
+cannot give his strength of thought any more to the woe or to
+the danger, there is a shadow of them still present with him:
+and as the bright colors mingle beneath his touch, and the fair
+leaves and flowers grow at his bidding, strange horrors and
+phantasms rise by their side; grisly beasts and venomous serpents,
+and spectral fiends and nameless inconsistencies of ghastly
+life, rising out of things most beautiful, and fading back into
+them again, as the harm and the horror of life do out of its
+<span class="pagenum"><a name="page142"></a>142</span>
+happiness. He has seen these things; he wars with them
+daily; he cannot but give them their part in his work, though
+in a state of comparative apathy to them at the time. He is
+but carving and gilding, and must not turn aside to weep; but
+he knows that hell is burning on, for all that, and the smoke
+of it withers his oak-leaves.</p>
+
+<p>§ <span class="scs">XLVII</span>. Now, the feelings which give rise to the false or
+ignoble grotesque, are exactly the reverse of these. In the
+true grotesque, a man of naturally strong feeling is accidentally
+or resolutely apathetic; in the false grotesque, a man naturally
+apathetic is forcing himself into temporary excitement. The
+horror which is expressed by the one, comes upon him whether
+he will or not; that which is expressed by the other, is sought
+out by him, and elaborated by his art. And therefore, also,
+because the fear of the one is true, and of true things, however
+fantastic its expression may be, there will be reality in it, and
+force. It is not a manufactured terribleness, whose author,
+when he had finished it, knew not if it would terrify any one
+else or not: but it is a terribleness taken from the life; a
+spectre which the workman indeed saw, and which, as it appalled
+him, will appal us also. But the other workman never
+felt any Divine fear; he never shuddered when he heard the
+cry from the burning towers of the earth,</p>
+
+<p class="poemss">&ldquo;Venga Medusa; sì lo farem di smalto.&rdquo;</p>
+
+<p>He is stone already, and needs no gentle hand laid upon his
+eyes to save him.</p>
+
+<p>§ <span class="scs">XLVIII</span>. I do not mean what I say in this place to apply to
+the creations of the imagination. It is not as the creating but
+as the <i>seeing</i> man, that we are here contemplating the master
+of the true grotesque. It is because the dreadfulness of the
+universe around him weighs upon his heart, that his work is
+wild; and therefore through the whole of it we shall find the
+evidence of deep insight into nature. His beasts and birds,
+however monstrous, will have profound relations with the true.
+He may be an ignorant man, and little acquainted with the
+laws of nature; he is certainly a busy man, and has not much
+<span class="pagenum"><a name="page143"></a>143</span>
+time to watch nature; but he never saw a serpent cross his
+path, nor a bird flit across the sky, nor a lizard bask upon a
+stone, without learning so much of the sublimity and inner
+nature of each as will not suffer him thenceforth to conceive
+them coldly. He may not be able to carve plumes or scales
+well; but his creatures will bite and fly, for all that. The ignoble
+workman is the very reverse of this. He never felt,
+never looked at nature; and if he endeavor to imitate the
+work of the other, all his touches will be made at random, and
+all his extravagances will be ineffective; he may knit brows,
+and twist lips, and lengthen beaks, and sharpen teeth, but it
+will be all in vain. He may make his creatures disgusting, but
+never fearful.</p>
+
+<p>§ <span class="scs">XLIX</span>. There is, however, often another cause of difference
+than this. The true grotesque being the expression of the <i>repose</i>
+or play of a <i>serious</i> mind, there is a false grotesque opposed
+to it, which is the result of the <i>full exertion</i> of a <i>frivolous</i>
+one. There is much grotesque which is wrought out with
+exquisite care and pains, and as much labor given to it as if it
+were of the noblest subject; so that the workman is evidently
+no longer apathetic, and has no excuse for unconnectedness of
+thought, or sudden unreasonable fear. If he awakens horror
+now, it ought to be in some truly sublime form. His strength
+is in his work; and he must not give way to sudden humor,
+and fits of erratic fancy. If he does so, it must be because his
+mind is naturally frivolous, or is for the time degraded into the
+deliberate pursuit of frivolity. And herein lies the real distinction
+between the base grotesque of Raphael and the Renaissance,
+above alluded to, and the true Gothic grotesque.
+Those grotesques or arabesques of the Vatican, and other such
+work, which have become the patterns of ornamentation in
+modern times, are the fruit of great minds degraded to base
+objects. The care, skill, and science, applied to the distribution
+of the leaves, and the drawing of the figures, are intense,
+admirable, and accurate; therefore, they ought to have produced
+a grand and serious work, not a tissue of nonsense. If
+we can draw the human head perfectly, and are masters of its
+<span class="pagenum"><a name="page144"></a>144</span>
+expression and its beauty, we have no business to cut it off, and
+hang it up by the hair at the end of a garland. If we can draw
+the human body in the perfection of its grace and movement,
+we have no business to take away its limbs, and terminate it
+with a bunch of leaves. Or rather our doing so will imply
+that there is something wrong with us; that, if we can consent
+to use our best powers for such base and vain trifling, there
+must be something wanting in the powers themselves; and
+that, however skilful we may be, or however learned, we are
+wanting both in the earnestness which can apprehend a noble
+truth, and in the thoughtfulness which can feel a noble fear.
+No Divine terror will ever be found in the work of the man
+who wastes a colossal strength in elaborating toys; for the first
+lesson which that terror is sent to teach us, is the value of the
+human soul, and the shortness of mortal time.</p>
+
+<p>§ <span class="scs">L</span>. And are we never, then, it will be asked, to possess a
+refined or perfect ornamentation? Must all decoration be
+the work of the ignorant and the rude? Not so; but exactly
+in proportion as the ignorance and rudeness diminish, must the
+ornamentation become rational, and the grotesqueness disappear.
+The noblest lessons may be taught in ornamentation,
+the most solemn truths compressed into it. The Book of
+Genesis, in all the fulness of its incidents, in all the depth of
+its meaning, is bound within the leaf-borders of the gates of
+Ghiberti. But Raphael&rsquo;s arabesque is mere elaborate idleness.
+It has neither meaning nor heart in it; it is an unnatural and
+monstrous abortion.</p>
+
+<p>§ <span class="scs">LI</span>. Now, this passing of the grotesque into higher art, as
+the mind of the workman becomes informed with better knowledge,
+and capable of more earnest exertion, takes place in two
+ways. Either, as his power increases, he devotes himself more
+and more to the beauty which he now feels himself able to express,
+and so the grotesqueness expands, and softens into the
+beautiful, as in the above-named instance of the gates of Ghiberti;
+or else, if the mind of the workman be naturally inclined
+to gloomy contemplation, the imperfection or apathy of his
+work rises into nobler terribleness, until we reach the point of
+<span class="pagenum"><a name="page145"></a>145</span>
+the grotesque of Albert Durer, where, every now and then,
+the playfulness or apathy of the painter passes into perfect
+sublime. Take the Adam and Eve, for instance. When he
+gave Adam a bough to hold, with a parrot on it, and a tablet
+hung to it, with &ldquo;Albertus Durer Noricus faciebat, 1504,&rdquo;
+thereupon, his mind was not in Paradise. He was half in play,
+half apathetic with respect to his subject, thinking how to do
+his work well, as a wise master-graver, and how to receive his
+just reward of fame. But he rose into the true sublime in the
+head of Adam, and in the profound truthfulness of every creature
+that fills the forest. So again in that magnificent coat of
+arms, with the lady and the satyr, as he cast the fluttering
+drapery hither and thither around the helmet, and wove the
+delicate crown upon the woman&rsquo;s forehead, he was in a kind of
+play; but there is none in the dreadful skull upon the shield.
+And in the &ldquo;Knight and Death,&rdquo; and in the dragons of the
+illustrations to the Apocalypse, there is neither play nor
+apathy; but their grotesque is of the ghastly kind which best
+illustrates the nature of death and sin. And this leads us to
+the consideration of the second state of mind out of which the
+noble grotesque is developed; that is to say, the temper of
+mockery.</p>
+
+<p>§ <span class="scs">LII.</span> (<span class="scs">B</span>). Mockery, or Satire. In the former part of this
+chapter, when I spoke of the kinds of art which were produced
+in the recreation of the lower orders, I only spoke of forms of
+ornament, not of the expression of satire or humor. But it
+seems probable, that nothing is so refreshing to the vulgar
+mind as some exercise of this faculty, more especially on the
+failings of their superiors; and that, wherever the lower orders
+are allowed to express themselves freely, we shall find humor,
+more or less caustic, becoming a principal feature in their work.
+The classical and Renaissance manufacturers of modern times
+having silenced the independent language of the operative, his
+humor and satire pass away in the word-wit which has of late
+become the especial study of the group of authors headed by
+Charles Dickens; all this power was formerly thrown into noble
+art, and became permanently expressed in the sculptures of
+<span class="pagenum"><a name="page146"></a>146</span>
+the cathedral. It was never thought that there was anything
+discordant or improper in such a position: for the builders
+evidently felt very deeply a truth of which, in modern times,
+we are less cognizant; that folly and sin are, to a certain extent,
+synonymous, and that it would be well for mankind in
+general, if all could be made to feel that wickedness is as contemptible
+as it is hateful. So that the vices were permitted to
+be represented under the most ridiculous forms, and all the
+coarsest wit of the workman to be exhausted in completing
+the degradation of the creatures supposed to be subjected to
+them.</p>
+
+<p>§ <span class="scs">LIII</span>. Nor were even the supernatural powers of evil exempt
+from this species of satire. For with whatever hatred or horror
+the evil angels were regarded, it was one of the conditions of
+Christianity that they should also be looked upon as vanquished;
+and this not merely in their great combat with the King of
+Saints, but in daily and hourly combats with the weakest of
+His servants. In proportion to the narrowness of the powers
+of abstract conception in the workman, the nobleness of the
+idea of spiritual nature diminished, and the traditions of the
+encounters of men with fiends in daily temptations were imagined
+with less terrific circumstances, until the agencies which
+in such warfare were almost always represented as vanquished
+with disgrace, became, at last, as much the objects of contempt
+as of terror.</p>
+
+<p>The superstitions which represented the devil as assuming
+various contemptible forms of disguises in order to accomplish
+his purposes aided this gradual degradation of conception, and
+directed the study of the workman to the most strange and
+ugly conditions of animal form, until at last, even in the most
+serious subjects, the fiends are oftener ludicrous than terrible.
+Nor, indeed, is this altogether avoidable, for it is not possible
+to express intense wickedness without some condition of degradation.
+Malice, subtlety, and pride, in their extreme, cannot
+be written upon noble forms; and I am aware of no effort
+to represent the Satanic mind in the angelic form, which has
+succeeded in painting. Milton succeeds only because he separately
+<span class="pagenum"><a name="page147"></a>147</span>
+describes the movements of the mind, and therefore
+leaves himself at liberty to make the form heroic; but that
+form is never distinct enough to be painted. Dante, who will
+not leave even external forms obscure, degrades them before
+he can feel them to be demoniacal; so also John Bunyan: both
+of them, I think, having firmer faith than Milton&rsquo;s in their
+own creations, and deeper insight into the nature of sin. Milton
+makes his fiends too noble, and misses the foulness, inconstancy,
+and fury of wickedness. His Satan possesses some virtues,
+not the less virtues for being applied to evil purpose.
+Courage, resolution, patience, deliberation in council, this latter
+being eminently a wise and holy character, as opposed to
+the &ldquo;Insania&rdquo; of excessive sin: and all this, if not a shallow
+and false, is a smooth and artistical, conception. On the other
+hand, I have always felt that there was a peculiar grandeur in
+the indescribable, ungovernable fury of Dante&rsquo;s fiends, ever
+shortening its own powers, and disappointing its own purposes;
+the deaf, blind, speechless, unspeakable rage, fierce as the lightning,
+but erring from its mark or turning senselessly against
+itself, and still further debased by foulness of form and action.
+Something is indeed to be allowed for the rude feelings of the
+time, but I believe all such men as Dante are sent into the
+world at the time when they can do their work best; and that,
+it being appointed for him to give to mankind the most vigorous
+realization possible both of Hell and Heaven, he was born
+both in the country and at the time which furnished the most
+stern opposition of Horror and Beauty, and permitted it to be
+written in the clearest terms. And, therefore, though there
+are passages in the &ldquo;Inferno&rdquo; which it would be impossible for
+any poet now to write, I look upon it as all the more perfect
+for them. For there can be no question but that one characteristic
+of excessive vice is indecency, a general baseness in
+its thoughts and acts concerning the body,<a name="FnAnchor_40" href="#Footnote_40"><span class="sp">40</span></a> and that the full
+portraiture of it cannot be given without marking, and that in
+the strongest lines, this tendency to corporeal degradation;
+<span class="pagenum"><a name="page148"></a>148</span>
+which, in the time of Dante, could be done frankly, but cannot
+now. And, therefore, I think the twenty-first and twenty-second
+books of the &ldquo;Inferno&rdquo; the most perfect portraitures
+of fiendish nature which we possess; and at the same time, in
+their mingling of the extreme of horror (for it seems to me
+that the silent swiftness of the first demon, &ldquo;con l&rsquo;ali aperte e
+sovra i pie leggiero,&rdquo; cannot be surpassed in dreadfulness) with
+ludicrous actions and images, they present the most perfect instances
+with which I am acquainted of the terrible grotesque.
+But the whole of the &ldquo;Inferno&rdquo; is full of this grotesque, as
+well as the &ldquo;Faërie Queen;&rdquo; and these two poems, together
+with the works of Albert Durer, will enable the reader to study
+it in its noblest forms, without reference to Gothic cathedrals.</p>
+
+<p>§ <span class="scs">LIV.</span> Now, just as there are base and noble conditions of
+the apathetic grotesque, so also are there of this satirical grotesque.
+The condition which might be mistaken for it is that
+above described as resulting from the malice of men given to
+pleasure, and in which the grossness and foulness are in the
+workman as much as in his subject, so that he chooses to represent
+vice and disease rather than virtue and beauty, having his
+chief delight in contemplating them; though he still mocks at
+them with such dull wit as may be in him, because, as Young
+has said most truly,</p>
+
+<p class="poemss">&ldquo;&rsquo;Tis not in folly not to scorn a fool.&rdquo;</p>
+
+<p>§ <span class="scs">LV.</span> Now it is easy to distinguish this grotesque from its
+noble counterpart, by merely observing whether any forms of
+beauty or dignity are mingled with it or not; for, of course,
+the noble grotesque is only employed by its master for good
+purposes, and to contrast with beauty: but the base workman
+cannot conceive anything but what is base; and there will be
+no loveliness in any part of his work, or, at the best, a loveliness
+measured by line and rule, and dependent on legal shapes
+of feature. But, without resorting to this test, and merely by
+examining the ugly grotesque itself, it will be found that, if it
+belongs to the base school, there will be, first, no Horror in it;
+secondly, no Nature in it; and, thirdly, no Mercy in it.</p>
+
+<p><span class="pagenum"><a name="page149"></a>149</span></p>
+
+<p>§ <span class="scs">LVI.</span> I say, first, no Horror. For the base soul has no
+fear of sin, and no hatred of it: and, however it may strive to
+make its work terrible, there will be no genuineness in the
+fear; the utmost it can do will be to make its work disgusting.</p>
+
+<p>Secondly, there will be no Nature in it. It appears to be
+one of the ends proposed by Providence in the appointment
+of the forms of the brute creation, that the various vices to
+which mankind are liable should be severally expressed in
+them so distinctly and clearly as that men could not but understand
+the lesson; while yet these conditions of vice might, in
+the inferior animal, be observed without the disgust and hatred
+which the same vices would excite, if seen in men, and might
+be associated with features of interest which would otherwise
+attract and reward contemplation. Thus, ferocity, cunning,
+sloth, discontent, gluttony, uncleanness, and cruelty are seen,
+each in its extreme, in various animals; and are so vigorously
+expressed, that when men desire to indicate the same vices in
+connexion with human forms, they can do it no better than
+by borrowing here and there the features of animals. And
+when the workman is thus led to the contemplation of the
+animal kingdom, finding therein the expressions of vice which
+he needs, associated with power, and nobleness, and freedom
+from disease, if his mind be of right tone he becomes interested
+in this new study; and all noble grotesque is, therefore,
+full of the most admirable rendering of animal character. But
+the ignoble workman is capable of no interest of this kind;
+and, being too dull to appreciate, and too idle to execute, the
+subtle and wonderful lines on which the expression of the
+lower animal depends, he contents himself with vulgar exaggeration,
+and leaves his work as false as it is monstrous, a mass
+of blunt malice and obscene ignorance.</p>
+
+<p>§ <span class="scs">LVII.</span> Lastly, there will be no Mercy in it. Wherever
+the satire of the noble grotesque fixes upon human nature, it
+does so with much sorrow mingled amidst its indignation: in
+its highest forms there is an infinite tenderness, like that of
+the fool in Lear; and even in its more heedless or bitter sarcasm,
+it never loses sight altogether of the better nature of
+<span class="pagenum"><a name="page150"></a>150</span>
+what it attacks, nor refuses to acknowledge its redeeming or
+pardonable features. But the ignoble grotesque has no pity:
+it rejoices in iniquity, and exists only to slander.</p>
+
+<p>§ <span class="scs">LVIII</span>. I have not space to follow out the various forms of
+transition which exist between the two extremes of great
+and base in the satirical grotesque. The reader must always
+remember, that, although there is an infinite distance between
+the best and worst, in this kind the interval is filled by endless
+conditions more or less inclining to the evil or the good; impurity
+and malice stealing gradually into the nobler forms,
+and invention and wit elevating the lower, according to the
+countless minglings of the elements of the human soul.</p>
+
+<p>§ <span class="scs">LIX</span>. (<span class="scs">C</span>). Ungovernableness of the imagination. The
+reader is always to keep in mind that if the objects of horror,
+in which the terrible grotesque finds its materials, were contemplated
+in their true light, and with the entire energy of
+the soul, they would cease to be grotesque, and become altogether
+sublime; and that therefore it is some shortening of
+the power, or the will, of contemplation, and some consequent
+distortion of the terrible image in which the grotesqueness
+consists. Now this distortion takes place, it was above
+asserted, in three ways: either through apathy, satire, or
+ungovernableness of imagination. It is this last cause of the
+grotesque which we have finally to consider; namely, the
+error and wildness of the mental impressions, caused by fear
+operating upon strong powers of imagination, or by the failure
+of the human faculties in the endeavor to grasp the highest
+truths.</p>
+
+<p>§ <span class="scs">LX</span>. The grotesque which comes to all men in a disturbed
+dream is the most intelligible example of this kind, but also
+the most ignoble; the imagination, in this instance, being
+entirely deprived of all aid from reason, and incapable of self-government.
+I believe, however, that the noblest forms of
+imaginative power are also in some sort ungovernable, and
+have in them something of the character of dreams; so that
+the vision, of whatever kind, comes uncalled, and will not
+submit itself to the seer, but conquers him, and forces him to
+<span class="pagenum"><a name="page151"></a>151</span>
+speak as a prophet, having no power over his words or
+thoughts.<a name="FnAnchor_41" href="#Footnote_41"><span class="sp">41</span></a> Only, if the whole man be trained perfectly, and
+his mind calm, consistent and powerful, the vision which
+comes to him is seen as in a perfect mirror, serenely, and in
+<span class="pagenum"><a name="page152"></a>152</span>
+consistence with the rational powers; but if the mind be
+imperfect and ill trained, the vision is seen as in a broken
+mirror, with strange distortions and discrepancies, all the passions
+of the heart breathing upon it in cross ripples, till hardly
+a trace of it remains unbroken. So that, strictly speaking,
+the imagination is never governed; it is always the ruling
+and Divine power: and the rest of the man is to it only as an
+instrument which it sounds, or a tablet on which it writes;
+clearly and sublimely if the wax be smooth and the strings
+true, grotesquely and wildly if they are stained and broken.
+And thus the &ldquo;Iliad,&rdquo; the &ldquo;Inferno,&rdquo; the &ldquo;Pilgrim&rsquo;s Progress,&rdquo;
+the &ldquo;Faërie Queen,&rdquo; are all of them true dreams;
+only the sleep of the men to whom they came was the deep,
+living sleep which God sends, with a sacredness in it, as of
+death, the revealer of secrets.</p>
+
+<p>§ <span class="scs">LXI</span>. Now, observe in this matter, carefully, the difference
+between a dim mirror and a distorted one; and do not blame
+me for pressing the analogy too far, for it will enable me to
+explain my meaning every way more clearly. Most men&rsquo;s
+minds are dim mirrors, in which all truth is seen, as St. Paul
+tells us, darkly: this is the fault most common and most fatal;
+dulness of the heart and mistiness of sight, increasing to utter
+hardness and blindness; Satan breathing upon the glass, so
+that if we do not sweep the mist laboriously away, it will take
+no image. But, even so far as we are able to do this, we have
+still the distortion to fear, yet not to the same extent, for we
+<span class="pagenum"><a name="page153"></a>153</span>
+can in some sort allow for the distortion of an image, if only
+we can see it clearly. And the fallen human soul, at its best,
+must be as a diminishing glass, and that a broken one, to the
+mighty truths of the universe round it; and the wider the
+scope of its glance, and the vaster the truths into which it
+obtains an insight, the more fantastic their distortion is likely
+to be, as the winds and vapors trouble the field of the telescope
+most when it reaches farthest.</p>
+
+<p>§ <span class="scs">LXII</span>. Now, so far as the truth is seen by the imagination<a name="FnAnchor_42" href="#Footnote_42"><span class="sp">42</span></a>
+in its wholeness and quietness, the vision is sublime; but so
+far as it is narrowed and broken by the inconsistencies of the
+human capacity, it becomes grotesque; and it would seem to
+be rare that any very exalted truth should be impressed on the
+imagination without some grotesqueness in its aspect, proportioned
+to the degree of <i>diminution of breadth</i> in the grasp
+which is given of it. Nearly all the dreams recorded in the
+Bible,&mdash;Jacob&rsquo;s, Joseph&rsquo;s, Pharaoh&rsquo;s, Nebuchadnezzar&rsquo;s,&mdash;are
+grotesques; and nearly the whole of the accessary scenery in
+the books of Ezekiel and the Apocalypse. Thus, Jacob&rsquo;s
+dream revealed to him the ministry of angels; but because
+this ministry could not be seen or understood by him in its
+fulness, it was narrowed to him into a ladder between heaven
+and earth, which was a grotesque. Joseph&rsquo;s two dreams were
+evidently intended to be signs of the steadfastness of the
+Divine purpose towards him, by possessing the clearness of
+special prophecy; yet were couched in such imagery, as not
+to inform him prematurely of his destiny, and only to be
+understood after their fulfilment. The sun, and moon, and
+stars were at the period, and are indeed throughout the Bible,
+the symbols of high authority. It was not revealed to Joseph
+that he should be lord over all Egypt; but the representation
+of his family by symbols of the most magnificent dominion,
+and yet as subject to him, must have been afterwards felt by
+him as a distinctly prophetic indication of his own supreme
+power. It was not revealed to him that the occasion of his
+<span class="pagenum"><a name="page154"></a>154</span>
+brethren&rsquo;s special humiliation before him should be their coming
+to buy corn; but when the event took place, must he not
+have felt that there was prophetic purpose in the form of the
+sheaves of wheat which first imaged forth their subjection to
+him? And these two images of the sun doing obeisance, and
+the sheaves bowing down,&mdash;narrowed and imperfect intimations
+of great truth which yet could not be otherwise conveyed,&mdash;are
+both grotesque. The kine of Pharaoh eating
+each other, the gold and clay of Nebuchadnezzar&rsquo;s image, the
+four beasts full of eyes, and other imagery of Ezekiel and the
+Apocalypse, are grotesques of the same kind, on which I need
+not further insist.</p>
+
+<p>§ <span class="scs">LXIII</span>. Such forms, however, ought perhaps to have been
+arranged under a separate head, as Symbolical Grotesque; but
+the element of awe enters into them so strongly, as to justify,
+for all our present purposes, their being classed with the other
+varieties of terrible grotesque.  For even if the symbolic
+vision itself be not terrible, the sense of what may be veiled
+behind it becomes all the more awful in proportion to the
+insignificance or strangeness of the sign itself; and, I believe,
+this thrill of mingled doubt, fear, and curiosity lies at the very
+root of the delight which mankind take in symbolism. It was
+not an accidental necessity for the conveyance of truth by
+pictures instead of words, which led to its universal adoption
+wherever art was on the advance; but the Divine fear which
+necessarily follows on the understanding that a thing is other
+and greater than it seems; and which, it appears probable,
+has been rendered peculiarly attractive to the human heart,
+because God would have us understand that this is true not
+of invented symbols merely, but of all things amidst which
+we live; that there is a deeper meaning within them than eye
+hath seen, or ear hath heard; and that the whole visible creation
+is a mere perishable symbol of things eternal and true.
+It cannot but have been sometimes a subject of wonder with
+thoughtful men, how fondly, age after age, the Church has
+cherished the belief that the four living creatures which surrounded
+the Apocalyptic throne were symbols of the four
+<span class="pagenum"><a name="page155"></a>155</span>
+Evangelists, and rejoiced to use those forms in its picture-teaching;
+that a calf, a lion, an eagle, and a beast with a
+man&rsquo;s face, should in all ages have been preferred by the
+Christian world, as expressive of Evangelistic power and inspiration,
+to the majesty of human forms; and that quaint
+grotesques, awkward and often ludicrous caricatures even of
+the animals represented, should have been regarded by all men,
+not only with contentment, but with awe, and have superseded
+all endeavors to represent the characters and persons of the
+Evangelistic writers themselves (except in a few instances,
+confined principally to works undertaken without a definite
+religious purpose);&mdash;this, I say, might appear more than
+strange to us, were it not that we ourselves share the awe,
+and are still satisfied with the symbol, and that justly. For,
+whether we are conscious of it or not, there is in our hearts,
+as we gaze upon the brutal forms that have so holy a signification,
+an acknowledgment that it was not Matthew, nor
+Mark, nor Luke, nor John, in whom the Gospel of Christ
+was unsealed: but that the invisible things of Him from the
+beginning of the creation are clearly seen, being understood
+by the things that are made; that the whole world, and all
+that is therein, be it low or high, great or small, is a continual
+Gospel; and that as the heathen, in their alienation from God,
+changed His glory into an image made like unto corruptible
+man, and to birds, and four-footed beasts, the Christian, in his
+approach to God, is to undo this work, and to change the corruptible
+things into the image of His glory; believing that
+there is nothing so base in creation, but that our faith may
+give it wings which shall raise us into companionship with
+heaven; and that, on the other hand, there is nothing so great
+or so goodly in creation, but that it is a mean symbol of the
+Gospel of Christ, and of the things He has prepared for them
+that love Him.</p>
+
+<p>§ <span class="scs">LXIV</span>. And it is easy to understand, if we follow out this
+thought, how, when once the symbolic language was familiarized
+to the mind, and its solemnity felt in all its fulness, there
+was no likelihood of offence being taken at any repulsive or
+<span class="pagenum"><a name="page156"></a>156</span>
+feeble characters in execution or conception. There was no
+form so mean, no incident so commonplace, but, if regarded
+in this light, it might become sublime; the more vigorous the
+fancy and the more faithful the enthusiasm, the greater would
+be the likelihood of their delighting in the contemplation of
+symbols whose mystery was enhanced by apparent insignificance,
+or in which the sanctity and majesty of meaning were
+contrasted with the utmost uncouthness of external form: nor
+with uncouthness merely, but even with every appearance of
+malignity or baseness; the beholder not being revolted even
+by this, but comprehending that, as the seeming evil in the
+framework of creation did not invalidate its Divine authorship,
+so neither did the evil or imperfection in the symbol
+invalidate its Divine message. And thus, sometimes, the
+designer at last became wanton in his appeal to the piety of
+his interpreter, and recklessly poured out the impurity and
+the savageness of his own heart, for the mere pleasure of seeing
+them overlaid with the fine gold of the sanctuary, by the religion
+of their beholder.</p>
+
+<p>§ <span class="scs">LXV</span>. It is not, however, in every symbolical subject that
+the fearful grotesque becomes embodied to the full. The
+element of distortion which affects the intellect when dealing
+with subjects above its proper capacity, is as nothing compared
+with that which it sustains from the direct impressions of
+terror. It is the trembling of the human soul in the presence
+of death which most of all disturbs the images on the intellectual
+mirror, and invests them with the fitfulness and ghastliness
+of dreams. And from the contemplation of death, and
+of the pangs which follow his footsteps, arise in men&rsquo;s hearts
+the troop of strange and irresistible superstitions which, more
+or less melancholy or majestic according to the dignity of the
+mind they impress, are yet never without a certain grotesqueness,
+following on the paralysis of the reason and over-excitement
+of the fancy. I do not mean to deny the actual existence
+of spiritual manifestations; I have never weighed the
+evidence upon the subject; but with these, if such exist, we
+are not here concerned. The grotesque which we are examining
+<span class="pagenum"><a name="page157"></a>157</span>
+arises out of that condition of mind which appears to follow
+naturally upon the contemplation of death, and in which
+the fancy is brought into morbid action by terror, <span class="correction" title="changed from accompained">accompanied</span>
+by the belief in spiritual presence, and in the possibility
+of spiritual apparition. Hence are developed its most sublime,
+because its least voluntary, creations, aided by the fearfulness of
+the phenomena of nature which are in any wise the ministers
+of death, and primarily directed by the peculiar ghastliness of
+expression in the skeleton, itself a species of terrible grotesque
+in its relation to the perfect human frame.</p>
+
+<p>§ <span class="scs">LXVI</span>. Thus, first born from the dusty and dreadful whiteness
+of the charnel house, but softened in their forms by the
+holiest of human affections, went forth the troop of wild and
+wonderful images, seen through tears, that had the mastery
+over our Northern hearts for so many ages. The powers of
+sudden destruction lurking in the woods and waters, in the
+rocks and clouds;&mdash;kelpie and gnome, Lurlei and Hartz
+spirits; the wraith and foreboding phantom; the spectra of
+second sight; the various conceptions of avenging or tormented
+ghost, haunting the perpetrator of crime, or expiating
+its commission; and the half fictitious and contemplative, half
+visionary and believed images of the presence of death itself,
+doing its daily work in the chambers of sickness and sin, and
+waiting for its hour in the fortalices of strength and the high
+places of pleasure;&mdash;these, partly degrading us by the instinctive
+and paralyzing terror with which they are attended, and
+partly ennobling us by leading our thoughts to dwell in the
+eternal world, fill the last and the most important circle in
+that great kingdom of dark and distorted power, of which we all
+must be in some sort the subjects until mortality shall be swallowed
+up of life; until the waters of the last fordless river
+cease to roll their untransparent volume between us and the
+light of heaven, and neither death stand between us and our
+brethren, nor symbols between us and our God.</p>
+
+<p>§ <span class="scs">LXVII</span>. We have now, I believe, obtained a view approaching
+to completeness of the various branches of human
+feeling which are concerned in the developement of this peculiar
+<span class="pagenum"><a name="page158"></a>158</span>
+form of art. It remains for us only to note, as briefly as
+possible, what facts in the actual history of the grotesque bear
+upon our immediate subject.</p>
+
+<p>From what we have seen to be its nature, we must, I think,
+be led to one most important conclusion; that wherever the
+human mind is healthy and vigorous in all its proportions,
+great in imagination and emotion no less than in intellect, and
+not overborne by an undue or hardened preëminence of the
+mere reasoning faculties, there the grotesque will exist in full
+energy. And, accordingly, I believe that there is no test of
+greatness in periods, nations, or men, more sure than the
+developement, among them or in them, of a noble grotesque,
+and no test of comparative smallness or limitation, of one kind
+or another, more sure than the absence of grotesque invention,
+or incapability of understanding it. I think that the central
+man of all the world, as representing in perfect balance the
+imaginative, moral, and intellectual faculties, all at their
+highest, is Dante; and in him the grotesque reaches at once
+the most distinct and the most noble developement to which it
+was ever brought in the human mind. The two other greatest
+men whom Italy has produced, Michael Angelo and Tintoret,
+show the same element in no less original strength, but oppressed
+in the one by his science, and in both by the spirit of
+the age in which they lived; never, however, absent even in
+Michael Angelo, but stealing forth continually in a strange
+and spectral way, lurking in folds of raiment and knots of
+wild hair, and mountainous confusions of craggy limb and
+cloudy drapery; and, in Tintoret, ruling the entire conceptions
+of his greatest works to such a degree that they are an
+enigma or an offence, even to this day, to all the petty disciples
+of a formal criticism. Of the grotesque in our own
+Shakspeare I need hardly speak, nor of its intolerableness to
+his French critics; nor of that of Æschylus and Homer, as
+opposed to the lower Greek writers; and so I believe it will
+be found, at all periods, in all minds of the first order.</p>
+
+<p>§ <span class="scs">LXVIII</span>. As an index of the greatness of nations, it is a less
+certain test, or, rather, we are not so well agreed on the meaning
+<span class="pagenum"><a name="page159"></a>159</span>
+of the term &ldquo;greatness&rdquo; respecting them. A nation may
+produce a great effect, and take up a high place in the world&rsquo;s
+history, by the temporary enthusiasm or fury of its multitudes,
+without being truly great; or, on the other hand, the discipline
+of morality and common sense may extend its physical
+power or exalt its well-being, while yet its creative and
+imaginative powers are continually diminishing. And again:
+a people may take so definite a lead over all the rest of the
+world in one direction, as to obtain a respect which is not
+justly due to them if judged on universal grounds. Thus the
+Greeks perfected the sculpture of the human body; threw
+their literature into a disciplined form, which has given it a
+peculiar power over certain conditions of modern mind; and
+were the most carefully educated race that the world has seen;
+but a few years hence, I believe, we shall no longer think
+them a greater people than either the Egyptians or Assyrians.</p>
+
+<p>§ <span class="scs">LXIX</span>. If, then, ridding ourselves as far as possible of prejudices
+owing merely to the school-teaching which remains
+from the system of the Renaissance, we set ourselves to discover
+in what races the human soul, taken all in all, reached
+its highest magnificence, we shall find, I believe, two great
+families of men, one of the East and South, the other of the
+West and North: the one including the Egyptians, Jews,
+Arabians, Assyrians, and Persians; the other, I know not
+whence derived, but seeming to flow forth from Scandinavia,
+and filling the whole of Europe with its Norman and Gothic
+energy. And in both these families, wherever they are seen
+in their utmost nobleness, there the grotesque is developed in
+its utmost energy; and I hardly know whether most to admire
+the winged bulls of Nineveh, or the winged dragons of
+Verona.</p>
+
+<p>§ <span class="scs">LXX</span>. The reader who has not before turned his attention
+to this subject may, however, at first have some difficulty in
+distinguishing between the noble grotesque of these great
+nations, and the barbarous grotesque of mere savages, as seen
+in the work of the Hindoo and other Indian nations; or, more
+grossly still, in that of the complete savage of the Pacific
+<span class="pagenum"><a name="page160"></a>160</span>
+islands; or if, as is to be hoped, he instinctively feels the difference,
+he may yet find difficulty in determining wherein
+that difference consists. But he will discover, on consideration,
+that the noble grotesque <i>involves the true appreciation
+of beauty</i>, though the mind may wilfully turn to other images
+or the hand resolutely stop short of the perfection which it
+must fail, if it endeavored, to reach; while the grotesque of
+the Sandwich islander involves no perception or imagination
+of anything above itself. He will find that in the exact proportion
+in which the grotesque results from an incapability of
+perceiving beauty, it becomes savage or barbarous; and that
+there are many stages of progress to be found in it even in its
+best times, much truly savage grotesque occurring in the fine
+Gothic periods, mingled with the other forms of the ignoble
+grotesque resulting from vicious inclinations or base sportiveness.
+Nothing is more mysterious in the history of the human
+mind, than the manner in which gross and ludicrous images
+are mingled with the most solemn subjects in the work of
+the middle ages, whether of sculpture or illumination; and
+although, in great part, such incongruities are to be accounted
+for on the various principles which I have above endeavored
+to define, in many instances they are clearly the result of vice
+and sensuality. The general greatness of seriousness of an
+age does not effect the restoration of human nature; and it
+would be strange, if, in the midst of the art even of the best
+periods, when that art was entrusted to myriads of workmen,
+we found no manifestations of impiety, folly, or impurity.</p>
+
+<p>§ <span class="scs">LXXI</span>. It needs only to be added that in the noble grotesque,
+as it is partly the result of a morbid state of the imaginative
+power, that power itself will be always seen in a high degree;
+and that therefore our power of judging of the rank of a
+grotesque work will depend on the degree in which we are
+in general sensible of the presence of invention. The reader
+may partly test this power in himself by referring to the
+Plate given in the opening of this chapter, in which, on the
+left, is a piece of noble and inventive grotesque, a head of the
+lion-symbol of St. Mark, from the Veronese Gothic; the other
+<span class="pagenum"><a name="page161"></a>161</span>
+is a head introduced as a boss on the foundation of the Palazzo
+Corner della Regina at Venice, utterly devoid of invention,
+made merely monstrous by exaggerations of the eyeballs and
+cheeks, and generally characteristic of that late Renaissance
+grotesque of Venice, with which we are at present more immediately
+concerned.<a name="FnAnchor_43" href="#Footnote_43"><span class="sp">43</span></a></p>
+
+<p>§ <span class="scs">LXXII</span>. The developement of that grotesque took place
+under different laws from those which regulate it in any other
+European city. For, great as we have seen the Byzantine
+mind show itself to be in other directions, it was marked as
+that of a declining nation by the absence of the grotesque element;
+and, owing to its influence, the early Venetian Gothic
+remained inferior to all other schools in this particular character.
+Nothing can well be more wonderful than its instant
+failure in any attempt at the representation of ludicrous or
+fearful images, more especially when it is compared with the
+magnificent grotesque of the neighboring city of Verona, in
+which the Lombard influence had full sway. Nor was it until
+the last links of connexion with Constantinople had been dissolved,
+that the strength of the Venetian mind could manifest
+itself in this direction. But it had then a new enemy to
+encounter. The Renaissance laws altogether checked its imagination
+in architecture; and it could only obtain permission
+to express itself by starting forth in the work of the Venetian
+painters, filling them with monkeys and dwarfs, even amidst
+the most serious subjects, and leading Veronese and Tintoret
+to the most unexpected and wild fantasies of form and color.</p>
+
+<p>§ <span class="scs">LXXIII</span>. We may be deeply thankful for this peculiar reserve
+<span class="pagenum"><a name="page162"></a>162</span>
+of the Gothic grotesque character to the last days of
+Venice. All over the rest of Europe it had been strongest in
+the days of imperfect art; magnificently powerful throughout
+the whole of the thirteenth century, tamed gradually in the
+fourteenth and fifteenth, and expiring in the sixteenth amidst
+anatomy and laws of art. But at Venice, it had not been received
+when it was elsewhere in triumph, and it fled to the
+lagoons for shelter when elsewhere it was oppressed. And it
+was arrayed by the Venetian painters in robes of state, and
+advanced by them to such honor as it had never received in its
+days of widest dominion; while, in return, it bestowed upon
+their pictures that fulness, piquancy, decision of parts, and
+mosaic-like intermingling of fancies, alternately brilliant and
+sublime, which were exactly what was most needed for the developement
+of their unapproachable color-power.</p>
+
+<p>§ <span class="scs">LXXIV</span>. Yet, observe, it by no means follows that because
+the grotesque does not appear in the art of a nation, the sense
+of it does not exist in the national mind. Except in the form
+of caricature, it is hardly traceable in the English work of the
+present day; but the minds of our workmen are full of it, if
+we would only allow them to give it shape. They express it
+daily in gesture and gibe, but are not allowed to do so where
+it would be useful. In like manner, though the Byzantine
+influence repressed it in the early Venetian architecture, it was
+always present in the Venetian mind, and showed itself in
+various forms of national custom and festival; <i>acted</i> grotesques,
+full of wit, feeling, and good-humor. The ceremony of the
+hat and the orange, described in the beginning of this chapter,
+is one instance out of multitudes. Another, more rude, and
+exceedingly characteristic, was that instituted in the twelfth
+century in memorial of the submission of Woldaric, the patriarch
+of Aquileia, who, having taken up arms against the
+patriarch of Grado, and being defeated and taken prisoner by the
+Venetians, was sentenced, not to death, but to send every year
+on &ldquo;Fat Thursday&rdquo; sixty-two large loaves, twelve fat pigs, and
+a bull, to the Doge; the bull being understood to represent the
+patriarch, and the twelve pigs his clergy: and the ceremonies
+<span class="pagenum"><a name="page163"></a>163</span>
+of the day consisting in the decapitation of these representatives,
+and a distribution of their joints among the senators;
+together with a symbolic record of the attack upon Aquileia,
+by the erection of a wooden castle in the rooms of the Ducal
+Palace, which the <i>Doge and the Senate</i> attacked and demolished
+with clubs. As long as the Doge and the Senate were
+truly kingly and noble, they were content to let this ceremony
+be continued; but when they became proud and selfish, and
+were destroying both themselves and the state by their luxury,
+they found it inconsistent with their dignity, and it was abolished,
+as far as the Senate was concerned, in 1549.<a name="FnAnchor_44" href="#Footnote_44"><span class="sp">44</span></a></p>
+
+<p>§ <span class="scs">LXXV</span>. By these and other similar manifestations, the grotesque
+spirit is traceable through all the strength of the Venetian
+people. But again: it is necessary that we should carefully
+distinguish between it and the spirit of mere levity. I said,
+in the fifth chapter, that the Venetians were distinctively a
+serious people, serious, that is to say, in the sense in which the
+English are a more serious people than the French; though
+the habitual intercourse of our lower classes in London has a
+tone of humor in it which I believe is untraceable in that of
+the Parisian populace. It is one thing to indulge in playful
+rest, and another to be devoted to the pursuit of pleasure: and
+gaiety of heart during the reaction after hard labor, and quickened
+by satisfaction in the accomplished duty or perfected
+result, is altogether compatible with, nay, even in some sort
+arises naturally out of, a deep internal seriousness of disposition;
+this latter being exactly the condition of mind which,
+as we have seen, leads to the richest developements of the playful
+grotesque; while, on the contrary, the continual pursuit of
+pleasure deprives the soul of all alacrity and elasticity, and
+leaves it incapable of happy jesting, capable only of that which
+is bitter, base, and foolish. Thus, throughout the whole of the
+early career of the Venetians, though there is much jesting,
+there is no levity; on the contrary there is an intense earnestness
+both in their pursuit of commercial and political successes,
+<span class="pagenum"><a name="page164"></a>164</span>
+and in their devotion to religion,<a name="FnAnchor_45" href="#Footnote_45"><span class="sp">45</span></a> which led gradually to the
+formation of that highly wrought mingling of immovable resolution
+with secret thoughtfulness, which so strangely, sometimes
+so darkly, distinguishes the Venetian character at the
+time of their highest power, when the seriousness was left, but
+the conscientiousness destroyed. And if there be any one sign
+by which the Venetian countenance, as it is recorded for us, to
+the very life, by a school of portraiture which has never been
+equalled (chiefly because no portraiture ever had subjects so
+noble),&mdash;I say, if there be one thing more notable than another
+in the Venetian features, it is this deep pensiveness and solemnity.
+In other districts of Italy, the dignity of the heads
+which occur in the most celebrated compositions is clearly
+owing to the feeling of the painter. He has visibly raised or
+idealized his models, and appears always to be veiling the faults
+or failings of the human nature around him, so that the best
+of his work is that which has most perfectly taken the color of
+his own mind; and the least impressive, if not the least valuable,
+that which appears to have been unaffected and unmodified
+portraiture. But at Venice, all is exactly the reverse of this.
+The tone of mind in the painter appears often in some degree
+frivolous or sensual; delighting in costume, in domestic and
+grotesque incident, and in studies of the naked form. But
+the moment he gives himself definitely to portraiture, all is
+noble and grave; the more literally true his work, the more
+majestic; and the same artist who will produce little beyond
+what is commonplace in painting a Madonna or an apostle, will
+rise into unapproachable sublimity when his subject is a member
+of the Forty, or a Master of the Mint.</p>
+
+<p>Such, then, were the general tone and progress of the
+Venetian mind, up to the close of the seventeenth century.
+First, serious, religious, and sincere; then, though serious still,
+comparatively deprived of conscientiousness, and apt to decline
+into stern and subtle policy: in the first case, the spirit of the
+noble grotesque not showing itself in art at all, but only in
+<span class="pagenum"><a name="page165"></a>165</span>
+speech and action; in the second case, developing itself in
+painting, through accessories and vivacities of composition,
+while perfect dignity was always preserved in portraiture. A
+third phase rapidly developed itself.</p>
+
+<p>§ <span class="scs">LXXVI</span>. Once more, and for the last time, let me refer the
+reader to the important epoch of the death of the Doge
+Tomaso Mocenigo in 1423, long ago indicated as the commencement
+of the decline of the Venetian power. That commencement
+is marked, not merely by the words of the dying Prince,
+but by a great and clearly legible sign. It is recorded, that
+on the accession of his successor, Foscari, to the throne, &ldquo;<span class="sc">Si
+festeggio dalla citta uno anno intero</span>:&rdquo; &ldquo;The city kept
+festival for a whole year.&rdquo; Venice had in her childhood sown,
+in tears, the harvest she was to reap in rejoicing. She now
+sowed in laughter the seeds of death.</p>
+
+<p>Thenceforward, year after year, the nation drank with
+deeper thirst from the fountains of forbidden pleasure, and
+dug for springs, hitherto unknown, in the dark places of the
+earth. In the ingenuity of indulgence, in the varieties of
+vanity, Venice surpassed the cities of Christendom, as of old
+she surpassed them in fortitude and devotion; and as once the
+powers of Europe stood before her judgment-seat, to receive
+the decisions of her justice, so now the youth of Europe assembled
+in the halls of her luxury, to learn from her the arts of
+delight.</p>
+
+<p>It is as needless, as it is painful, to trace the steps of her
+final ruin. That ancient curse was upon her, the curse of the
+cities of the plain, &ldquo;Pride, fulness of bread, and abundance of
+idleness.&rdquo; By the inner burning of her own passions, as fatal
+as the fiery reign of Gomorrah, she was consumed from her
+place among the nations; and her ashes are choking the channels
+of the dead salt sea.</p>
+
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_27" href="#FnAnchor_27"><span class="fn">27</span></a> Mutinelli, Annali Urbani, lib. i. p. 24; and the Chronicle of 1738,
+quoted by Galliciolli: &ldquo;attrovandosi allora la giesia de Sta. Maria Formosa
+sola giesia del nome della gloriosa Vergine Maria.&rdquo;</p>
+
+<p><a name="Footnote_28" href="#FnAnchor_28"><span class="fn">28</span></a> Or from the brightness of the cloud, according to the Padre who
+arranged the &ldquo;Memorie delle Chiese di Venezia,&rdquo; vol. iii. p. 7. Compare
+Corner, p. 42. This first church was built in 639.</p>
+
+<p><a name="Footnote_29" href="#FnAnchor_29"><span class="fn">29</span></a> Perhaps both Corner and the Padre founded their diluted information
+on the short sentence of Sansovino: &ldquo;Finalmente, l&rsquo;anno 1075, fu ridotta
+a perfezione da Paolo Barbetta, sul modello del corpo di mezzo della chiesa
+di S. Marco.&rdquo; Sansovino, however, gives 842, instead of 864, as the date
+of the first rebuilding.</p>
+
+<p><a name="Footnote_30" href="#FnAnchor_30"><span class="fn">30</span></a> Or at least for its principal families. Vide <a href="#app_8">Appendix 8</a>, &ldquo;Early Venetian
+Marriages.&rdquo;</p>
+
+<p><a name="Footnote_31" href="#FnAnchor_31"><span class="fn">31</span></a> &ldquo;Nazionale quasi la ceremonia, perciocche per essa nuovi difensori ad
+acquistar andava la patria, sostegni nuovi le leggi, la Liberta.&rdquo;&mdash;<i>Mutinelli.</i></p>
+
+<p><a name="Footnote_32" href="#FnAnchor_32"><span class="fn">32</span></a> &ldquo;Vestita, <i>per antico uso</i>, di bianco, e con chiome sparse giù per le
+spalle, conteste con fila d&rsquo;oro.&rdquo; &ldquo;Dressed according to ancient usage in
+white, and with her hair thrown down upon her shoulders, interwoven with
+threads of gold.&rdquo; This was when she was first brought out of her chamber
+to be seen by the guests invited to the espousals. &ldquo;And when the form of
+the espousal has been gone through, she is led, to the sound of pipes and
+trumpets, and other musical instruments, round the room, <i>dancing serenely
+all the time, and bowing herself before the guests</i> (ballando placidamente, e
+facendo inchini ai convitati); and so she returns to her chamber: and when
+other guests have arrived, she again comes forth, and makes the circuit of
+the chamber. And this is repeated for an hour or somewhat more; and
+then, accompanied by many ladies who wait for her, she enters a gondola
+without its felze (canopy), and, seated on a somewhat raised seat covered
+with carpets, with a great number of gondolas following her, she goes to
+visit the monasteries and convents, wheresoever she has any relations.&rdquo;</p>
+
+<p><a name="Footnote_33" href="#FnAnchor_33"><span class="fn">33</span></a> Sansovino.</p>
+
+<p><a name="Footnote_34" href="#FnAnchor_34"><span class="fn">34</span></a> English, &ldquo;Malmsey.&rdquo; The reader will find a most amusing account
+of the negotiations between the English and Venetians, touching the supply
+of London with this wine, in Mr. Brown&rsquo;s translation of the Giustiniani
+papers. See <a href="#app_9">Appendix IX</a>.</p>
+
+<p><a name="Footnote_35" href="#FnAnchor_35"><span class="fn">35</span></a> &ldquo;XV. diebus et octo diebus ante festum Mariarum omni anno.&rdquo;&mdash;<i>Galliciolli.</i>
+The same precautions were taken before the feast of the Ascension.</p>
+
+<p><a name="Footnote_36" href="#FnAnchor_36"><span class="fn">36</span></a> Casa Vittura.</p>
+
+<p><a name="Footnote_37" href="#FnAnchor_37"><span class="fn">37</span></a> The keystone of the arch on its western side, facing the canal.</p>
+
+<p><a name="Footnote_38" href="#FnAnchor_38"><span class="fn">38</span></a> The inscriptions are as follows:</p>
+
+<p>To the left of the reader.</p>
+
+<p class="poems">&ldquo;VINCENTIUS CAPELLUS MARITIMARUM</p>
+<p class="poem">RERUM PERITISSIMUS ET ANTIQUORUM</p>
+<p class="poem">LAUDIBUS PAR, TRIREMIUM ONERARIA</p>
+<p class="poem">RUM PRÆFECTUS, AB HENRICO VII. BRI</p>
+<p class="poem">TANNIÆ REGE INSIGNE DONATUS CLAS</p>
+<p class="poem">SIS LEGATUS V. IMP. DESIG. TER CLAS</p>
+<p class="poem">SEM DEDUXIT, COLLAPSAM NAVALEM DIS</p>
+<p class="poem">CIPLINAM RESTITUIT, AD ZACXINTHUM</p>
+<p class="poem">AURIÆ CÆSARIS LEGATO PRISCAM</p>
+<p class="poem">VENETAM VIRTUTEM OSTENDIT.&rdquo;</p>
+
+<p>To the right of the reader.</p>
+
+<p class="poems">&ldquo;IN AMBRACIO SINU BARBARUSSUM OTTHO</p>
+<p class="poem">MANICÆ CLASSIS DUCEM INCLUSIT</p>
+<p class="poem">POSTRIDIE AD INTERNITIONEM DELETU</p>
+<p class="poem">RUS NISI FATA CHRISTIANIS ADVERSA</p>
+<p class="poem">VETUISSENT. IN RYZONICO SINU CASTRO NOVO</p>
+<p class="poem">EXPUGNATO DIVI MARCI PROCUR</p>
+<p class="poem">UNIVERSO REIP CONSENSU CREATUS</p>
+<p class="poem">IN PATRIA MORITUR TOTIUS CIVITATIS</p>
+<p class="poem">M&OElig;RORE, ANNO ÆTATIS LXXIV. MDCXLII. XIV. KAL SEPT.&rdquo;</p>
+
+<p><a name="Footnote_39" href="#FnAnchor_39"><span class="fn">39</span></a> The Love of God is, however, always shown by the predominance, or
+greater sum, of good, in the end; but never by the annihilation of evil.
+The modern doubts of eternal punishment are not so much the consequence
+of benevolence as of feeble powers of reasoning. Every one admits that
+God brings finite good out of finite evil. Why not, therefore, infinite good
+out of infinite evil?</p>
+
+<p><a name="Footnote_40" href="#FnAnchor_40"><span class="fn">40</span></a> Let the reader examine, with special reference to this subject, the general
+character of the language of Iago.</p>
+
+<p><a name="Footnote_41" href="#FnAnchor_41"><span class="fn">41</span></a> This opposition of art to inspiration is long and gracefully dwelt upon
+by Plato, in his &ldquo;Phædrus,&rdquo; using, in the course of his argument, almost
+the words of St Paul: <span class="grk" title="kallion marturousin oi palaioi manian sôphrosynês
+tên ek Theou tês par anthrôpôn gignomenês">
+&#954;&#945;&#955;&#955;&#953;&#959;&#957; &#956;&#945;&#961;&#964;&#965;&#961;&#959;&#x1FE6;&#963;&#953;&#957;
+&#959;&#7985; &#960;&#945;&#955;&#945;&#953;&#959;&#8054; &#956;&#945;&#957;&#943;&#945;&#957;
+&#963;&#969;&#966;&#961;&#959;&#963;&#965;&#957;&#951;&#962; &#964;&#8052;&#957;
+&#7952;&#954; &#920;&#949;&#959;&#x1FE6; &#964;&#x1fc6;&#962; &#960;&#945;&#8164; &#7936;&#957;&#952;&#961;&#974;&#960;&#969;&#957;
+&#947;&#953;&#947;&#957;&#959;&#956;&#941;&#957;&#951;&#962;</span>: &ldquo;It is the
+testimony of the ancients, that <i>the madness which is of God is a nobler thing
+than the wisdom which is of men</i>;&rdquo; and again, &ldquo;He who sets himself to any
+work with which the Muses have to do,&rdquo; (i. e. to any of the fine arts,) &ldquo;without
+madness, thinking that by art alone he can do his work sufficiently, will
+be found vain and incapable, and the work of temperance and rationalism
+will be thrust aside and obscured by that of inspiration.&rdquo; The passages to
+the same effect, relating especially to poetry, are innumerable in nearly all
+ancient writers; but in this of Plato, the entire compass of the fine arts is
+intended to be embraced.</p>
+
+<p>No one acquainted with other parts of my writings will suppose me to
+be an advocate of idle trust in the imagination. But it is in these days just
+as necessary to allege the supremacy of genius as the necessity of labor; for
+there never was, perhaps, a period in which the peculiar gift of the painter
+was so little discerned, in which so many and so vain efforts have been
+made to replace it by study and toil. This has been peculiarly the case
+with the German school, and there are few exhibitions of human error
+more pitiable than the manner in which the inferior members of it, men
+originally and for ever destitute of the painting faculty, force themselves
+into an unnatural, encumbered, learned fructification of tasteless fruit, and
+pass laborious lives in setting obscurely and weakly upon canvas the
+philosophy, if such it be, which ten minutes&rsquo; work of a strong man would
+have put into healthy practice, or plain words. I know not anything more
+melancholy than the sight of the huge German cartoon, with its objective
+side, and subjective side; and mythological division, and symbolical division,
+and human and Divine division; its allegorical sense, and literal
+sense; and ideal point of view, and intellectual point of view; its heroism
+of well-made armor and knitted brows; its heroinism of graceful attitude
+and braided hair; its inwoven web of sentiment, and piety, and philosophy,
+and anatomy, and history, all profound: and twenty innocent
+dashes of the hand of one God-made painter, poor old Bassan or Bonifazio,
+were worth it all, and worth it ten thousand times over.</p>
+
+<p>Not that the sentiment or the philosophy is base in itself. They will
+make a good man, but they will not make a good painter,&mdash;no, nor the millionth
+part of a painter. They would have been good in the work and
+words of daily life; but they are good for nothing in the cartoon, if they
+are there alone. And the worst result of the system is the intense conceit
+into which it cultivates a weak mind. Nothing is so hopeless, so intolerable,
+as the pride of a foolish man who has passed through a process of
+thinking, so as actually to have found something out. He believes there is
+nothing else to be found out in the universe. Whereas the truly great man,
+on whom the Revelations rain till they bear him to the earth with their
+weight, lays his head in the dust, and speaks thence&mdash;often in broken
+syllables. Vanity is indeed a very equally divided inheritance among
+mankind; but I think that among the first persons, no emphasis is altogether
+so strong as that on the German <i>Ich</i>. I was once introduced to a
+German philosopher-painter before Tintoret&rsquo;s &ldquo;Massacre of the Innocents.&rdquo;
+He looked at it superciliously, and said it &ldquo;wanted to be restored.&rdquo; He
+had been himself several years employed in painting a &ldquo;Faust&rdquo; in a red
+jerkin and blue fire; which made Tintoret appear somewhat dull to him.</p>
+
+<p><a name="Footnote_42" href="#FnAnchor_42"><span class="fn">42</span></a> I have before stated (&ldquo;Modern Painters&rdquo; vol. ii.) that the first function
+of the imagination is the apprehension of ultimate truth.</p>
+
+<p><a name="Footnote_43" href="#FnAnchor_43"><span class="fn">43</span></a> Note especially, in connexion with what was advanced in Vol. II.
+respecting our English neatness of execution, how the base workman has
+cut the lines of the architecture neatly and precisely round the abominable
+head: but the noble workman has used his chisel like a painter&rsquo;s pencil,
+and sketched the glory with a few irregular lines, anything rather than
+circular; and struck out the whole head in the same frank and fearless way,
+leaving the sharp edges of the stone as they first broke, and flinging back
+the crest of hair from the forehead with half a dozen hammer-strokes,
+while the poor wretch who did the other was half a day in smoothing its
+vapid and vermicular curls.</p>
+
+<p><a name="Footnote_44" href="#FnAnchor_44"><span class="fn">44</span></a> The decree is quoted by Mutinelli, lib. i. p. 46.</p>
+
+<p><a name="Footnote_45" href="#FnAnchor_45"><span class="fn">45</span></a> See <a href="#app_9">Appendix 9</a>.</p>
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page166"></a>166</span></p>
+
+<h3><a name="chap_4" id="chap_4"></a>CHAPTER IV.</h3>
+
+<h5>CONCLUSION.</h5>
+
+
+<p>§ <span class="scs">I</span>. I fear this chapter will be a rambling one, for it must
+be a kind of supplement to the preceding pages, and a general
+recapitulation of the things I have too imperfectly and feebly
+said.</p>
+
+<p>The grotesques of the seventeenth and eighteenth centuries,
+the nature of which we examined in the last chapter, close
+the career of the architecture of Europe. They were the last
+evidences of any feeling consistent with itself, and capable of
+directing the efforts of the builder to the formation of anything
+worthy the name of a style or school. From that time to this,
+no resuscitation of energy has taken place, nor does any for the
+present appear possible. How long this impossibility may last,
+and in what direction with regard to art in general, as well as
+to our lifeless architecture, our immediate efforts may most
+profitably be directed, are the questions I would endeavor
+briefly to consider in the present chapter.</p>
+
+<p>§ <span class="scs">II</span>. That modern science, with all its additions to the comforts
+of life, and to the fields of rational contemplation, has
+placed the existing races of mankind on a higher platform than
+any that preceded them, none can doubt for an instant; and I
+believe the position in which we find ourselves is somewhat
+analogous to that of thoughtful and laborious youth succeeding
+a restless and heedless infancy. Not long ago, it was said to
+me by one of the masters of modern science: &ldquo;When men invented
+the locomotive, the child was learning to go; when
+they invented the telegraph, it was learning to speak.&rdquo; He
+looked forward to the manhood of mankind, as assuredly the
+nobler in proportion to the slowness of its developement. What
+<span class="pagenum"><a name="page167"></a>167</span>
+might not be expected from the prime and middle strength of
+the order of existence whose infancy had lasted six thousand
+years? And, indeed, I think this the truest, as well as the
+most cheering, view that we can take of the world&rsquo;s history.
+Little progress has been made as yet. Base war, lying policy,
+thoughtless cruelty, senseless improvidence,&mdash;all things which,
+in nations, are analogous to the petulance, cunning, impatience,
+and carelessness of infancy,&mdash;have been, up to this hour, as
+characteristic of mankind as they were in the earliest periods;
+so that we must either be driven to doubt of human progress
+at all, or look upon it as in its very earliest stage. Whether
+the opportunity is to be permitted us to redeem the hours that
+we have lost; whether He, in whose sight a thousand years
+are as one day, has appointed us to be tried by the continued
+possession of the strange powers with which He has lately endowed
+us; or whether the periods of childhood and of probation
+are to cease together, and the youth of mankind is to be
+one which shall prevail over death, and bloom for ever in the
+midst of a new heaven and a new earth, are questions with
+which we have no concern. It is indeed right that we should
+look for, and hasten, so far as in us lies, the coming of the Day
+of God; but not that we should check any human efforts by
+anticipations of its approach. We shall hasten it best by endeavoring
+to work out the tasks that are appointed for us here;
+and, therefore, reasoning as if the world were to continue under
+its existing dispensation, and the powers which have just
+been granted to us were to be continued through myriads of
+future ages.</p>
+
+<p>§ <span class="scs">III</span>. It seems to me, then, that the whole human race, so
+far as their own reason can be trusted, may at present be regarded
+as just emergent from childhood; and beginning for
+the first time to feel their strength, to stretch their limbs, and
+explore the creation around them. If we consider that, till
+within the last fifty years, the nature of the ground we tread
+on, of the air we breathe, and of the light by which we see,
+were not so much as conjecturally conceived by us; that the
+duration of the globe, and the races of animal life by which it
+<span class="pagenum"><a name="page168"></a>168</span>
+was inhabited, are just beginning to be apprehended; and that
+the scope of the magnificent science which has revealed them,
+is as yet so little received by the public mind, that presumption
+and ignorance are still permitted to raise their voices against it
+unrebuked; that perfect veracity in the representation of general
+nature by art has never been attempted until the present
+day, and has in the present day been resisted with all the energy
+of the popular voice;<a name="FnAnchor_46" href="#Footnote_46"><span class="sp">46</span></a> that the simplest problems of social
+science are yet so little understood, as that doctrines of
+liberty and equality can be openly preached, and so successfully
+as to affect the whole body of the civilized world with apparently
+incurable disease; that the first principles of commerce
+were acknowledged by the English Parliament only a few
+months ago, in its free trade measures, and are still so little
+understood by the million, that no nation dares to abolish its
+custom-houses;<a name="FnAnchor_47" href="#Footnote_47"><span class="sp">47</span></a> that the simplest principles of policy are still
+not so much as stated, far less received, and that civilized nations
+persist in the belief that the subtlety and dishonesty which
+they know to be ruinous in dealings between man and man, are
+serviceable in dealings between multitude and multitude; finally,
+that the scope of the Christian religion, which we have
+been taught for two thousand years, is still so little conceived
+by us, that we suppose the laws of charity and of self-sacrifice
+bear upon individuals in all their social relations, and yet do
+not bear upon nations in any of their political relations;&mdash;when,
+I say, we thus review the depth of simplicity in which the human
+<span class="pagenum"><a name="page169"></a>169</span>
+race are still plunged with respect to all that it most profoundly
+concerns them to know, and which might, by them,
+with most ease have been ascertained, we can hardly determine
+how far back on the narrow path of human progress we ought
+to place the generation to which we belong, how far the swaddling
+clothes are unwound from us, and childish things beginning
+to be put away.</p>
+
+<p>On the other hand, a power of obtaining veracity in the
+representation of material and tangible things, which, within
+certain limits and conditions, is unimpeachable, has now been
+placed in the hands of all men,<a name="FnAnchor_48" href="#Footnote_48"><span class="sp">48</span></a> almost without labor. The
+foundation of every natural science is now at last firmly laid,
+not a day passing without some addition of buttress and pinnacle
+to their already magnificent fabric. Social theorems, if
+fiercely agitated, are therefore the more likely to be at last determined,
+so that they never can be matters of question more.
+Human life has been in some sense prolonged by the increased
+powers of locomotion, and an almost limitless power of converse.
+Finally, there is hardly any serious mind in Europe but
+is occupied, more or less, in the investigation of the questions
+which have so long paralyzed the strength of religious feeling,
+and shortened the dominion of religious faith. And we may
+therefore at least look upon ourselves as so far in a definite
+state of progress, as to justify our caution in guarding against
+the dangers incident to every period of change, and especially
+to that from childhood into youth.</p>
+
+<p>§ <span class="scs">IV</span>. Those dangers appear, in the main, to be twofold;
+consisting partly in the pride of vain knowledge, partly in the
+pursuit of vain pleasure. A few points are still to be noticed
+with respect to each of these heads.</p>
+
+<p><span class="pagenum"><a name="page170"></a>170</span></p>
+
+<p>Enough, it might be thought, had been said already, touching
+the pride of knowledge; but I have not yet applied the
+principles, at which we arrived in the third chapter, to the
+practical questions of modern art. And I think those principles,
+together with what were deduced from the consideration
+of the nature of Gothic in the second volume, so necessary and
+vital, not only with respect to the progress of art, but even to
+the happiness of society, that I will rather run the risk of
+tediousness than of deficiency, in their illustration and enforcement.</p>
+
+<p>In examining the nature of Gothic, we concluded that one
+of the chief elements of power in that, and in <i>all good</i> architecture,
+was the acceptance of uncultivated and rude energy in
+the workman. In examining the nature of Renaissance, we
+concluded that its chief element of weakness was that pride of
+knowledge which not only prevented all rudeness in expression,
+but gradually quenched all energy which could only be rudely
+expressed; nor only so, but, for the motive and matter of the
+work itself, preferred science to emotion, and experience to
+perception.</p>
+
+<p>§ <span class="scs">V</span>. The modern mind differs from the Renaissance mind
+in that its learning is more substantial and extended, and its
+temper more humble; but its errors, with respect to the cultivation
+of art, are precisely the same,&mdash;nay, as far as regards
+execution, even more aggravated. We require, at present,
+from our general workmen, more perfect finish than was demanded
+in the most skilful Renaissance periods, except in their
+very finest productions; and our leading principles in teaching,
+and in the patronage which necessarily gives tone to teaching,
+are, that the goodness of work consists primarily in firmness of
+handling and accuracy of science, that is to say, in hand-work
+and head-work; whereas heart-work, which is the <i>one</i> work we
+want, is not only independent of both, but often, in great degree,
+inconsistent with either.</p>
+
+<p>§ <span class="scs">VI</span>. Here, therefore, let me finally and firmly enunciate
+the great principle to which all that has hitherto been stated is
+subservient:&mdash;that art is valuable or otherwise, only as it expresses
+<span class="pagenum"><a name="page171"></a>171</span>
+the personality, activity, and living perception of a good
+and great human soul; that it may express and contain this
+with little help from execution, and less from science; and that
+if it have not this, if it show not the vigor, perception, and invention
+of a mighty human spirit, it is worthless. Worthless,
+I mean, as <i>art</i>; it may be precious in some other way, but, as
+art, it is nugatory. Once let this be well understood among us,
+and magnificent consequences will soon follow. Let me repeat
+it in other terms, so that I may not be misunderstood. All art
+is great, and good, and true, only so far as it is distinctively the
+work of <i>manhood</i> in its entire and highest sense; that is to say,
+not the work of limbs and fingers, but of the soul, aided, according
+to her necessities, by the inferior powers; and therefore
+distinguished in essence from all products of those inferior
+powers unhelped by the soul. For as a photograph is not a
+work of art, though it requires certain delicate manipulations
+of paper and acid, and subtle calculations of time, in order to
+bring out a good result; so, neither would a drawing <i>like</i> a
+photograph, made directly from nature, be a work of art, although
+it would imply many delicate manipulations of the pencil
+and subtle calculations of effects of color and shade. It is
+no more art<a name="FnAnchor_49" href="#Footnote_49"><span class="sp">49</span></a> to manipulate a camel&rsquo;s hair pencil, than to manipulate
+a china tray and a glass vial. It is no more art to lay
+on color delicately, than to lay on acid delicately. It is no
+more art to use the cornea and retina for the reception of an
+image, than to use a lens and a piece of silvered paper. But
+the moment that inner part of the man, or rather that entire
+and only being of the man, of which cornea and retina, fingers
+and hands, pencils and colors, are all the mere servants and instruments;<a name="FnAnchor_50" href="#Footnote_50"><span class="sp">50</span></a>
+that manhood which has light in itself, though the
+<span class="pagenum"><a name="page172"></a>172</span>
+eyeball be sightless, and can gain in strength when the hand
+and the foot are hewn off and cast into the fire; the moment
+this part of the man stands forth with its solemn &ldquo;Behold, it is
+I,&rdquo; then the work becomes art indeed, perfect in honor, priceless
+in value, boundless in power.</p>
+
+<p>§ <span class="scs">VII</span>. Yet observe, I do not mean to speak of the body and
+soul as separable. The man is made up of both: they are to
+be raised and glorified together, and all art is an expression of
+the one, by and through the other. All that I would insist
+upon is, the necessity of the whole man being in his work; the
+body <i>must</i> be in it. Hands and habits must be in it, whether
+we will or not; but the nobler part of the man may often not
+be in it. And that nobler part acts principally in love, reverence,
+and admiration, together with those conditions of thought
+which arise out of them. For we usually fall into much error
+by considering the intellectual powers as having dignity in
+themselves, and separable from the heart; whereas the truth
+is, that the intellect becomes noble and ignoble according to the
+food we give it, and the kind of subjects with which it is conversant.
+It is not the reasoning power which, of itself, is noble,
+<span class="pagenum"><a name="page173"></a>173</span>
+but the reasoning power occupied with its proper objects.
+Half of the mistakes of metaphysicians have arisen from their
+not observing this; namely, that the intellect, going through
+the same processes, is yet mean or noble according to the matter
+it deals with, and wastes itself away in mere rotatory motion,
+if it be set to grind straws and dust. If we reason only
+respecting words, or lines, or any trifling and finite things, the
+reason becomes a contemptible faculty; but reason employed on
+holy and infinite things, becomes herself holy and infinite. So
+that, by work of the soul, I mean the reader always to understand
+the work of the entire immortal creature, proceeding from
+a quick, perceptive, and eager heart, perfected by the intellect,
+and finally dealt with by the hands, under the direct guidance
+of these higher powers.</p>
+
+<p>§ <span class="scs">VIII</span>. And now observe, the first important consequence of
+our fully understanding this preëminence of the soul, will be
+the due understanding of that subordination of knowledge respecting
+which so much has already been said. For it must
+be felt at once, that the increase of knowledge, merely as such,
+does not make the soul larger or smaller; that, in the sight of
+God, all the knowledge man can gain is as nothing: but that
+the soul, for which the great scheme of redemption was laid, be
+it ignorant or be it wise, is all in all; and in the activity,
+strength, health, and well-being of this soul, lies the main difference,
+in His sight, between one man and another. And
+that which is all in all in God&rsquo;s estimate is also, be assured, all
+in all in man&rsquo;s labor; and to have the heart open, and the eyes
+clear, and the emotions and thoughts warm and quick, and not
+the knowing of this or the other fact, is the state needed for
+all mighty doing in this world. And therefore finally, for this,
+the weightiest of all reasons, let us take no pride in our knowledge.
+We may, in a certain sense, be proud of being immortal;
+we may be proud of being God&rsquo;s children; we may be proud of
+loving, thinking, seeing, and of all that we are by no human
+teaching: but not of what we have been taught by rote; not of
+the ballast and freight of the ship of the spirit, but only of its
+pilotage, without which all the freight will only sink it faster,
+<span class="pagenum"><a name="page174"></a>174</span>
+and strew the sea more richly with its ruin. There is not
+at this moment a youth of twenty, having received what we
+moderns ridiculously call education, but he knows more of
+everything, except the soul, than Plato or St. Paul did; but
+he is not for that reason a greater man, or fitter for his work,
+or more fit to be heard by others, than Plato or St. Paul.
+There is not at this moment a junior student in our schools of
+painting, who does not know fifty times as much about the
+art as Giotto did; but he is not for that reason greater than
+Giotto; no, nor his work better, nor fitter for our beholding.
+Let him go on to know all that the human intellect can discover
+and contain in the term of a long life, and he will not
+be one inch, one line, nearer to Giotto&rsquo;s feet. But let him
+leave his academy benches, and, innocently, as one knowing
+nothing, go out into the highways and hedges, and there rejoice
+with them that rejoice, and weep with them that weep;
+and in the next world, among the companies of the great and
+good, Giotto will give his hand to him, and lead him into their
+white circle, and say, &ldquo;This is our brother.&rdquo;</p>
+
+<p>§ <span class="scs">IX</span>. And the second important consequence of our feeling
+the soul&rsquo;s preëminence will be our understanding the soul&rsquo;s
+language, however broken, or low, or feeble, or obscure in its
+words; and chiefly that great symbolic language of past ages,
+which has now so long been unspoken. It is strange that the
+same cold and formal spirit which the Renaissance teaching
+has raised amongst us, should be equally dead to the languages
+of imitation and of symbolism; and should at once disdain the
+faithful rendering of real nature by the modern school of the
+Pre-Raphaelites, and the symbolic rendering of imagined nature
+in the work of the thirteenth century. But so it is; and we
+find the same body of modern artists rejecting Pre-Raphaelitism
+because it is not ideal! and thirteenth century work, because
+it is not real!&mdash;their own practice being at once false
+and un-ideal, and therefore equally opposed to both.</p>
+
+<p>§ <span class="scs">X</span>. It is therefore, at this juncture, of much importance
+to mark for the reader the exact relation of healthy symbolism
+and of healthy imitation; and, in order to do so, let us
+<span class="pagenum"><a name="page175"></a>175</span>
+return to one of our Venetian examples of symbolic art, to the
+central cupola of St. Mark&rsquo;s. On that cupola, as has been
+already stated, there is a mosaic representing the Apostles on
+the Mount of Olives, with an olive-tree separating each from
+the other; and we shall easily arrive at our purpose, by comparing
+the means which would have been adopted by a modern
+artist bred in the Renaissance schools,&mdash;that is to say, under
+the influence of Claude and Poussin, and of the common teaching
+of the present day,&mdash;with those adopted by the Byzantine
+mosaicist to express the nature of these trees.</p>
+
+<p>§ <span class="scs">XI</span>. The reader is doubtless aware that the olive is one of
+the most characteristic and beautiful features of all Southern
+scenery. On the slopes of the northern Apennines, olives are
+the usual forest timber; the whole of the Val d&rsquo;Arno is wooded
+with them, every one of its gardens is filled with them, and
+they grow in orchard-like ranks out of its fields of maize, or
+corn, or vine; so that it is physically impossible, in most parts
+of the neighborhood of Florence, Pistoja, Lucca, or Pisa, to
+choose any site of landscape which shall not owe its leading
+character to the foliage of these trees. What the elm and oak
+are to England, the olive is to Italy; nay, more than this, its
+presence is so constant, that, in the case of at least four fifths
+of the drawings made by any artist in North Italy, he must
+have been somewhat impeded by branches of olive coming between
+him and the landscape. Its classical associations double
+its importance in Greece; and in the Holy Land the remembrances
+connected with it are of course more touching than
+can ever belong to any other tree of the field. Now, for many
+years back, at least one third out of all the landscapes painted
+by English artists have been chosen from Italian scenery;
+sketches in Greece and in the Holy Land have become as common
+as sketches on Hampstead Heath; our galleries also are
+full of sacred subjects, in which, if any background be introduced
+at all, the foliage of the olive ought to have been a
+prominent feature.</p>
+
+<p>And here I challenge the untravelled English reader to tell
+me what an olive-tree is like?</p>
+
+<p><span class="pagenum"><a name="page176"></a>176</span></p>
+
+<p>§ <span class="scs">XII</span>. I know he cannot answer my challenge. He has no
+more idea of an olive-tree than if olives grew only in the fixed
+stars. Let him meditate a little on this one fact, and consider
+its strangeness, and what a wilful and constant closing of the
+eyes to the most important truths it indicates on the part of
+the modern artist. Observe, a want of perception, not of science.
+I do not want painters to tell me any scientific facts
+about olive-trees. But it had been well for them to have felt
+and seen the olive-tree; to have loved it for Christ&rsquo;s sake,
+partly also for the helmed Wisdom&rsquo;s sake which was to the
+heathen in some sort as that nobler Wisdom which stood at
+God&rsquo;s right hand, when He founded the earth and established
+the heavens. To have loved it, even to the hoary dimness of
+its delicate foliage, subdued and faint of hue, as if the ashes of
+the Gethsemane agony had been cast upon it for ever; and to
+have traced, line by line, the gnarled writhing of its intricate
+branches, and the pointed fretwork of its light and narrow
+leaves, inlaid on the blue field of the sky, and the small rosy-white
+stars of its spring blossoming, and the beads of sable
+fruit scattered by autumn along its topmost boughs&mdash;the right,
+in Israel, of the stranger, the fatherless, and the widow,&mdash;and,
+more than all, the softness of the mantle, silver grey, and tender
+like the down on a bird&rsquo;s breast, with which, far away, it veils
+the undulation of the mountains;&mdash;these it had been well for
+them to have seen and drawn, whatever they had left unstudied
+in the gallery.</p>
+
+<p>§ <span class="scs">XIII</span>. And if the reader would know the reason why this
+has not been done (it is one instance only out of the myriads
+which might be given of sightlessness in modern art), and will
+ask the artists themselves, he will be informed of another of
+the marvellous contradictions and inconsistencies in the base
+Renaissance art; for it will be answered him, that it is not
+right, nor according to law, to draw trees so that one should be
+known from another, but that trees ought to be generalized
+into a universal idea of a tree: that is to say, that the very
+school which carries its science in the representation of man
+down to the dissection of the most minute muscle, refuses so
+<span class="pagenum"><a name="page177"></a>177</span>
+much science to the drawing of a tree as shall distinguish one
+species from another; and also, while it attends to logic, and
+rhetoric, and perspective, and atmosphere, and every other circumstance
+which is trivial, verbal, external, or accidental, in
+what it either says or sees, it will <i>not</i> attend to what is essential
+and substantial,&mdash;being intensely solicitous, for instance, if
+it draws two trees, one behind the other, that the farthest off
+shall be as much smaller as mathematics show that it should
+be, but totally unsolicitous to show, what to the spectator is a
+far more important matter, whether it is an apple or an orange
+tree.</p>
+
+<p>§ <span class="scs">XIV</span>. This, however, is not to our immediate purpose. Let
+it be granted that an idea of an olive-tree is indeed to be given
+us in a special manner; how, and by what language, this idea
+is to be conveyed, are questions on which we shall find the
+world of artists again divided; and it was this division which
+I wished especially to illustrate by reference to the mosaics of
+St. Mark&rsquo;s.</p>
+
+<p>Now the main characteristics of an olive-tree are these. It
+has sharp and slender leaves of a greyish green, nearly grey
+on the under surface, and resembling, but somewhat smaller
+than, those of our common willow. Its fruit, when ripe, is
+black and lustrous; but of course so small, that, unless in great
+quantity, it is not conspicuous upon the tree. Its trunk and
+branches are peculiarly fantastic in their twisting, showing
+their fibres at every turn; and the trunk is often hollow, and
+even rent into many divisions like separate stems, but the extremities
+are exquisitely graceful, especially in the setting on
+of the leaves; and the notable and characteristic effect of the
+tree in the distance is of a rounded and soft mass or ball of
+downy foliage.</p>
+
+<p>§ <span class="scs">XV</span>. Supposing a modern artist to address himself to the
+rendering of this tree with his best skill: he will probably
+draw accurately the twisting of the branches, but yet this will
+hardly distinguish the tree from an oak: he will also render
+the color and intricacy of the foliage, but this will only confuse
+the idea of an oak with that of a willow. The fruit, and the
+<span class="pagenum"><a name="page178"></a>178</span>
+peculiar grace of the leaves at the extremities, and the fibrous
+structure of the stems, will all be too minute to be rendered
+consistently with his artistical feeling of breadth, or with the
+amount of labor which he considers it dexterous and legitimate
+to bestow upon the work: but, above all, the rounded and monotonous
+form of the head of the tree will be at variance with
+his ideas of &ldquo;composition;&rdquo; he will assuredly disguise or break
+it, and the main points of the olive-tree will all at last remain
+untold.</p>
+
+<p>§ <span class="scs">XVI</span>. Now observe, the old Byzantine mosaicist begins
+his work at enormous disadvantage. It is to be some one
+hundred and fifty feet above the eye, in a dark cupola; executed
+not with free touches of the pencil, but with square pieces
+of glass; not by his own hand, but by various workmen under
+his superintendence; finally, not with a principal purpose of
+drawing olive-trees, but mainly as a decoration of the cupola.
+There is to be an olive-tree beside each apostle, and their stems
+are to be the chief lines which divide the dome. He therefore
+at once gives up the irregular twisting of the boughs hither
+and thither, but he will not give up their fibres. Other trees
+have irregular and fantastic branches, but the knitted cordage
+of fibres is the olive&rsquo;s own. Again, were he to draw the leaves
+of their natural size, they would be so small that their forms
+would be invisible in the darkness; and were he to draw them
+so large as that their shape might be seen, they would look like
+laurel instead of olive. So he arranges them in small clusters
+of five each, nearly of the shape which the Byzantines give to
+the petals of the lily, but elongated so as to give the idea of leafage
+upon a spray; and these clusters,&mdash;his object always, be it
+remembered, being <i>decoration</i> not less than <i>representation</i>,&mdash;he
+arranges symmetrically on each side of his branches, laying
+the whole on a dark ground most truly suggestive of the heavy
+rounded mass of the tree, which, in its turn, is relieved against
+the gold of the cupola. Lastly, comes the question respecting
+the fruit. The whole power and honor of the olive is in its
+fruit; and, unless that be represented, nothing is represented.
+But if the berries were colored black or green, they would be
+<span class="pagenum"><a name="page179"></a>179</span>
+totally invisible; if of any other color, utterly unnatural, and
+violence would be done to the whole conception. There is but
+one conceivable means of showing them, namely to represent
+them as golden. For the idea of golden fruit of various kinds
+was already familiar to the mind, as in the apples of the Hesperides,
+without any violence to the distinctive conception of
+the fruit itself.<a name="FnAnchor_51" href="#Footnote_51"><span class="sp">51</span></a> So the mosaicist introduced small round
+golden berries into the dark ground between each leaf, and his
+work was done.</p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">IV.</td>
+</tr>
+<tr>
+  <td class="figcenter">
+    <a name="plate_4"><img src="images/img179.jpg" width="402" height="650" alt="Mosaics of Olive-tree and Flowers." title="Mosaics of Olive-tree and Flowers." /></a></td>
+</tr>
+<tr>
+  <td class="caption">Mosaics of Olive-tree and Flowers.</td>
+</tr>
+</table>
+
+<p>§ <span class="scs">XVII.</span> On the opposite plate, the uppermost figure on the
+left is a tolerably faithful representation of the general effect
+of one of these decorative olive-trees; the figure on the right
+is the head of the tree alone, showing the leaf clusters, berries,
+and <i>interlacing</i> of the boughs as they leave the stem. Each
+bough is connected with a separate line of fibre in the trunk,
+and the junctions of the arms and stem are indicated, down to
+the very root of the tree, with a truth in structure which may
+well put to shame the tree anatomy of modern times.</p>
+
+<p>§ <span class="scs">XVIII.</span> The white branching figures upon the serpentine
+band below are two of the clusters of flowers which form the
+foreground of a mosaic in the atrium. I have printed the
+whole plate in blue, because that color approaches more nearly
+than black to the distant effect of the mosaics, of which the
+darker portions are generally composed of blue, in greater
+quantity than any other color. But the waved background in
+this instance, is of various shades of blue and green alternately,
+with one narrow black band to give it force; the whole being
+intended to represent the distant effect and color of deep grass,
+and the wavy line to <i>express its bending motion</i>, just as the
+same symbol is used to represent the waves of water. Then
+the two white clusters are representative of the distinctly visible
+<span class="pagenum"><a name="page180"></a>180</span>
+herbage close to the spectator, having buds and flowers of
+two kinds, springing in one case out of the midst of twisted
+grass, and in the other out of their own proper leaves; the
+clusters being kept each so distinctly symmetrical, as to form,
+when set side by side, an ornamental border of perfect architectural
+severity; and yet each cluster different from the next,
+and every flower, and bud, and knot of grass, varied in form
+and thought. The way the mosaic tesseræ are arranged, so as
+to give the writhing of the grass blades round the stalks of the
+flowers, is exceedingly fine.</p>
+
+<p>The tree circles below are examples of still more severely
+conventional forms, adopted, on principle, when the decoration
+is to be in white and gold, instead of color; these ornaments
+being cut in white marble on the outside of the church, and
+the ground laid in with gold, though necessarily here represented,
+like the rest of the plate, in blue. And it is exceedingly
+interesting to see how the noble workman, the moment
+he is restricted to more conventional materials, retires into more
+conventional forms, and reduces his various leafage into symmetry,
+now nearly perfect; yet observe, in the central figure,
+where the symbolic meaning of the vegetation beside the cross
+required it to be more distinctly indicated, he has given it life
+and growth by throwing it into unequal curves on the opposite
+sides.</p>
+
+<p>§ <span class="scs">XIX.</span> I believe the reader will now see, that in these
+mosaics, which the careless traveller is in the habit of passing
+by with contempt, there is a depth of feeling and of meaning
+greater than in most of the best sketches from nature of modern
+times; and, without entering into any question whether
+these conventional representations are as good as, under the required
+limitations, it was possible to render them, they are at
+all events good enough completely to illustrate that mode of
+symbolical expression which appeals altogether to thought, and
+in no wise trusts to realization. And little as, in the present
+state of our schools, such an assertion is likely to be believed,
+the fact is that this kind of expression is the <i>only one allowable
+in noble art</i>.</p>
+
+<p><span class="pagenum"><a name="page181"></a>181</span></p>
+
+<p>§ <span class="scs">XX.</span> I pray the reader to have patience with me for a few
+moments. I do not mean that no art is noble but Byzantine
+mosaic; but no art is noble which in any wise depends upon
+direct imitation for its effect upon the mind. This was asserted
+in the opening chapters of &ldquo;Modern Painters,&rdquo; but not upon
+the highest grounds; the results at which we have now arrived
+in our investigation of early art, will enable me to place it on
+a loftier and firmer foundation.</p>
+
+<p>§ <span class="scs">XXI.</span> We have just seen that all great art is the work of
+the whole living creature, body and soul, and chiefly of the
+soul. But it is not only <i>the work</i> of the whole creature, it likewise
+<i>addresses</i> the whole creature. That in which the perfect
+being speaks, must also have the perfect being to listen. I am
+not to spend my utmost spirit, and give all my strength and
+life to my work, while you, spectator or hearer, will give me only
+the attention of half your soul. You must be all mine, as I
+am all yours; it is the only condition on which we can meet
+each other. All your faculties, all that is in you of greatest
+and best, must be awake in you, or I have no reward. The
+painter is not to cast the entire treasure of his human nature
+into his labor, merely to please a part of the beholder: not
+merely to delight his senses, not merely to amuse his fancy,
+not merely to beguile him into emotion, not merely to lead
+him into thought, but to do <i>all</i> this. Senses, fancy, feeling,
+reason, the whole of the beholding spirit, must be stilled in attention
+or stirred with delight; else the laboring spirit has not
+done its work well. For observe, it is not merely its <i>right</i> to
+be thus met, face to face, heart to heart; but it is its <i>duty</i> to
+evoke its answering of the other soul; its trumpet call must be
+so clear, that though the challenge may by dulness or indolence
+be unanswered, there shall be no error as to the meaning
+of the appeal; there must be a summons in the work, which
+it shall be our own fault if we do not obey. We require this
+of it, we beseech this of it. Most men do not know what is
+in them, till they receive this summons from their fellows:
+their hearts die within them, sleep settles upon them, the lethargy
+of the world&rsquo;s miasmata; there is nothing for which they
+<span class="pagenum"><a name="page182"></a>182</span>
+are so thankful as for that cry, &ldquo;Awake, thou that sleepest.&rdquo;
+And this cry must be most loudly uttered to their noblest faculties;
+first of all to the imagination, for that is the most tender,
+and the soonest struck into numbness by the poisoned air;
+so that one of the main functions of art in its service to man,
+is to arouse the imagination from its palsy, like the angel troubling
+the Bethesda pool; and the art which does not do this is
+false to its duty, and degraded in its nature. It is not enough
+that it be well imagined, it must task the beholder also to imagine
+well; and this so imperatively, that if he does not choose
+to rouse himself to meet the work, he shall not taste it, nor enjoy
+it in any wise. Once that he is well awake, the guidance
+which the artist gives him should be full and authoritative:
+the beholder&rsquo;s imagination must not be suffered to take its own
+way, or wander hither and thither; but neither must it be left
+at rest; and the right point of realization, for any given work
+of art, is that which will enable the spectator to complete it
+for himself, in the exact way the artist would have him, but
+not that which will save him the trouble of effecting the completion.
+So soon as the idea is entirely conveyed, the artist&rsquo;s
+labor should cease; and every touch which he adds beyond the
+point when, with the help of the beholder&rsquo;s imagination, the
+story ought to have been told, is a degradation to his work.
+So that the art is wrong, which either realizes its subject completely,
+or fails in giving such definite aid as shall enable it to
+be realized by the beholding imagination.</p>
+
+<p>§ <span class="scs">XXII.</span> It follows, therefore, that the quantity of finish or
+detail which may rightly be bestowed upon any work, depends
+on the number and kind of ideas which the artist wishes to
+convey, much more than on the amount of realization necessary
+to enable the imagination to grasp them. It is true that the
+differences of judgment formed by one or another observer are
+in great degree dependent on their unequal imaginative powers,
+as well as their unequal efforts in following the artist&rsquo;s intention;
+and it constantly happens that the drawing which appears
+clear to the painter in whose mind the thought is formed, is
+<span class="pagenum"><a name="page183"></a>183</span>
+slightly inadequate to suggest it to the spectator. These causes
+of false judgment, or imperfect achievement, must always exist,
+but they are of no importance. For, in nearly every mind,
+the imaginative power, however unable to act independently,
+is so easily helped and so brightly animated by the most obscure
+suggestion, that there is no form of artistical language
+which will not readily be seized by it, if once it set itself intelligently
+to the task; and even without such effort there are
+few hieroglyphics of which, once understanding that it is to
+take them as hieroglyphics, it cannot make itself a pleasant
+picture.</p>
+
+<p>§ <span class="scs">XXIII.</span> Thus, in the case of all sketches, etchings, unfinished
+engravings, &amp;c., no one ever supposes them to be imitations.
+Black outlines on white paper cannot produce a deceptive resemblance
+of anything; and the mind, understanding at once
+that it is to depend on its own powers for great part of its
+pleasure, sets itself so actively to the task that it can completely
+enjoy the rudest outline in which meaning exists. Now, when
+it is once in this temper, the artist is infinitely to be blamed
+who insults it by putting anything into his work which is not
+suggestive: having summoned the imaginative power, he must
+turn it to account and keep it employed, or it will run against
+him in indignation. Whatever he does merely to realize and
+substantiate an idea is impertinent; he is like a dull story-teller,
+dwelling on points which the hearer anticipates or disregards.
+The imagination will say to him: &ldquo;I knew all that before; I
+don&rsquo;t want to be told that. Go on; or be silent, and let
+me go on in my own way. I can tell the story better than
+you.&rdquo;</p>
+
+<p>Observe, then, whenever finish is given for the sake of realization,
+it is wrong; whenever it is given for the sake of adding
+ideas it is right. All true finish consists in the addition of
+ideas, that is to say, in giving the imagination more food; for
+once well awaked, it is ravenous for food: but the painter who
+finishes in order to substantiate takes the food out of its mouth,
+and it will turn and rend him.</p>
+
+<p><span class="pagenum"><a name="page184"></a>184</span></p>
+
+<p>§ <span class="scs">XXIV.</span> Let us go back, for instance, to our olive grove,&mdash;or,
+lest the reader should be tired of olives, let it be an oak
+copse,&mdash;and consider the difference between the substantiating
+and the imaginative methods of finish in such a subject. A
+few strokes of the pencil, or dashes of color, will be enough to
+enable the imagination to conceive a tree; and in those dashes
+of color Sir Joshua Reynolds would have rested, and would
+have suffered the imagination to paint what more it liked for
+itself, and grow oaks, or olives, or apples, out of the few dashes
+of color at its leisure. On the other hand, Hobbima, one of
+the worst of the realists, smites the imagination on the mouth,
+and bids it be silent, while he sets to work to paint his oak of
+the right green, and fill up its foliage laboriously with jagged
+touches, and furrow the bark all over its branches, so as, if possible,
+to deceive us into supposing that we are looking at a real
+oak; which, indeed, we had much better do at once, without
+giving any one the trouble to deceive us in the matter.</p>
+
+<p>§ <span class="scs">XXV.</span> Now, the truly great artist neither leaves the imagination
+to itself, like Sir Joshua, nor insults it by realization,
+like Hobbima, but finds it continual employment of the happiest
+kind. Having summoned it by his vigorous first touches,
+he says to it: &ldquo;Here is a tree for you, and it is to be an oak.
+Now I know that you can make it green and intricate for yourself,
+but that is not enough: an oak is not only green and intricate,
+but its leaves have most beautiful and fantastic forms
+which I am very sure you are not quite able to complete without
+help; so I will draw a cluster or two perfectly for you,
+and then you can go on and do all the other clusters. So far
+so good: but the leaves are not enough; the oak is to be full
+of acorns, and you may not be quite able to imagine the way
+they grow, nor the pretty contrast of their glossy almond-shaped
+nuts with the chasing of their cups; so I will draw a
+bunch or two of acorns for you, and you can fill up the oak
+with others like them. Good: but that is not enough; it is to
+be a bright day in summer, and all the outside leaves are to be
+glittering in the sunshine as if their edges were of gold: I cannot
+paint this, but you can; so I will really gild some of the
+<span class="pagenum"><a name="page185"></a>185</span>
+edges nearest you,<a name="FnAnchor_52" href="#Footnote_52"><span class="sp">52</span></a> and you can turn the gold into sunshine,
+and cover the tree with it. Well done: but still this is not
+enough; the tree is so full foliaged and so old that the wood
+birds come in crowds to build there; they are singing, two or
+three under the shadow of every bough. I cannot show you
+them all; but here is a large one on the outside spray, and you
+can fancy the others inside.&rdquo;</p>
+
+<p>§ <span class="scs">XXVI.</span> In this way the calls upon the imagination are multiplied
+as a great painter finishes; and from these larger incidents
+he may proceed into the most minute particulars, and
+lead the companion imagination to the veins in the leaves and
+the mosses on the trunk, and the shadows of the dead leaves
+upon the grass, but always multiplying thoughts, or subjects of
+thought, never working for the sake of realization; the amount
+of realization actually reached depending on his space, his
+materials, and the nature of the thoughts he wishes to suggest.
+In the sculpture of an oak-tree, introduced above an Adoration
+of the Magi on the tomb of the Doge Marco Dolfino (fourteenth
+century), the sculptor has been content with a few
+leaves, a single acorn, and a bird; while, on the other hand,
+Millais&rsquo; willow-tree with the robin, in the background of his
+&ldquo;Ophelia,&rdquo; or the foreground of Hunt&rsquo;s &ldquo;Two Gentlemen of
+Verona,&rdquo; carries the appeal to the imagination into particulars
+so multiplied and minute, that the work nearly reaches realization.
+But it does not matter how near realization the work
+may approach in its fulness, or how far off it may remain in
+its slightness, so long as realization is not the end proposed,
+but the informing one spirit of the thoughts of another. And
+in this greatness and simplicity of purpose all noble art is alike,
+however slight its means, or however perfect, from the rudest
+mosaics of St. Mark&rsquo;s to the most tender finishing of the
+&ldquo;Huguenot&rdquo; or the &ldquo;Ophelia.&rdquo;</p>
+
+<p>§ <span class="scs">XXVII.</span> Only observe, in this matter, that a greater degree
+<span class="pagenum"><a name="page186"></a>186</span>
+of realization is often allowed, for the sake of color, than would
+be right without it. For there is not any distinction between
+the artists of the inferior and the nobler schools more definite
+than this; that the first <i>color for the sake of realization</i>, and
+the second <i>realize for the sake of color</i>. I hope that, in the
+fifth chapter, enough has been said to show the nobility of
+color, though it is a subject on which I would fain enlarge
+whenever I approach it: for there is none that needs more to
+be insisted upon, chiefly on account of the opposition of the
+persons who have no eye for color, and who, being therefore
+unable to understand that it is just as divine and distinct in its
+power as music (only infinitely more varied in its harmonies),
+talk of it as if it were inferior and servile with respect to the
+other powers of art;<a name="FnAnchor_53" href="#Footnote_53"><span class="sp">53</span></a> whereas it is so far from being this, that
+wherever it enters it must take the mastery, and, whatever else
+is sacrificed for its sake, <i>it</i>, at least, must be right. This is
+partly the case even with music: it is at our choice, whether
+we will accompany a poem with music, or not; but, if we do,
+the music <i>must</i> be right, and neither discordant nor inexpressive.
+The goodness and sweetness of the poem cannot save it,
+if the music be harsh or false; but, if the music be right, the
+poem may be insipid or inharmonious, and still saved by the
+notes to which it is wedded. But this is far more true of color.
+If that be wrong, all is wrong. No amount of expression or
+<span class="pagenum"><a name="page187"></a>187</span>
+invention can redeem an ill-colored picture; while, on the
+other hand, if the color be right, there is nothing it will not
+raise or redeem; and, therefore, wherever color enters at all,
+anything <i>may</i> be sacrificed to it, and, rather than it should be
+false or feeble, everything <i>must</i> be sacrificed to it: so that,
+when an artist touches color, it is the same thing as when a
+poet takes up a musical instrument; he implies, in so doing,
+that he is a master, up to a certain point, of that instrument,
+and can produce sweet sound from it, and is able to fit the
+course and measure of his words to its tones, which, if he be
+not able to do, he had better not have touched it. In like
+manner, to add color to a drawing is to undertake for the perfection
+of a visible music, which, if it be false, will utterly and
+assuredly mar the whole work; if true, proportionately elevate
+it, according to its power and sweetness. But, in no case ought
+the color to be added in order to increase the realization. The
+drawing or engraving is all that the imagination needs. To
+&ldquo;paint&rdquo; the subject merely to make it more real, is only to insult
+the imaginative power and to vulgarize the whole. Hence
+the common, though little understood feeling, among men of
+ordinary cultivation, that an inferior sketch is always better
+than a bad painting; although, in the latter, there may verily
+be more skill than in the former. For the painter who has
+presumed to touch color without perfectly understanding it,
+not for the color&rsquo;s sake, nor because he loves it, but for the
+sake of completion merely, has committed two sins against us;
+he has dulled the imagination by not trusting it far enough,
+and then, in this languid state, he oppresses it with base and
+false color; for all color that is not lovely, is discordant; there
+is no mediate condition. So, therefore, when it is permitted
+to enter at all, it must be with the predetermination that, cost
+what it will, the color shall be right and lovely: and I only
+wish that, in general, it were better understood that a <i>painter&rsquo;s</i>
+business is <i>to paint</i>, primarily; and that all expression, and
+grouping, and conceiving, and what else goes to constitute
+design, <i>are of less importance than color, in a colored work</i>.
+And so they were always considered in the noble periods; and
+<span class="pagenum"><a name="page188"></a>188</span>
+sometimes all resemblance to nature whatever (as in painted
+windows, illuminated manuscripts, and such other work) is
+sacrificed to the brilliancy of color; sometimes distinctness of
+form to its richness, as by Titian, Turner, and Reynolds; and,
+which is the point on which we are at present insisting, sometimes,
+in the pursuit of its utmost refinements on the surfaces
+of objects, an amount of realization becomes consistent with
+noble art, which would otherwise be altogether inadmissible,
+that is to say, which no great mind could otherwise have either
+produced or enjoyed. The extreme finish given by the Pre-Raphaelites
+is rendered noble chiefly by their love of color.</p>
+
+<p>§ <span class="scs">XXVIII.</span> So then, whatever may be the means, or whatever
+the more immediate end of any kind of art, all of it that is
+good agrees in this, that it is the expression of one soul talking
+to another, and is precious according to the greatness of the
+soul that utters it. And consider what mighty consequences
+follow from our acceptance of this truth! what a key we have
+herein given us for the interpretation of the art of all time!
+For, as long as we held art to consist in any high manual skill,
+or successful imitation of natural objects, or any scientific and
+legalized manner of performance whatever, it was necessary for
+us to limit our admiration to narrow periods and to few men.
+According to our own knowledge and sympathies, the period
+chosen might be different, and our rest might be in Greek statues,
+or Dutch landscapes, or Italian Madonnas; but, whatever
+our choice, we were therein captive, barred from all reverence
+but of our favorite masters, and habitually using the language of
+contempt towards the whole of the human race to whom it had
+not pleased Heaven to reveal the arcana of the particular craftsmanship
+we admired, and who, it might be, had lived their
+term of seventy years upon the earth, and fitted themselves
+therein for the eternal world, without any clear understanding,
+sometimes even with an insolent disregard, of the laws of perspective
+and chiaroscuro.</p>
+
+<p>But let us once comprehend the holier nature of the art of
+man, and begin to look for the meaning of the spirit, however
+syllabled, and the scene is changed; and we are changed also.
+<span class="pagenum"><a name="page189"></a>189</span>
+Those small and dexterous creatures whom once we worshipped,
+those fur-capped divinities with sceptres of camel&rsquo;s
+hair, peering and poring in their one-windowed chambers over
+the minute preciousness of the labored canvas; how are they
+swept away and crushed into unnoticeable darkness! And in
+their stead, as the walls of the dismal rooms that enclosed them,
+and us, are struck by the four winds of Heaven, and rent away,
+and as the world opens to our sight, lo! far back into all the
+depths of time, and forth from all the fields that have been
+sown with human life, how the harvest of the dragon&rsquo;s teeth
+is springing! how the companies of the gods are ascending out
+of the earth! The dark stones that have so long been the
+sepulchres of the thoughts of nations, and the forgotten ruins
+wherein their faith lay charnelled, give up the dead that were
+in them; and beneath the Egyptian ranks of sultry and silent
+rock, and amidst the dim golden lights of the Byzantine dome,
+and out of the confused and cold shadows of the Northern
+cloister, behold, the multitudinous souls come forth with singing,
+gazing on us with the soft eyes of newly comprehended
+sympathy, and stretching their white arms to us across the
+grave, in the solemn gladness of everlasting brotherhood.</p>
+
+<p>§ <span class="scs">XXIX.</span> The other danger to which, it was above said, we
+were primarily exposed under our present circumstances of
+life, is the pursuit of vain pleasure, that is to say, false pleasure;
+delight, which is not indeed delight; as knowledge vainly accumulated,
+is not indeed knowledge. And this we are exposed
+to chiefly in the fact of our ceasing to be children. For the
+child does not seek false pleasure; its pleasures are true, simple,
+and instinctive: but the youth is apt to abandon his early and
+true delight for vanities,&mdash;seeking to be like men, and sacrificing
+his natural and pure enjoyments to his pride. In like
+manner, it seems to me that modern civilization sacrifices much
+pure and true pleasure to various forms of ostentation from
+which it can receive no fruit. Consider, for a moment, what
+kind of pleasures are open to human nature, undiseased. Passing
+by the consideration of the pleasures of the higher affections,
+which lie at the root of everything, and considering the
+<span class="pagenum"><a name="page190"></a>190</span>
+definite and practical pleasures of daily life, there is, first, the
+pleasure of doing good; the greatest of all, only apt to be despised
+from not being often enough tasted: and then, I know
+not in what order to put them, nor does it matter,&mdash;the pleasure
+of gaining knowledge; the pleasure of the excitement of
+imagination and emotion (or poetry and passion); and, lastly,
+the gratification of the senses, first of the eye, then of the ear,
+and then of the others in their order.</p>
+
+<p>§ <span class="scs">XXX.</span> All these we are apt to make subservient to the
+desire of praise; nor unwisely, when the praise sought is God&rsquo;s
+and the conscience&rsquo;s: but if the sacrifice is made for man&rsquo;s
+admiration, and knowledge is only sought for praise, passion
+repressed or affected for praise, and the arts practised for praise,
+we are feeding on the bitterest apples of Sodom, suffering
+always ten mortifications for one delight. And it seems to me,
+that in the modern civilized world we make such sacrifice
+doubly: first, by laboring for merely ambitious purposes; and
+secondly, which is the main point in question, by being ashamed
+of simple pleasures, more especially of the pleasure in sweet
+color and form, a pleasure evidently so necessary to man&rsquo;s perfectness
+and virtue, that the beauty of color and form has been
+given lavishly throughout the whole of creation, so that it may
+become the food of all, and with such intricacy and subtlety
+that it may deeply employ the thoughts of all. If we refuse
+to accept the natural delight which the Deity has thus provided
+for us, we must either become ascetics, or we must seek
+for some base and guilty pleasures to replace those of Paradise,
+which we have denied ourselves.</p>
+
+<p>Some years ago, in passing through some of the cells of the
+Grand Chartreuse, noticing that the window of each apartment
+looked across the little garden of its inhabitant to the wall of
+the cell opposite, and commanded no other view, I asked the
+monk beside me, why the window was not rather made on the
+side of the cell whence it would open to the solemn fields of
+the Alpine valley. &ldquo;We do not come here,&rdquo; he replied, &ldquo;to
+look at the mountains.&rdquo;</p>
+
+<p>§ <span class="scs">XXXI.</span> The same answer is given, practically, by the men
+<span class="pagenum"><a name="page191"></a>191</span>
+of this century, to every such question; only the walls with
+which they enclose themselves are those of pride, not of prayer.
+But in the middle ages it was otherwise. Not, indeed, in
+landscape itself, but in the art which can take the place of it,
+in the noble color and form with which they illumined, and
+into which they wrought, every object around them that was
+in any wise subjected to their power, they obeyed the laws of
+their inner nature, and found its proper food. The splendor
+and fantasy even of dress, which in these days we pretend to
+despise, or in which, if we even indulge, it is only for the sake
+of vanity, and therefore to our infinite harm, were in those
+early days studied for love of their true beauty and honorableness,
+and became one of the main helps to dignity of character,
+and courtesy of bearing. Look back to what we have been
+told of the dress of the early Venetians, that it was so invented
+&ldquo;that in clothing themselves with it, they might clothe themselves
+also with modesty and honor;&rdquo;<a name="FnAnchor_54" href="#Footnote_54"><span class="sp">54</span></a> consider what nobleness
+of expression there is in the dress of any of the portrait
+figures of the great times, nay, what perfect beauty, and more
+than beauty, there is in the folding of the robe round the imagined
+form even of the saint or of the angel; and then consider
+whether the grace of vesture be indeed a thing to be despised.
+We cannot despise it if we would; and in all our highest poetry
+and happiest thought we cling to the magnificence which in
+daily life we disregard. The essence of modern romance is
+simply the return of the heart and fancy to the things in which
+they naturally take pleasure; and half the influence of the best
+romances, of Ivanhoe, or Marmion, or the Crusaders, or the
+Lady of the Lake, is completely dependent upon the accessaries
+of armor and costume. Nay, more than this, deprive the Iliad
+itself of its costume, and consider how much of its power would
+be lost. And that delight and reverence which we feel in, and
+by means of, the mere imagination of these accessaries, the
+middle ages had in the vision of them; the nobleness of dress
+exercising, as I have said, a perpetual influence upon character,
+<span class="pagenum"><a name="page192"></a>192</span>
+tending in a thousand ways to increase dignity and self-respect,
+and together with grace of gesture, to induce serenity of thought.</p>
+
+<p>§ <span class="scs">XXXII.</span> I do not mean merely in its magnificence; the
+most splendid time was not the best time. It was still in the
+thirteenth century,&mdash;when, as we have seen, simplicity and gorgeousness
+were justly mingled, and the &ldquo;leathern girdle and
+clasp of bone&rdquo; were worn, as well as the embroidered mantle,&mdash;that
+the manner of dress seems to have been noblest.
+The chain mail of the knight, flowing and falling over his
+form in lapping waves of gloomy strength, was worn under full
+robes of one color in the ground, his crest quartered on them,
+and their borders enriched with subtle illumination. The
+women wore first a dress close to the form in like manner, and
+then long and flowing robes, veiling them up to the neck, and
+delicately embroidered around the hem, the sleeves, and the
+girdle. The use of plate armor gradually introduced more
+fantastic types; the nobleness of the form was lost beneath the
+steel; the gradually increasing luxury and vanity of the age
+strove for continual excitement in more quaint and extravagant
+devices; and in the fifteenth century, dress reached its point of
+utmost splendor and fancy, being in many cases still exquisitely
+graceful, but now, in its morbid magnificence, devoid of all
+wholesome influence on manners. From this point, like architecture,
+it was rapidly degraded; and sank through the buff
+coat, and lace collar, and jack-boot, to the bag-wig, tailed coat,
+and high-heeled shoes; and so to what it is now.</p>
+
+<p>§ <span class="scs">XXXIII.</span> Precisely analogous to this destruction of beauty
+in dress, has been that of beauty in architecture; its color, and
+grace, and fancy, being gradually sacrificed to the base forms of
+the Renaissance, exactly as the splendor of chivalry has faded
+into the paltriness of fashion. And observe the form in which
+the necessary reaction has taken place; necessary, for it was
+not possible that one of the strongest instincts of the human
+race could be deprived altogether of its natural food. Exactly
+in the degree that the architect withdrew from his buildings
+the sources of delight which in early days they had so richly
+possessed, demanding, in accordance with the new principles of
+<span class="pagenum"><a name="page193"></a>193</span>
+taste, the banishment of all happy color and healthy invention,
+in that degree the minds of men began to turn to landscape as
+their only resource. The picturesque school of art rose up to
+address those capacities of enjoyment for which, in sculpture,
+architecture, or the higher walks of painting, there was employment
+no more; and the shadows of Rembrandt, and savageness
+of Salvator, arrested the admiration which was no longer permitted
+to be rendered to the gloom or the grotesqueness of
+the Gothic aisle. And thus the English school of landscape,
+culminating in Turner, is in reality nothing else than a healthy
+effort to fill the void which the destruction of Gothic architecture
+has left.</p>
+
+<p>§ <span class="scs">XXXIV.</span> But the void cannot thus be completely filled; no,
+nor filled in any considerable degree. The art of landscape-painting
+will never become thoroughly interesting or sufficing
+to the minds of men engaged in active life, or concerned principally
+with practical subjects. The sentiment and imagination
+necessary to enter fully into the romantic forms of art are
+chiefly the characteristics of youth; so that nearly all men as
+they advance in years, and some even from their childhood
+upwards, must be appealed to, if at all, by a direct and substantial
+art, brought before their daily observation and connected
+with their daily interests. No form of art answers
+these conditions so well as architecture, which, as it can receive
+help from every character of mind in the workman, can address
+every character of mind in the spectator; forcing itself into
+notice even in his most languid moments, and possessing this
+chief and peculiar advantage, that it is the property of all men.
+Pictures and statues may be jealously withdrawn by their possessors
+from the public gaze, and to a certain degree their
+safety requires them to be so withdrawn; but the outsides of
+our houses belong not so much to us as to the passer-by, and
+whatever cost and pains we bestow upon them, though too
+often arising out of ostentation, have at least the effect of benevolence.</p>
+
+<p>§ <span class="scs">XXXV.</span> If, then, considering these things, any of my readers
+should determine, according to their means, to set themselves to
+<span class="pagenum"><a name="page194"></a>194</span>
+the revival of a healthy school of architecture in England, and
+wish to know in few words how this may be done, the answer
+is clear and simple. First, let us cast out utterly whatever is
+connected with the Greek, Roman, or Renaissance architecture,
+in principle or in form. We have seen above, that the whole
+mass of the architecture, founded on Greek and Roman models,
+which we have been in the habit of building for the last three
+centuries, is utterly devoid of all life, virtue, honorableness, or
+power of doing good. It is base, unnatural, unfruitful, unenjoyable,
+and impious. Pagan in its origin, proud and unholy in
+its revival, paralyzed in its old age, yet making prey in its
+dotage of all the good and living things that were springing
+around it in their youth, as the dying and desperate king, who
+had long fenced himself so strongly with the towers of it, is
+said to have filled his failing veins with the blood of children;<a name="FnAnchor_55" href="#Footnote_55"><span class="sp">55</span></a>
+an architecture invented, as it seems, to make plagiarists of its
+architects, slaves of its workmen, and Sybarites of its inhabitants;
+an architecture in which intellect is idle, invention impossible,
+but in which all luxury is gratified, and all insolence fortified;&mdash;the
+first thing we have to do is to cast it out, and shake
+the dust of it from our feet for ever. Whatever has any connexion
+with the five orders, or with any one of the orders,&mdash;whatever
+is Doric, or Ionic, or Tuscan, or Corinthian, or Composite,
+or in any way Grecized or Romanized; whatever betrays the
+smallest respect for Vitruvian laws, or conformity with Palladian
+work,&mdash;that we are to endure no more. To cleanse ourselves
+of these &ldquo;cast clouts and rotten rags&rdquo; is the first thing
+to be done in the court of our prison.</p>
+
+<p>§ <span class="scs">XXXVI.</span> Then, to turn our prison into a palace is an easy
+thing. We have seen above, that exactly in the degree in
+<span class="pagenum"><a name="page195"></a>195</span>
+which Greek and Roman architecture is lifeless, unprofitable,
+and unchristian, in that same degree our own ancient Gothic
+is animated, serviceable, and faithful. We have seen that it is
+flexible to all duty, enduring to all time, instructive to all
+hearts, honorable and holy in all offices. It is capable alike of
+all lowliness and all dignity, fit alike for cottage porch or castle
+gateway; in domestic service familiar, in religious, sublime;
+simple, and playful, so that childhood may read it, yet clothed
+with a power that can awe the mightiest, and exalt the loftiest
+of human spirits: an architecture that kindles every faculty
+in its workman, and addresses every emotion in its beholder;
+which, with every stone that is laid on its solemn walls, raises
+some human heart a step nearer heaven, and which from its
+birth has been incorporated with the existence, and in all its
+form is symbolical of the faith, of Christianity. In this architecture
+let us henceforward build, alike the church, the palace,
+and the cottage; but chiefly let us use it for our civil and
+domestic buildings. These once ennobled, our ecclesiastical
+work will be exalted together with them: but churches are
+not the proper scenes for experiments in untried architecture,
+nor for exhibitions of unaccustomed beauty. It is certain that
+we must often fail before we can again build a natural and
+noble Gothic: let not our temples be the scenes of our failures.
+It is certain that we must offend many deep-rooted prejudices,
+before ancient Christian architecture<a name="FnAnchor_56" href="#Footnote_56"><span class="sp">56</span></a> can be again received
+by all of us: let not religion be the first source of such offence.
+We shall meet with difficulties in applying Gothic architecture
+to churches, which would in no wise affect the designs of civil
+buildings, for the most beautiful forms of Gothic chapels are
+not those which are best fitted for Protestant worship. As it
+was noticed in the second volume, when speaking of the
+Cathedral of Torcello it seems not unlikely, that as we study
+either the science of sound, or the practice of the early
+<span class="pagenum"><a name="page196"></a>196</span>
+Christians, we may see reason to place the pulpit generally at
+the extremity of the apse or chancel; an arrangement entirely
+destructive of the beauty of a Gothic church, as seen in existing
+examples, and requiring modifications of its design in other
+parts with which we should be unwise at present to embarrass
+ourselves; besides, that the effort to introduce the style
+exclusively for ecclesiastical purposes, excites against it the
+strong prejudices of many persons who might otherwise be
+easily enlisted among its most ardent advocates. I am quite
+sure, for instance, that if such noble architecture as has been
+employed for the interior of the church just built in Margaret
+Street<a name="FnAnchor_57" href="#Footnote_57"><span class="sp">57</span></a> had been seen in a civil building, it would have
+decided the question with many men at once; whereas, at
+present, it will be looked upon with fear and suspicion, as the
+expression of the ecclesiastical principles of a particular party.
+But, whether thus regarded or not, this church assuredly
+decides one question conclusively, that of our present capability
+of Gothic design. It is the first piece of architecture I
+have seen, built in modern days, which is free from all signs
+of timidity or incapacity. In general proportion of parts, in
+refinement and piquancy of mouldings, above all, in force,
+vitality, and grace of floral ornament, worked in a broad and
+masculine manner, it challenges fearless comparison with the
+noblest work of any time. Having done this, we may do anything;
+there need be no limits to our hope or our confidence;
+and I believe it to be possible for us, not only to equal, but
+far to surpass, in some respects, any Gothic yet seen in
+Northern countries. In the introduction of figure-sculpture,
+we must, indeed, for the present, remain utterly inferior, for
+we have no figures to study from. No architectural sculpture
+<span class="pagenum"><a name="page197"></a>197</span>
+was ever good for anything which did not represent the dress
+and persons of the people living at the time; and our modern
+dress will <i>not</i> form decorations for spandrils and niches. But
+in floral sculpture we may go far beyond what has yet been
+done, as well as in refinement of inlaid work and general execution.
+For, although the glory of Gothic architecture is to
+receive the rudest work, it refuses not the best; and, when
+once we have been content to admit the handling of the simplest
+workman, we shall soon be rewarded by finding many
+of our simple workmen become cunning ones: and, with the
+help of modern wealth and science, we may do things like
+Giotto&rsquo;s campanile, instead of like our own rude cathedrals;
+but better than Giotto&rsquo;s campanile, insomuch as we may
+adopt the pure and perfect forms of the Northern Gothic,
+and work them out with the Italian refinement. It is hardly
+possible at present to imagine what may be the splendor of
+buildings designed in the forms of English and French thirteenth
+century <i>surface</i> Gothic, and wrought out with the
+refinement of Italian art in the details, and with a deliberate
+resolution, since we cannot have figure sculpture, to display
+in them the beauty of every flower and herb of the English
+fields, each by each; doing as much for every tree that roots
+itself in our rocks, and every blossom that drinks our summer
+rains, as our ancestors did for the oak, the ivy, and the rose.
+Let this be the object of our ambition, and let us begin
+to approach it, not ambitiously, but in all humility, accepting
+help from the feeblest hands; and the London of the nineteenth
+century may yet become as Venice without her despotism,
+and as Florence without her dispeace.</p>
+
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_46" href="#FnAnchor_46"><span class="fn">46</span></a> In the works of Turner and the Pre-Raphaelites.</p>
+
+<p><a name="Footnote_47" href="#FnAnchor_47"><span class="fn">47</span></a>  Observe, I speak of these various principles as self-evident, only under
+the present circumstances of the world, not as if they had always been so;
+and I call them now self-evident, not merely because they seem so to myself,
+but because they are felt to be so likewise by all the men in whom I
+place most trust. But granting that they are not so, then their very disputability
+proves the state of infancy above alleged, as characteristic of the
+world. For I do not suppose that any Christian reader will doubt the first
+great truth, that whatever facts or laws are important to mankind, God has
+made ascertainable by mankind; and that as the decision of all these questions
+is of vital importance to the race, that decision must have been long
+ago arrived at, unless they were still in a state of childhood.</p>
+
+<p><a name="Footnote_48" href="#FnAnchor_48"><span class="fn">48</span></a> I intended to have given a sketch in this place (above referred to) of
+the probable results of the daguerreotype and calotype within the next few
+years, in modifying the application of the engraver&rsquo;s art, but I have not
+had time to complete the experiments necessary to enable me to speak with
+certainty. Of one thing, however, I have little doubt, that an infinite service
+will soon be done to a large body of our engravers; namely, the making
+them draughtsmen (in black and white) on paper instead of steel.</p>
+
+<p><a name="Footnote_49" href="#FnAnchor_49"><span class="fn">49</span></a> I mean art in its highest sense. All that men do ingeniously is art, in
+one sense. In fact, we want a definition of the word &ldquo;art&rdquo; much more
+accurate than any in our minds at present. For, strictly speaking, there is
+no such thing as &ldquo;fine&rdquo; or &ldquo;high&rdquo; art. All <i>art</i> is a low and common thing,
+and what we indeed respect is not art at all, but <i>instinct</i> or <i>inspiration</i> expressed
+by the help of art.</p>
+
+<p><a name="Footnote_50" href="#FnAnchor_50"><span class="fn">50</span></a></p>
+
+<p>&ldquo;<i>Socrates</i>. This, then, was what I asked you; whether that which
+puts anything else to service, and the thing which is put to service by it, are
+always two different things?</p>
+
+<p><i>Alcibiades.</i> I think so.</p>
+
+<p><i>Socrates.</i> What shall we then say of the leather-cutter? Does he cut his
+leather with his instruments only, or with his hands also?</p>
+
+<p><i>Alcibiades.</i> With his hands also.</p>
+
+<p><i>Socrates.</i> Does he not use his eyes as well as his hands?</p>
+
+<p><i>Alcibiades.</i> Yes.</p>
+
+<p><i>Socrates.</i> And we agreed that the thing which uses and the thing which
+is used, were different things?</p>
+
+<p><i>Alcibiades.</i> Yes.</p>
+
+<p><i>Socrates.</i> Then the leather-cutter is not the same thing as his eyes or
+hands?</p>
+
+<p><i>Alcibiades.</i> So it appears.</p>
+
+<p><i>Socrates.</i> Does not, then, man make use of his whole body?</p>
+
+<p><i>Alcibiades.</i> Assuredly.</p>
+
+<p><i>Socrates.</i> Then the man is not the same thing as his body?</p>
+
+<p><i>Alcibiades.</i> It seems so.</p>
+
+<p><i>Socrates.</i> What, then, <i>is</i> the man?</p>
+
+<p><i>Alcibiades.</i> I know not.&rdquo;</p>
+
+<p style="text-align: right; "><i>Plato</i>, Alcibiades I.</p>
+
+<p><a name="Footnote_51" href="#FnAnchor_51"><span class="fn">51</span></a> Thus the grapes pressed by Excesse are partly golden (Spenser, book
+ii. cant. 12.):</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poem">
+<p class="ind05">&ldquo;Which did themselves amongst the leaves enfold,</p>
+<p>As lurking from the view of covetous guest,</p>
+<p>That the weake boughes, with so rich load opprest</p>
+<p>Did bow adowne as overburdened.&rdquo;</p>
+</div>
+</td></tr></table>
+
+<p><a name="Footnote_52" href="#FnAnchor_52"><span class="fn">52</span></a> The reader must not suppose that the use of gold, in this manner, is
+confined to early art. Tintoret, the greatest master of pictorial effect that
+ever existed, has gilded the ribs of the fig-leaves in his &ldquo;Resurrection,&rdquo; in
+the Scuola di San Rocco.</p>
+
+<p><a name="Footnote_53" href="#FnAnchor_53"><span class="fn">53</span></a> Nothing is more wonderful to me than to hear the pleasure of the eye,
+in color, spoken of with disdain as &ldquo;sensual,&rdquo; while people exalt that of
+the ear in music. Do they really suppose the eye is a less noble bodily
+organ than the ear,&mdash;that the organ by which nearly all our knowledge of
+the external universe is communicated to us, and through which we learn
+the wonder and the love, can be less exalted in its own peculiar delight than
+the ear, which is only for the communication of the ideas which owe to the
+eye their very existence? I do not mean to depreciate music: let it be loved
+and reverenced as is just; only let the delight of the eye be reverenced
+more. The great power of music over the multitude is owing, not to its
+being less but <i>more</i> sensual than color; it is so distinctly and so richly
+sensual, that it can be idly enjoyed; it is exactly at the point where the
+lower and higher pleasures of the senses and imagination are balanced; so
+that pure and great minds love it for its invention and emotion, and lower
+minds for its sensual power.</p>
+
+<p><a name="Footnote_54" href="#FnAnchor_54"><span class="fn">54</span></a> Vol. II. <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#app_7">Appendix 7</a>.</p>
+
+<p><a name="Footnote_55" href="#FnAnchor_55"><span class="fn">55</span></a> Louis the Eleventh. &ldquo;In the month of March, 1481, Louis was seized
+with a fit of apoplexy at <i>St. Bénoit-du-lac-mort</i>, near Chinon. He remained
+speechless and bereft of reason three days; and then but very imperfectly
+restored, he languished in a miserable state.... To cure him,&rdquo; says a contemporary
+historian, &ldquo;wonderful and terrible medicines were compounded.
+It was reported among the people that his physicians opened the veins of
+little children, and made him drink their blood, to correct the poorness of
+his own.&rdquo;&mdash;<i>Bussey&rsquo;s History of France.</i> London, 1850.</p>
+
+<p><a name="Footnote_56" href="#FnAnchor_56"><span class="fn">56</span></a> Observe, I call Gothic &ldquo;Christian&rdquo; architecture, not &ldquo;ecclesiastical.&rdquo;
+There is a wide difference. I believe it is the only architecture which Christian
+men should build, but not at all an architecture necessarily connected
+with the services of their church.</p>
+
+<p><a name="Footnote_57" href="#FnAnchor_57"><span class="fn">57</span></a> Mr. Hope&rsquo;s Church, in Margaret Street, Portland Place. I do not altogether
+like the arrangements of color in the brickwork; but these will
+hardly attract the eye, where so much has been already done with precious
+and beautiful marble, and is yet to be done in fresco. Much will depend,
+however, upon the coloring of this latter portion. I wish that either
+Holman Hunt or Millais could be prevailed upon to do at least some of these
+smaller frescoes.</p>
+</div>
+
+<p><span class="pagenum"><a name="page198"></a>198</span></p>
+
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page199"></a>199</span></p>
+
+<h3>APPENDIX.</h3>
+
+
+<p class="center scs bmarg"><a name="app_1" id="app_1"></a>1. ARCHITECT OF THE DUCAL PALACE.</p>
+
+<p>Popular tradition and a large number of the chroniclers
+ascribe the building of the Ducal Palace to that Filippo Calendario
+who suffered death for his share in the conspiracy of
+Faliero. He was certainly one of the leading architects of the
+time, and had for several years the superintendence of the works
+of the Palace; but it appears, from the documents collected by
+the Abbé Cadorin, that the first designer of the Palace, the man
+to whom we owe the adaptation of the Frari traceries to civil
+architecture, was Pietro Baseggio, who is spoken of expressly as
+&ldquo;formerly the Chief Master of our New Palace,&rdquo;<a name="FnAnchor_58" href="#Footnote_58"><span class="sp">58</span></a> in the decree
+of 1361, quoted by Cadorin, and who, at his death, left Calendario
+his executor. Other documents collected by Zanotto, in
+his work on &ldquo;Venezia e le sue Lagune,&rdquo; show that Calendario
+was for a long time at sea, under the commands of the Signory,
+returning to Venice only three or four years before his death;
+and that therefore the entire management of the works of the
+Palace, in the most important period, must have been entrusted
+to Baseggio.</p>
+
+<p>It is quite impossible, however, in the present state of the
+Palace, to distinguish one architect&rsquo;s work from another in the
+older parts; and I have not in the text embarrassed the reader
+by any attempt at close definition of epochs before the great
+junction of the Piazzetta Façade with the older palace in the
+fifteenth century. Here, however, it is necessary that I should
+briefly state the observations I was able to make on the relative
+dates of the earlier portions.</p>
+
+<p><span class="pagenum"><a name="page200"></a>200</span></p>
+
+<p>In the description of the Fig-tree angle, given in the eighth
+chapter of Vol. II., I said that it seemed to me somewhat earlier
+than that of the Vine, and the reader might be surprised at the
+apparent opposition of this statement to my supposition that the
+Palace was built gradually round from the Rio Façade to the
+Piazzetta. But in the two great open arcades there is no succession
+of work traceable; from the Vine angle to the junction
+with the fifteenth century work, above and below, all seems
+nearly of the same date, the only question being of the accidental
+precedence of workmanship of one capital or another; and I
+think, from its style, that the Fig-tree angle must have been
+first completed. But in the upper stories of the Palace there
+are enormous differences of style. On the Rio Façade, in the
+upper story, are several series of massive windows of the third
+order, corresponding exactly in mouldings and manner of workmanship
+to those of the chapter-house of the Frari, and consequently
+carrying us back to a very early date in the fourteenth
+century: several of the capitals of these windows, and two
+richly sculptured string-courses in the wall below, are of Byzantine
+workmanship, and in all probability fragments of the Ziani
+Palace. The traceried windows on the Rio Façade, and the two
+eastern windows on the Sea Façade, are all of the finest early
+fourteenth century work, masculine and noble in their capitals
+and bases to the highest degree, and evidently contemporary
+with the very earliest portions of the lower arcades. But the
+moment we come to the windows of the Great Council Chamber
+the style is debased. The mouldings are the same, but they are
+coarsely worked, and the heads set amidst the leafage of the
+capitals quite valueless and vile.</p>
+
+<p>I have not the least doubt that these window-jambs and
+traceries were restored after the great fire;<a name="FnAnchor_59" href="#Footnote_59"><span class="sp">59</span></a> and various other
+restorations have taken place since, beginning with the removal
+of the traceries from all the windows except the northern one
+of the Sala del Scrutinio, behind the Porta della Carta, where
+they are still left. I made out four periods of restoration among
+<span class="pagenum"><a name="page201"></a>201</span>
+these windows, each baser than the preceding. It is not worth
+troubling the reader about them, but the traveller who is interested
+in the subject may compare two of them in the same window;
+the one nearer the sea of the two belonging to the little
+room at the top of the Palace on the Piazzetta Façade, between
+the Sala del Gran Consiglio and that of the Scrutinio. The seaward
+jamb of that window is of the first, and the opposite jamb
+of the second, period of these restorations. These are all the
+points of separation in date which I could discover by internal
+evidence. But much more might be made out by any Venetian
+antiquary whose time permitted him thoroughly to examine any
+existing documents which allude to or describe the parts of the
+Palace spoken of in the important decrees of 1340, 1342, and
+1344; for the first of these decrees speaks of certain &ldquo;columns
+looking towards the Canal&rdquo;<a name="FnAnchor_60" href="#Footnote_60"><span class="sp">60</span></a> or sea, as then existing, and I
+presume these columns to have been part of the Ziani Palace,
+corresponding to the part of that palace on the Piazzetta where
+were the &ldquo;red columns&rdquo; between which Calendario was executed;
+and a great deal more might be determined by any one who
+would thoroughly unravel the obscure language of those decrees.</p>
+
+<p>Meantime, in order to complete the evidence respecting the
+main dates stated in the text, I have collected here such notices
+of the building of the Ducal Palace as appeared to me of
+most importance in the various chronicles I examined. I could
+not give them all in the text, as they repeat each other, and
+would have been tedious; but they will be interesting to the
+antiquary, and it is to be especially noted in all of them how the
+Palazzo <i>Vecchio</i> is invariably distinguished, either directly or by
+implication, from the Palazzo Nuovo. I shall first translate the
+piece of the Zancarol Chronicle given by Cadorin, which has
+chiefly misled the Venetian antiquaries. I wish I could put the
+rich old Italian into old English, but must be content to lose its
+raciness, as it is necessary that the reader should be fully acquainted
+with its facts.</p>
+
+<p>&ldquo;It was decreed that none should dare to propose to the
+Signory of Venice to ruin the <i>old</i> palace and rebuild it new and
+more richly, and there was a penalty of one thousand ducats
+<span class="pagenum"><a name="page202"></a>202</span>
+against any one who should break it. Then the Doge, wishing
+to set forward the public good, said to the Signory, ...
+that they ought to rebuild the façades of the <i>old</i> palace, and
+that it ought to be restored, to do honor to the nation: and so
+soon as he had done speaking, the Avogadori demanded the
+penalty from the Doge, for having disobeyed the law; and the
+Doge with ready mind paid it, remaining in his opinion that
+the said fabric ought to be built. And so, in the year 1422, on
+the 20th day of September, it was passed in the Council of the
+Pregadi that the said new palace should be begun, and the expense
+should be borne by the Signori del Sal; and so, on the
+24th day of March, 1424, it was begun to throw down the <i>old</i>
+palace, and to build it anew.&rdquo;&mdash;<i>Cadorin</i>, p. 129.</p>
+
+<p>The day of the month, and the council in which the decree
+was passed, are erroneously given by this Chronicle. Cadorin
+has printed the words of the decree itself, which passed in the
+Great Council on the 27th September: and these words are,
+fortunately, much to our present purpose. For as more than
+one façade is spoken of in the above extract, the Marchese Selvatico
+was induced to believe that both the front to the sea and
+that to the Piazzetta had been destroyed; whereas, the &ldquo;façades&rdquo;
+spoken of are evidently those of the Ziani Palace. For the
+words of the decree (which are much more trustworthy than
+those of the Chronicle, even if there were any inconsistency between
+them) run thus: &ldquo;Palatium nostrum fabricetur et fiat in
+forma decora et convenienti, quod respondeat <i>solemnissimo principio
+palatii nostri novi</i>.&rdquo; Thus the new council chamber and
+façade to the sea are called the &ldquo;most venerable beginning of
+our <i>New</i> Palace;&rdquo; and the rest was ordered to be designed in
+accordance with these, as was actually the case as far as the
+Porta della Carta. But the Renaissance architects who thenceforward
+proceeded with the fabric, broke through the design,
+and built everything else according to their own humors.</p>
+
+<p>The question may be considered as set at rest by these words
+of the decree, even without any internal or any farther documentary
+evidence. But rather for the sake of impressing the
+facts thoroughly on the reader&rsquo;s mind, than of any additional
+proof, I shall quote a few more of the best accredited Chronicles.</p>
+
+<p><span class="pagenum"><a name="page203"></a>203</span></p>
+
+<p>The passage given by Bettio, from the Sivos Chronicle, is a
+very important parallel with that from the Zancarol above:</p>
+
+<p>&ldquo;Essendo molto vecchio, e quasi rovinoso el Palazzo sopra la
+piazza, fo deliberato di far quella parte tutta da novo, et continuarla
+com&rsquo; è quella della Sala grande, et cosi il Lunedi 27 Marzo
+1424 fu dato principio a ruinare detto Palazzo vecchio dalla
+parte, ch&rsquo; è verso panateria cioè della Giustizia, ch&rsquo; è nelli occhi
+di sopra le colonne fino alla Chiesa et fo fatto anco la porta
+grande, com&rsquo; è al presente, con la sala che si addimanda la
+Libraria.&rdquo;<a name="FnAnchor_61" href="#Footnote_61"><span class="sp">61</span></a></p>
+
+<p>We have here all the facts told us in so many words: the
+&ldquo;old palace&rdquo; is definitely stated to have been &ldquo;on the piazza,&rdquo;
+and it is to be rebuilt &ldquo;like the part of the great saloon.&rdquo; The
+very point from which the newer buildings commenced is told
+us; but here the chronicler has carried his attempt at accuracy
+too far. The point of junction is, as stated above, at the third
+pillar beyond the medallion of Venice; and I am much at a loss
+to understand what could have been the disposition of these
+three pillars where they joined the Ziani Palace, and how they
+were connected with the arcade of the inner cortile. But with
+these difficulties, as they do not bear on the immediate question,
+it is of no use to trouble the reader.</p>
+
+<p>The next passage I shall give is from a Chronicle in the Marcian
+Library, bearing title, &ldquo;Supposta di Zancaruol;&rdquo; but in
+which I could not find the passage given by Cadorin from, I believe,
+a manuscript of this Chronicle at Vienna. There occurs
+instead of it the following thus headed:&mdash;</p>
+
+<p>&ldquo;Come <i>la parte nova</i> del Palazzo fuo hedificata <i>novamente</i>.</p>
+
+<p>&ldquo;El Palazzo novo de Venesia quella parte che xe verso la
+Chiesia de S. Marcho fuo prexo chel se fesse del 1422 e fosse
+pagado la spexa per li officiali del sal. E fuo fatto per sovrastante
+G. Nicolo Barberigo cum provision de ducati X doro al
+mexe e fuo fabricado e fatto nobelissimo. Come fin ancho di el
+sta e fuo grande honor a la Signoria de Venesia e a la sua Citta.&rdquo;</p>
+
+<p>This entry, which itself bears no date, but comes between
+others dated 22nd July and 27th December, is interesting, because
+it shows the first transition of the idea of <i>newness</i>, from
+<span class="pagenum"><a name="page204"></a>204</span>
+the Grand Council Chamber to the part built under Foscari.
+For when Mocenigo&rsquo;s wishes had been fulfilled, and the old
+palace of Ziani had been destroyed, and another built in its
+stead, the Great Council Chamber, which was &ldquo;the new palace&rdquo;
+compared with Ziani&rsquo;s, became &ldquo;the old palace&rdquo; compared with
+Foscari&rsquo;s; and thus we have, in the body of the above extract,
+the whole building called &ldquo;the new palace of Venice;&rdquo; but in
+the heading of it, we have &ldquo;the new <i>part</i> of the palace&rdquo; applied
+to the part built by Foscari, in contradistinction to the Council
+Chamber.</p>
+
+<p>The next entry I give is important, because the writing of
+the MS. in which it occurs, No. 53 in the Correr Museum,
+shows it to be probably not later than the end of the fifteenth
+century:</p>
+
+<p>&ldquo;El palazo nuovo de Venixia zoe quella parte che se sora la
+piazza verso la giesia di Miss. San Marcho del 1422 fo principiado,
+el qual fo fato e finito molto belo, chome al presente se
+vede nobilissimo, et a la fabricha de quello fo deputado Miss.
+Nicolo Barberigo, soprastante con ducati dieci doro al mexe.&rdquo;</p>
+
+<p>We have here the part built by Foscari distinctly called the
+Palazzo Nuovo, as opposed to the Great Council Chamber,
+which had now completely taken the position of the Palazzo
+Vecchio, and is actually so called by Sansovino. In the copy of
+the Chronicle of Paolo Morosini, and in the MSS. numbered respectively
+57, 59, 74, and 76 in the Correr Museum, the passage
+above given from No. 53 is variously repeated with slight
+modifications and curtailments; the entry in the Morosini
+Chronicle being headed, &ldquo;Come fu principiato il palazo che
+guarda sopra la piaza grande di S. Marco,&rdquo; and proceeding in
+the words, &ldquo;El Palazo Nuovo di Venetia, cioè quella parte che
+e sopra la piaza,&rdquo; &amp;c., the writers being cautious, in all these instances,
+to <i>limit their statement</i> to the part facing the Piazza,
+that no reader might suppose the Council Chamber to have been
+built or begun at the same time; though, as long as to the end
+of the sixteenth century, we find the Council Chamber still included
+in the expression &ldquo;Palazzo Nuovo.&rdquo; Thus, in the MS.
+No. 75 in the Correr Museum, which is about that date, we
+have &ldquo;Del 1422, a di 20 Settembre fu preso nel consegio grando
+de dover <i>compir</i> el Palazo Novo, e dovesen fare la spessa li
+<span class="pagenum"><a name="page205"></a>205</span>
+officialli del Sal (61. M. 2. B.).&rdquo; And, so long as this is the
+case, the &ldquo;Palazzo Vecchio&rdquo; always means the Ziani Palace.
+Thus, in the next page of this same MS. we have &ldquo;a di 27
+Marzo (1424 by context) fo principia a butar zosso, el <i>Palazzo
+Vecchio</i> per refarlo da novo, e poi se he&rdquo; (and so it is done);
+and in the MS. No. 81, &ldquo;Del 1424, fo gittado zoso el <i>Palazzo
+Vecchio</i> per refarlo de nuovo, a di 27 Marzo.&rdquo; But in the
+time of Sansovino the Ziani Palace was quite forgotten; the
+Council Chamber was then the <i>old</i> palace, and Foscari&rsquo;s part
+was the new. His account of the &ldquo;Palazzo Publico&rdquo; will now
+be perfectly intelligible; but, as the work itself is easily accessible,
+I shall not burden the reader with any farther extracts,
+only noticing that the chequering of the façade with red and
+white marbles, which he ascribes to Foscari, may or may not be
+of so late a date, as there is nothing in the style of the work
+which can be produced as evidence.</p>
+
+
+<p class="center scs bmarg"><a name="app_2" id="app_2"></a>2. THEOLOGY OF SPENSER.</p>
+
+<p>The following analysis of the first books of the &ldquo;Faërie
+Queen,&rdquo; may be interesting to readers who have been in the
+habit of reading the noble poem too hastily to connect its parts
+completely together; and may perhaps induce them to more
+careful study of the rest of the poem.</p>
+
+<p>The Redcrosse Knight is Holiness,&mdash;the &ldquo;Pietas&rdquo; of St.
+Mark&rsquo;s, the &ldquo;Devotio&rdquo; of Orcagna,&mdash;meaning, I think, in general,
+Reverence and Godly Fear.</p>
+
+<p>This Virtue, in the opening of the book, has Truth (or Una)
+at its side, but presently enters the Wandering Wood, and encounters
+the serpent Error; that is to say, Error in her universal
+form, the first enemy of Reverence and Holiness; and more
+especially Error as founded on learning; for when Holiness
+strangles her,</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+<p class="ind03">&ldquo;Her vomit <i>full of bookes and papers was</i>,</p>
+<p>With loathly frogs and toades, which eyes did lacke.&rdquo;</p>
+</div>
+</td></tr></table>
+
+<p>Having vanquished this first open and palpable form of
+Error, as Reverence and Religion must always vanquish it, the
+Knight encounters Hypocrisy, or Archimagus; Holiness cannot
+<span class="pagenum"><a name="page206"></a>206</span>
+detect Hypocrisy, but believes him, and goes home with him;
+whereupon Hypocrisy succeeds in separating Holiness from
+Truth; and the Knight (Holiness) and Lady (Truth) go forth
+separately from the house of Archimagus.</p>
+
+<p>Now observe: the moment Godly Fear, or Holiness, is separated
+from Truth, he meets Infidelity, or the Knight Sans
+Foy; Infidelity having Falsehood, or Duesa, riding behind
+him. The instant the Redcrosse Knight is aware of the attack
+of Infidelity, he</p>
+
+<p class="poemss">&ldquo;Gan fairly couch his speare, and towards ride.&rdquo;</p>
+
+<p>He vanquishes and slays Infidelity; but is deceived by his
+companion, Falsehood, and takes her for his lady: thus showing
+the condition of Religion, when, after being attacked by
+Doubt, and remaining victorious, it is nevertheless seduced, by
+any form of Falsehood, to pay reverence where it ought not.
+This, then, is the first fortune of Godly Fear separated from
+Truth. The poet then returns to Truth, separated from
+Godly Fear. She is immediately attended by a lion, or Violence,
+which makes her dreaded wherever she comes; and
+when she enters the mart of Superstition, this Lion tears
+Kirkrapine in pieces: showing how Truth, separated from Godliness,
+does indeed put an end to the abuses of Superstition,
+but does so violently and desperately. She then meets again
+with Hypocrisy, whom she mistakes for her own lord, or Godly
+Fear, and travels a little way under his guardianship (Hypocrisy
+thus not unfrequently appearing to defend the Truth), until
+they are both met by Lawlessness, or the Knight Sans Loy,
+whom Hypocrisy cannot resist. Lawlessness overthrows Hypocrisy,
+and seizes upon Truth, first slaying her lion attendant:
+showing that the first aim of licence is to destroy the force and
+authority of Truth. Sans Loy then takes Truth captive, and
+bears her away. Now this Lawlessness is the &ldquo;unrighteousness,&rdquo;
+or &ldquo;adikia,&rdquo; of St. Paul; and his bearing Truth away
+captive, is a type of those &ldquo;who hold the truth in unrighteousness,&rdquo;&mdash;that
+is to say, generally, of men who, knowing what is
+true, make the truth give way to their own purposes, or use it
+only to forward them, as is the case with so many of the popular
+leaders of the present day. Una is then delivered from Sans
+<span class="pagenum"><a name="page207"></a>207</span>
+Loy by the satyrs, to show that Nature, in the end, must work
+out the deliverance of the truth, although, where it has been
+captive to Lawlessness, that deliverance can only be obtained
+through Savageness, and a return to barbarism. Una is then
+taken from among the satyrs by Satyrane, the son of a satyr and
+a &ldquo;lady myld, fair Thyamis,&rdquo; (typifying the early steps of renewed
+civilization, and its rough and hardy character &ldquo;nousled
+up in life and manners wilde,&rdquo;) who, meeting again with Sans
+Loy, enters instantly into rough and prolonged combat with
+him: showing how the early organization of a hardy nation
+must be wrought out through much discouragement from Lawlessness.
+This contest the poet leaving for the time undecided,
+returns to trace the adventures of the Redcrosse Knight, or
+Godly Fear, who, having vanquished Infidelity, presently is led
+by Falsehood to the house of Pride: thus showing how religion,
+separated from truth, is first tempted by doubts of God, and
+then by the pride of life. The description of this house of
+Pride is one of the most elaborate and noble pieces in the poem;
+and here we begin to get at the proposed system of Virtues and
+Vices. For Pride, as queen, has six other vices yoked in her
+chariot; namely, first, Idleness, then Gluttony, Lust, Avarice,
+Envy, and Anger, all driven on by &ldquo;Sathan, with a smarting
+whip in hand.&rdquo; From these lower vices and their company,
+Godly Fear, though lodging in the house of Pride, holds aloof;
+but he is challenged, and has a hard battle to fight with Sans
+Joy, the brother of Sans Foy: showing, that though he has
+conquered Infidelity, and does not give himself up to the allurements
+of Pride, he is yet exposed, so long as he dwells in her
+house, to distress of mind and loss of his accustomed rejoicing
+before God. He, however, having partly conquered Despondency,
+or Sans Joy, Falsehood goes down to Hades, in order to
+obtain drugs to maintain the power or life of Despondency;
+but, meantime, the Knight leaves the house of Pride: Falsehood
+pursues and overtakes him, and finds him by a <span class="correction" title="originally fountaiu">fountain</span>
+side, of which the waters are</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+<p> <span style="padding-left: 12em; ">&ldquo;Dull and slow,</span></p>
+<p>And all that drinke thereof do faint and feeble grow.&rdquo;</p>
+</div>
+</td></tr></table>
+
+<p>Of which the meaning is, that Godly Fear, after passing through
+the house of Pride, is exposed to drowsiness and feebleness of
+<span class="pagenum"><a name="page208"></a>208</span>
+watch; as, after Peter&rsquo;s boast, came Peter&rsquo;s sleeping, from
+weakness of the flesh, and then, last of all, Peter&rsquo;s fall. And so
+it follows: for the Redcrosse Knight, being overcome with faintness
+by drinking of the fountain, is thereupon attacked by the
+giant Orgoglio, overcome and thrown by him into a dungeon.
+This Orgoglio is Orgueil, or Carnal Pride; not the pride of life,
+spiritual and subtle, but the common and vulgar pride in the
+power of this world: and his throwing the Redcrosse Knight
+into a dungeon, is a type of the captivity of true religion under
+the temporal power of corrupt churches, more especially of the
+Church of Rome; and of its gradually wasting away in unknown
+places, while carnal pride has the preëminence over all
+things. That Spenser means, especially, the pride of the
+Papacy, is shown by the 16th stanza of the book; for there the
+giant Orgoglio is said to have taken Duessa, or Falsehood, for
+his &ldquo;deare,&rdquo; and to have set upon her head a triple crown, and
+endowed her with royal majesty, and made her to ride upon a
+seven-headed beast.</p>
+
+<p>In the meantime, the dwarf, the attendant of the Redcrosse
+Knight, takes his arms, and finding Una tells her of the captivity
+of her lord. Una, in the midst of her mourning, meets
+Prince Arthur, in whom, as Spenser himself tells us, is set forth
+generally Magnificence; but who, as is shown by the choice of
+the hero&rsquo;s name, is more especially the magnificence, or literally,
+&ldquo;great doing&rdquo; of the kingdom of England. This power of
+England, going forth with Truth, attacks Orgoglio, or the
+Pride of Papacy, slays him; strips Duessa, or Falsehood, naked;
+and liberates the Redcrosse Knight. The magnificent and well-known
+description of Despair follows, by whom the Redcrosse
+Knight is hard bested, on account of his past errors and captivity,
+and is only saved by Truth, who, perceiving him to be
+still feeble, brings him to the house of C&oelig;lia, called, in the argument
+of the canto, Holiness, but properly, Heavenly Grace,
+the mother of the Virtues. Her &ldquo;three daughters, well up-brought,&rdquo;
+are Faith, Hope, and Charity. Her porter is Humility;
+because Humility opens the door of Heavenly Grace.
+Zeal and Reverence are her chamberlains, introducing the new
+comers to her presence; her groom, or servant, is Obedience;
+and her physician, Patience. Under the commands of Charity,
+<span class="pagenum"><a name="page209"></a>209</span>
+the matron Mercy rules over her hospital, under whose care the
+Knight is healed of his sickness; and it is to be especially
+noticed how much importance Spenser, though never ceasing to
+chastise all hypocrisies and mere observances of form, attaches
+to true and faithful <i>penance</i> in effecting this cure. Having his
+strength restored to him, the Knight is trusted to the guidance
+of Mercy, who, leading him forth by a narrow and thorny way,
+first instructs him in the seven works of Mercy, and then leads
+him to the hill of Heavenly Contemplation; whence, having a
+sight of the New Jerusalem, as Christian of the Delectable
+Mountains, he goes forth to the final victory over Satan, the old
+serpent, with which the book closes.</p>
+
+
+<p class="center scs bmarg"><a name="app_3" id="app_3"></a>3. AUSTRIAN GOVERNMENT IN ITALY.</p>
+
+<p>I cannot close these volumes without expressing my astonishment
+and regret at the facility with which the English allow
+themselves to be misled by any representations, however openly
+groundless or ridiculous, proceeding from the Italian Liberal
+party, respecting the present administration of the Austrian
+Government. I do not choose here to enter into any political
+discussion, or express any political opinion; but it is due to
+justice to state the simple facts which came under my notice
+during my residence in Italy. I was living at Venice through
+two entire winters, and in the habit of familiar association both
+with Italians and Austrians, my own antiquarian vocations rendering
+such association possible without exciting the distrust of
+either party. During this whole period, I never once was able
+to ascertain, from any liberal Italian, that he had a single
+<i>definite</i> ground of complaint against the Government. There
+was much general grumbling and vague discontent; but I never
+was able to bring one of them to the point, or to discover what
+it was that they wanted, or in what way they felt themselves
+injured; nor did I ever myself witness an instance of oppression
+on the part of the Government, though several of much kindness
+and consideration. The indignation of those of my own
+countrymen and countrywomen whom I happened to see during
+their sojourn in Venice was always vivid, but by no means large
+in its grounds. English ladies on their first arrival invariably
+<span class="pagenum"><a name="page210"></a>210</span>
+began the conversation with the same remark: &ldquo;What a dreadful
+thing it was to be ground under the iron heel of despotism!&rdquo;
+Upon closer inquiries it always appeared that being &ldquo;ground
+under the heel of despotism&rdquo; was a poetical expression for being
+asked for one&rsquo;s passport at San Juliano, and required to fetch it
+from San Lorenzo, full a mile and a quarter distant. In like
+manner, travellers, after two or three days&rsquo; residence in the city,
+used to return with pitiful lamentations over &ldquo;the misery of the
+Italian people.&rdquo; Upon inquiring what instances they had met
+with of this misery, it invariably turned out that their gondoliers,
+after being paid three times their proper fare, had asked
+for something to drink, and had attributed the fact of their
+being thirsty to the Austrian Government. The misery of the
+Italians consists in having three festa days a week, and doing
+in their days of exertion about one fourth as much work as an
+English laborer.</p>
+
+<p>There is, indeed, much true distress occasioned by the measures
+which the Government is sometimes compelled to take in
+order to repress sedition; but the blame of this lies with those
+whose occupation is the excitement of sedition. So also there is
+much grievous harm done to works of art by the occupation of
+the country by so large an army; but for the mode in which
+that army is quartered, the Italian municipalities are answerable,
+not the Austrians. Whenever I was shocked by finding, as
+above-mentioned at Milan, a cloister, or a palace, occupied by
+soldiery, I always discovered, on investigation, that the place
+had been given by the municipality; and that, beyond requiring
+that lodging for a certain number of men should be found in
+such and such a quarter of the town, the Austrians had nothing
+to do with the matter. This does not, however, make the mischief
+less: and it is strange, if we think of it, to see Italy, with
+all her precious works of art, made a continual battle-field; as
+if no other place for settling their disputes could be found by
+the European powers, than where every random shot may destroy
+what a king&rsquo;s ransom cannot restore.<a name="FnAnchor_62" href="#Footnote_62"><span class="sp">62</span></a> It is exactly as if
+<span class="pagenum"><a name="page211"></a>211</span>
+the tumults in Paris could he settled no otherwise than by fighting
+them out in the Gallery of the Louvre.</p>
+
+
+<p class="center scs bmarg"><a name="app_4"></a>4. DATE OF THE PALACES OF THE BYZANTINE RENAISSANCE.</p>
+
+<p>In the sixth article of the Appendix to the first volume, the
+question of the date of the Casa Dario and Casa Trevisan was
+deferred until I could obtain from my friend Mr. Rawdon
+Brown, to whom the former palace once belonged, some more
+distinct data respecting this subject than I possessed myself.</p>
+
+<p>Speaking first of the Casa Dario, he says: &ldquo;Fontana dates
+it from about the year 1450, and considers it the earliest specimen
+of the architecture founded by Pietro Lombardo, and followed
+by his sons, Tullio and Antonio. In a Sanuto autograph
+miscellany, purchased by me long ago, and which I gave to St.
+Mark&rsquo;s Library, are two letters from Giovanni Dario, dated 10th
+and 11th July, 1485, in the neighborhood of Adrianople; where
+the Turkish camp found itself, and Bajazet II. received presents
+from the Soldan of Egypt, from the Schah of the Indies (query
+Grand Mogul), and from the King of Hungary: of these matters,
+Dario&rsquo;s letters give many curious details. Then, in the
+<i>printed</i> Malipiero Annals, page 136 (which err, I think, by a
+year), the Secretary Dario&rsquo;s negotiations at the Porte are alluded
+to; and in date of 1484 he is stated to have returned to Venice,
+having quarrelled with the Venetian bailiff at Constantinople:
+the annalist adds, that &lsquo;Giovanni Dario was a native of Candia,
+and that the Republic was so well satisfied with him for having
+concluded peace with Bajazet, that he received, as a gift from his
+country, an estate at Noventa, in the Paduan territory, worth
+1500 ducats, and 600 ducats in cash for the dower of one of his
+daughters.&rsquo; These largesses probably enabled him to build his
+house about the year 1486, and are doubtless hinted at in the
+inscription, which I restored <span class="scs">A.D.</span> 1837; <i>it had no date</i>, and
+ran thus, <span class="scs">URBIS . GENIO . JOANNES . DARIVS.</span> In the Venetian
+history of Paolo Morosini, page 594, it is also mentioned, that
+Giovanni Dario was, moreover, the Secretary who concluded the
+<span class="pagenum"><a name="page212"></a>212</span>
+peace between Mahomet, the conqueror of Constantinople, and
+Venice, <span class="scs">A.D.</span> 1478; but, unless he build his house by proxy,
+that date has nothing to do with it; and in my mind, the fact
+of the present, and the inscription, warrant one&rsquo;s dating it 1486,
+and not 1450.</p>
+
+<p>&ldquo;The Trevisan-Cappello House, in Canonica, was once the
+property (<span class="scs">A.D.</span> 1578) of a Venetian dame, fond of cray-fish, according
+to a letter of hers in the archives, whereby she thanks
+one of her lovers for some which he had sent her from Treviso
+to Florence, of which she was then Grand Duchess. Her name
+has perhaps found its way into the English annuals. Did you
+ever hear of Bianca Cappello? She bought that house of the
+Trevisana family, by whom Selva (in Cicognara) and Fontana
+(following Selva) say it was ordered of the Lombardi, at the
+commencement of the sixteenth century: but the inscription on
+its façade, thus,</p>
+
+<table class="nobctr" summary="Contents">
+<tr><td class="scs" style="padding-right: 1em; ">SOLI</td>
+    <td style="border-left: 2px solid black; border-right: 2px solid black;
+               padding-left:1em; " rowspan="2">&nbsp;</td>
+    <td class="scs" style="padding-left: 1em; ">HONOR. ET</td></tr>
+
+<tr><td class="scs">DEO</td>
+    <td class="scs" style="padding-left: 1em; ">GLORIA.</td></tr>
+</table>
+
+<p>reminding one both of the Dario House, and of the words <span class="scs">NON
+NOBIS DOMINE</span> inscribed on the façade of the Loredano Vendramin
+Palace at S. Marcuola (now the property of the Duchess
+of Berri), of which Selva found proof in the Vendramin Archives
+that it was commenced by Sante Lombardo, <span class="scs">A.D.</span> 1481, is in
+favor of its being classed among the works of the fifteenth
+century.&rdquo;</p>
+
+
+<p class="center scs bmarg"><a name="app_5"></a>5. RENAISSANCE SIDE OF DUCAL PALACE.</p>
+
+<p>In passing along the Rio del Palazzo the traveller ought
+especially to observe the base of the Renaissance building, formed
+by alternately depressed and raised pyramids, the depressed portions
+being <i>casts</i> of the projecting ones, which are truncated on
+the summits. The work cannot be called rustication, for it is
+cut as sharply and delicately as a piece of ivory, but it thoroughly
+answers the end which rustication proposes, and misses:
+it gives the base of the building a look of crystalline hardness,
+actually resembling, and that very closely, the appearance presented
+by the fracture of a piece of cap quartz; while yet the
+<span class="pagenum"><a name="page213"></a>213</span>
+light and shade of its alternate recesses and projections are so
+varied as to produce the utmost possible degree of delight to
+the eye, attainable by a geometrical pattern so simple. Yet,
+with all this high merit, it is not a base which could be brought
+into general use. Its brilliancy and piquancy are here set off
+with exquisite skill by its opposition to mouldings, in the upper
+part of the building, of an almost effeminate delicacy, and its
+complexity is rendered delightful by its contrast with the ruder
+bases of the other buildings of the city; but it would look
+meagre if it were employed to sustain bolder masses above, and
+would become wearisome if the eye were once thoroughly familiarized
+with it by repetition.</p>
+
+
+<p class="center scs bmarg"><a name="app_6"></a>6. CHARACTER OF THE DOGE MICHELE MOROSINI.</p>
+
+<p>The following extracts from the letter of Count Charles
+Morosini, above mentioned, appear to set the question at rest.</p>
+
+<p>&ldquo;It is our unhappy destiny that, during the glory of the
+Venetian republic, no one took the care to leave us a faithful
+and conscientious history: but I hardly know whether this misfortune
+should be laid to the charge of the historians themselves,
+or of those commentators who have destroyed their trustworthiness
+by new accounts of things, invented by themselves. As for
+the poor Morosini, we may perhaps save his honor by assembling
+a conclave of our historians, in order to receive their united
+sentence; for, in this case, he would have the absolute majority
+on his side, nearly all the authors bearing testimony to his love
+for his country and to the magnanimity of his heart. I must
+tell you that the history of Daru is not looked upon with esteem
+by well-informed men; and it is said that he seems to have no
+other object in view than to obscure the glory of all actions. I
+know not on what authority the English writer depends; but
+he has, perhaps, merely copied the statement of Daru....
+I have consulted an ancient and authentic MS. belonging to the
+Venieri family, a MS. well known, and certainly better worthy
+of confidence than Daru&rsquo;s history, and it says nothing of M.
+Morosini but that he was elected Doge to the delight and joy of
+all men. Neither do the Savina or Dolfin Chronicles say a word
+of the shameful speculation; and our best informed men say
+<span class="pagenum"><a name="page214"></a>214</span>
+that the reproach cast by some historians against the Doge perhaps
+arose from a mistaken interpretation of the words pronounced
+by him, and reported by Marin Sanuto, that &lsquo;the speculation
+would sooner or later have been advantageous to the
+country.&rsquo; But this single consideration is enough to induce us
+to form a favorable conclusion respecting the honor of this man,
+namely, that he was not elected Doge until after he had been
+entrusted with many honorable embassies to the Genoese and
+Carrarese, as well as to the King of Hungary and Amadeus of
+Savoy; and if in these embassies he had not shown himself a
+true lover of his country, the republic not only would not again
+have entrusted him with offices so honorable, but would never
+have rewarded him with the dignity of Doge, therein to succeed
+such a man as Andrea Contarini; and the war of Chioggia,
+during which it is said that he tripled his fortune by speculations,
+took place during the reign of Contarini, 1379, 1380,
+while Morosini was absent on foreign embassies.&rdquo;</p>
+
+
+<p class="center scs bmarg"><a name="app_7"></a>7. MODERN EDUCATION.</p>
+
+<p>The following fragmentary notes on this subject have been
+set down at different times. I have been accidentally prevented
+from arranging them properly for publication, but there are one
+or two truths in them which it is better to express insufficiently
+than not at all.</p>
+
+<div style="padding-top: 2em; ">&nbsp;</div>
+
+<p>By a large body of the people of England and of Europe a
+man is called educated if he can write Latin verses and construe
+a Greek chorus. By some few more enlightened persons it is
+confessed that the construction of hexameters is not in itself an
+important end of human existence; but they say, that the general
+discipline which a course of classical reading gives to the
+intellectual powers, is the final object of our scholastical institutions.</p>
+
+<p>But it seems to me, there is no small error even in this last
+and more philosophical theory. I believe, that what it is most
+honorable to know, it is also most profitable to learn; and that
+the science which it is the highest power to possess, it is also the
+best exercise to acquire.</p>
+
+<p><span class="pagenum"><a name="page215"></a>215</span></p>
+
+<p>And if this be so, the question as to what should be the materiel
+of education, becomes singularly simplified. It might be
+matter of dispute what processes have the greatest effect in developing
+the intellect; but it can hardly be disputed what facts
+it is most advisable that a man entering into life should accurately
+know.</p>
+
+<p>I believe, in brief, that he ought to know three things:</p>
+
+<p class="nomarg" style="padding-left: 1em; ">First. Where he is.</p>
+<p class="nomarg" style="padding-left: 1em; ">Secondly. Where he is going.</p>
+<p class="nomarg" style="padding-left: 1em; ">Thirdly. What he had best do, under those circumstances.</p>
+
+<p>First. Where he is.&mdash;That is to say, what sort of a world he
+has got into; how large it is; what kind of creatures live in it,
+and how; what it is made of, and what may be made of it.</p>
+
+<p>Secondly. Where he is going.&mdash;That is to say, what chances
+or reports there are of any other world besides this; what seems
+to be the nature of that other world; and whether, for information
+respecting it, he had better consult the Bible, Koran, or
+Council of Trent.</p>
+
+<p>Thirdly. What he had best do under those circumstances.&mdash;That
+is to say, what kind of faculties he possesses; what are the
+present state and wants of mankind; what is his place in
+society; and what are the readiest means in his power of attaining
+happiness and diffusing it. The man who knows these
+things, and who has had his will so subdued in the learning
+them, that he is ready to do what he knows he ought, I should
+call educated; and the man who knows them not,&mdash;uneducated,
+though he could talk all the tongues of Babel.</p>
+
+<p>Our present European system of so-called education ignores,
+or despises, not one, nor the other, but all the three, of these
+great branches of human knowledge.</p>
+
+<p>First: It despises Natural History.&mdash;Until within the last
+year or two, the instruction in the physical sciences given at
+Oxford consisted of a course of twelve or fourteen lectures on
+the Elements of Mechanics or Pneumatics, and permission to
+ride out to Shotover with the Professor of Geology. I do not
+know the specialties of the system pursued in the academies of
+the Continent; but their practical result is, that unless a man&rsquo;s
+natural instincts urge him to the pursuit of the physical sciences
+too strongly to be resisted, he enters into life utterly ignorant of
+<span class="pagenum"><a name="page216"></a>216</span>
+them. I cannot, within my present limits, even so much as
+count the various directions in which this ignorance does evil.
+But the main mischief of it is, that it leaves the greater number
+of men without the natural food which God intended for their
+intellects. For one man who is fitted for the study of words,
+fifty are fitted for the study of things, and were intended to
+have a perpetual, simple, and religious delight in watching the
+processes, or admiring the creatures, of the natural universe.
+Deprived of this source of pleasure, nothing is left to them but
+ambition or dissipation; and the vices of the upper classes of
+Europe are, I believe, chiefly to be attributed to this single
+cause.</p>
+
+<p>Secondly: It despises Religion.&mdash;I do not say it despises
+&ldquo;Theology,&rdquo; that is to say, <i>Talk</i> about God. But it despises
+&ldquo;Religion;&rdquo; that is to say, the &ldquo;binding&rdquo; or training to God&rsquo;s
+service. There is much talk and much teaching in all our
+academies, of which the effect is not to bind, but to loosen, the
+elements of religious faith. Of the ten or twelve young men
+who, at Oxford, were my especial friends, who sat with me
+under the same lectures on Divinity, or were punished with me
+for missing lecture by being sent to evening prayers,<a name="FnAnchor_63" href="#Footnote_63"><span class="sp">63</span></a> four are
+now zealous Romanists,&mdash;a large average out of twelve; and
+while thus our own universities profess to teach Protestantism,
+and do not, the universities on the Continent profess to teach
+Romanism, and do not,&mdash;sending forth only rebels and infidels.
+During long residence on the Continent, I do not remember
+meeting with above two or three young men, who either believed
+in revelation, or had the grace to hesitate in the assertion of
+their infidelity.</p>
+
+<p>Whence, it seems to me, we may gather one of two things;
+either that there is nothing in any European form of religion so
+reasonable or ascertained, as that it can be taught securely to
+our youth, or fastened in their minds by any rivets of proof
+which they shall not be able to loosen the moment they begin to
+think; or else, that no means are taken to train them in such
+demonstrable creeds.</p>
+
+<p>It seems to me the duty of a rational nation to ascertain (and
+<span class="pagenum"><a name="page217"></a>217</span>
+to be at some pains in the matter) which of these suppositions is
+true; and, if indeed no proof can be given of any supernatural
+fact, or Divine doctrine, stronger than a youth just out of his
+teens can overthrow in the first stirrings of serious thought, to
+confess this boldly; to get rid of the expense of an Establishment,
+and the hypocrisy of a Liturgy; to exhibit its cathedrals
+as curious memorials of a by-gone superstition, and, abandoning
+all thoughts of the next world, to set itself to make the best it
+can of this.</p>
+
+<p>But if, on the other hand, there <i>does</i> exist any evidence by
+which the probability of certain religious facts may be shown, as
+clearly, even, as the probabilities of things not absolutely ascertained
+in astronomical or geological science, let this evidence be
+set before all our youth so distinctly, and the facts for which it
+appears inculcated upon them so steadily, that although it may
+be possible for the evil conduct of after life to efface, or for its
+earnest and protracted meditation to modify, the impressions of
+early years, it may not be possible for our young men, the instant
+they emerge from their academies, to scatter themselves
+like a flock of wild fowl risen out of a marsh, and drift away on
+every irregular wind of heresy and apostasy.</p>
+
+<p>Lastly: Our system of European education despises Politics.&mdash;That
+is to say, the science of the relations and duties of men
+to each other. One would imagine, indeed, by a glance at the
+state of the world, that there was no such science. And, indeed,
+it is one still in its infancy.</p>
+
+<p>It implies, in its full sense, the knowledge of the operations
+of the virtues and vices of men upon themselves and society;
+the understanding of the ranks and offices of their intellectual
+and bodily powers in their various adaptations to art, science,
+and industry; the understanding of the proper offices of art,
+science, and labor themselves, as well as of the foundations of
+jurisprudence, and broad principles of commerce; all this being
+coupled with practical knowledge of the present state and wants
+of mankind.</p>
+
+<p>What, it will be said, and is all this to be taught to schoolboys?
+No; but the first elements of it, all that are necessary
+to be known by an individual in order to his acting wisely in
+any station of life, might be taught, not only to every schoolboy,
+<span class="pagenum"><a name="page218"></a>218</span>
+but to every peasant. The impossibility of equality among
+men; the good which arises from their inequality; the compensating
+circumstances in different states and fortunes; the honorableness
+of every man who is worthily filling his appointed place
+in society, however humble; the proper relations of poor and
+rich, governor and governed; the nature of wealth, and mode
+of its circulation; the difference between productive and unproductive
+labor; the relation of the products of the mind and
+hand; the true value of works of the higher arts, and the possible
+amount of their production; the meaning of &ldquo;Civilization,&rdquo;
+its advantages and dangers; the meaning of the term &ldquo;Refinement;&rdquo;
+the possibilities of possessing refinement in a low station,
+and of losing it in a high one; and, above all, the significance
+of almost every act of a man&rsquo;s daily life, in its ultimate operation
+upon himself and others;&mdash;all this might be, and ought
+to be, taught to every boy in the kingdom, so completely, that
+it should be just as impossible to introduce an absurd or licentious
+doctrine among our adult population, as a new version of
+the multiplication table. Nor am I altogether without hope
+that some day it may enter into the heads of the tutors of our
+schools to try whether it is not as easy to make an Eton boy&rsquo;s
+mind as sensitive to falseness in policy, as his ear is at present
+to falseness in prosody.</p>
+
+<p>I know that this is much to hope. That English ministers
+of religion should ever come to desire rather to make a youth
+acquainted with the powers of nature and of God, than with
+the powers of Greek particles; that they should ever think it
+more useful to show him how the great universe rolls upon its
+course in heaven, than how the syllables are fitted in a tragic
+metre; that they should hold it more advisable for him to be
+fixed in the principles of religion than in those of syntax; or,
+finally, that they should ever come to apprehend that a youth
+likely to go straight out of college into parliament, might not
+unadvisably know as much of the Peninsular as of the Peloponnesian
+War, and be as well acquainted with the state of Modern
+Italy as of old Etruria;&mdash;all this however unreasonably, I <i>do</i>
+hope, and mean to work for. For though I have not yet abandoned
+all expectation of a better world than this, I believe this
+in which we live is not so good as it might be. I know there are
+<span class="pagenum"><a name="page219"></a>219</span>
+many people who suppose French revolutions, Italian insurrections,
+Caffre wars, and such other scenic effects of modern
+policy, to be among the normal conditions of humanity. I
+know there are many who think the atmosphere of rapine, rebellion,
+and misery which wraps the lower orders of Europe
+more closely every day, is as natural a phenomenon as a hot
+summer. But God forbid! There are ills which flesh is heir
+to, and troubles to which man is born; but the troubles which
+he is born to are as sparks which fly <i>upward</i>, not as flames burning
+to the nethermost Hell. The Poor we must have with us
+always, and sorrow is inseparable from any hour of life; but we
+may make their poverty such as shall inherit the earth, and the
+sorrow, such as shall be hallowed by the hand of the Comforter,
+with everlasting comfort. We <i>can</i>, if we will but shake off this
+lethargy and dreaming that is upon us, and take the pains to
+think and act like men, we can, I say, make kingdoms to be
+like well-governed households, in which, indeed, while no care
+or kindness can prevent occasional heart-burnings, nor any foresight
+or piety anticipate all the vicissitudes of fortune, or avert
+every stroke of calamity, yet the unity of their affection and
+fellowship remains unbroken, and their distress is neither embittered
+by division, prolonged by imprudence, nor darkened by
+dishonor.</p>
+
+<p class="center" style="letter-spacing: 3.5em">&nbsp;*******</p>
+
+<p>The great leading error of modern times is the mistaking
+erudition for education. I call it the leading error, for I believe
+that, with little difficulty, nearly every other might be shown to
+have root in it; and, most assuredly, the worst that are fallen
+into on the subject of art.</p>
+
+<p>Education then, briefly, is the leading human souls to what
+is best, and making what is best out of them; and these two
+objects are always attainable together, and by the same means;
+the training which makes men happiest in themselves, also
+makes them most serviceable to others. True education, then,
+has respect, first to the ends which are proposable to the man,
+or attainable by him; and, secondly, to the material of which
+the man is made. So far as it is able, it chooses the end according
+to the material: but it cannot always choose the end, for
+the position of many persons in life is fixed by necessity; still
+<span class="pagenum"><a name="page220"></a>220</span>
+less can it choose the material; and, therefore, all it can do, is
+to fit the one to the other as wisely as may be.</p>
+
+<p>But the first point to be understood, is that the material is
+as various as the ends; that not only one man is unlike another,
+but <i>every</i> man is essentially different from <i>every</i> other, so that
+no training, no forming, nor informing, will ever make two
+persons alike in thought or in power. Among all men, whether
+of the upper or lower orders, the differences are eternal and irreconcilable,
+between one individual and another, born under
+absolutely the same circumstances. One man is made of agate,
+another of oak; one of slate, another of clay. The education of
+the first is polishing; of the second, seasoning; of the third,
+rending; of the fourth, moulding. It is of no use to season
+the agate; it is vain to try to polish the slate; but both are
+fitted, by the qualities they possess, for services in which they
+may be honored.</p>
+
+<p>Now the cry for the education of the lower classes, which is
+heard every day more widely and loudly, is a wise and a sacred
+cry, provided it be extended into one for the education of <i>all</i>
+classes, with definite respect to the work each man has to do,
+and the substance of which he is made. But it is a foolish and
+vain cry, if it be understood, as in the plurality of cases it is
+meant to be, for the expression of mere craving after knowledge,
+irrespective of the simple purposes of the life that now is, and
+blessings of that which is to come.</p>
+
+<p>One great fallacy into which men are apt to fall when they
+are reasoning on this subject is: that light, as such, is always
+good; and darkness, as such, always evil. Far from it. Light
+untempered would be annihilation. It is good to them that sit
+in darkness and in the shadow of death; but, to those that faint
+in the wilderness, so also is the shadow of the great rock in a
+weary land. If the sunshine is good, so also the cloud of the
+latter rain. Light is only beautiful, only available for life,
+when it is tempered with shadow; pure light is fearful, and unendurable
+by humanity. And it is not less ridiculous to say
+that the light, as such, is good in itself, than to say that the
+darkness is good in itself. Both are rendered safe, healthy,
+and useful by the other; the night by the day, the day by
+the night; and we could just as easily live without the dawn
+<span class="pagenum"><a name="page221"></a>221</span>
+as without the sunset, so long as we are human. Of the celestial
+city we are told there shall be &ldquo;no night there,&rdquo; and then
+we shall know even as also we are known: but the night and
+the mystery have both their service here; and our business is
+not to strive to turn the night into day, but to be sure that we
+are as they that watch for the morning.</p>
+
+<p>Therefore, in the education either of lower or upper classes,
+it matters not the least how much or how little they know, provided
+they know just what will fit them to do their work, and
+to be happy in it. What the sum or the nature of their knowledge
+ought to be at a given time or in a given case, is a totally
+different question: the main thing to be understood is, that a
+man is not educated, in any sense whatsoever, because he can
+read Latin, or write English, or can behave well in a drawingroom;
+but that he is only educated if he is happy, busy, beneficent,
+and effective in the world; that millions of peasants are
+therefore at this moment better educated than most of those
+who call themselves gentlemen; and that the means taken to
+&ldquo;educate&rdquo; the lower classes in any other sense may very often
+be productive of a precisely opposite result.</p>
+
+<p>Observe: I do not say, nor do I believe, that the lower classes
+ought not to be better educated, in millions of ways, than they
+are. I believe <i>every man in a Christian kingdom ought to be
+equally well educated</i>. But I would have it education to purpose;
+stern, practical, irresistible, in moral habits, in bodily strength
+and beauty, in all faculties of mind capable of being developed
+under the circumstances of the individual, and especially in the
+technical knowledge of his own business; but yet, infinitely various
+in its effort, directed to make one youth humble, and another
+confident; to tranquillize this mind, to put some spark of ambition
+into that; now to urge, and now to restrain: and in the
+doing of all this, considering knowledge as one only out of myriads
+of means in its hands, or myriads of gifts at its disposal; and
+giving it or withholding it as a good husbandman waters his
+garden, giving the full shower only to the thirsty plants, and at
+times when they are thirsty, whereas at present we pour it upon
+the heads of our youth as the snow falls on the Alps, on one and
+another alike, till they can bear no more, and then take honor to
+ourselves because here and there a river descends from their
+<span class="pagenum"><a name="page222"></a>222</span>
+crests into the valleys, not observing that we have made the
+loaded hills themselves barren for ever.</p>
+
+<p>Finally: I hold it for indisputable, that the first duty of a
+state is to see that every child born therein shall be well housed,
+clothed, fed, and educated, till it attain years of discretion. But
+in order to the effecting this, the government must have an
+authority over the people of which we now do not so much as
+dream; and I cannot in this place pursue the subject farther.</p>
+
+
+<p class="center scs bmarg"><a name="app_8"></a>8. EARLY VENETIAN MARRIAGES.</p>
+
+<p>Galliciolli, lib. ii. § 1757, insinuates a doubt of the general
+custom, saying &ldquo;it would be more reasonable to suppose that
+only twelve maidens were married in public on St. Mark&rsquo;s day;&rdquo;
+and Sandi also speaks of twelve only. All evidence, however,
+is clearly in favor of the popular tradition; the most curious fact
+connected with the subject being the mention, by Herodotus, of
+the mode of marriage practised among the Illyrian &ldquo;Veneti&rdquo; of
+his time, who presented their maidens for marriage on one day
+in each year; and, with the price paid for those who were beautiful,
+gave dowries to those who had no personal attractions.</p>
+
+<p>It is very curious to find the traces of this custom existing,
+though in a softened form, in Christian times. Still, I admit
+that there is little confidence to be placed in the mere concurrence
+of the Venetian Chroniclers, who, for the most part, copied
+from each other: but the best and most complete account I have
+read, is that quoted by Galliciolli from the &ldquo;Matricola de&rsquo; Casseleri,&rdquo;
+written in 1449; and, in that account, the words are
+quite unmistakable. &ldquo;It was anciently the custom of Venice,
+that <i>all the brides</i> (novizze) of Venice, when they married, should
+be married by the bishop, in the Church of S. Pietro di Castello,
+on St. Mark&rsquo;s day, which is the 31st of January.&rdquo; Rogers quotes
+Navagiero to the same effect; and Sansovino is more explicit
+still. &ldquo;It was the custom to contract marriages openly; and
+when the deliberations were completed, the damsels assembled
+themselves in St. Pietro di Castello, for the feast of St. <span class="correction" title="originally Mary">Mark</span>, in
+February.&rdquo;</p>
+
+<p><span class="pagenum"><a name="page223"></a>223</span></p>
+
+<p class="center scs bmarg"><a name="app_9"></a>9. CHARACTER OF THE VENETIAN ARISTOCRACY.</p>
+
+<p>The following noble answer of a Venetian ambassador, Giustiniani,
+on the occasion of an insult offered him at the court of
+Henry the Eighth, is as illustrative of the dignity which there
+yet remained in the character and thoughts of the Venetian
+noble, as descriptive, in few words, of the early faith and deeds
+of his nation. He writes thus to the Doge, from London, on the
+15th of April, 1516:</p>
+
+<p>&ldquo;By my last, in date of the 30th ult., I informed you that
+the countenances of some of these lords evinced neither friendship
+nor goodwill, and that much language had been used to me
+of a nature bordering not merely on arrogance, but even on
+outrage; and not having specified this in the foregoing letters,
+I think fit now to mention it in detail. Finding myself at the
+court, and talking familiarly about other matters, two lay lords,
+great personages in this kingdom, inquired of me &lsquo;whence it
+came that your Excellency was of such slippery faith, now favoring
+one party and then the other?&rsquo; Although these words
+ought to have irritated me, I answered them with all discretion,
+&lsquo;that you did keep, and ever had kept your faith; the maintenance
+of which has placed you in great trouble, and subjected
+you to wars of longer duration than you would otherwise have
+experienced; descending to particulars in justification of your
+Sublimity.&rsquo; Whereupon one of them replied, &lsquo;<i>Isti Veneti sunt
+piscatores.</i>&rsquo;<a name="FnAnchor_64" href="#Footnote_64"><span class="sp">64</span></a> Marvellous was the command I then had over
+myself in not giving vent to expressions which might have
+proved injurious to your Signory; and with extreme moderation
+I rejoined, &lsquo;that had he been at Venice, and seen our Senate,
+and the Venetian nobility, he perhaps would not speak thus;
+and moreover, were he well read in our history, both concerning
+the origin of our city and the grandeur of your Excellency&rsquo;s
+feats, neither the one nor the other would seem to him those
+of fishermen; yet,&rsquo; said I, &lsquo;did fishermen found the Christian
+faith, and we have been those fishermen who defended it against
+the forces of the Infidel, our fishing-boats being galleys and
+ships, our hooks the treasure of St. Mark, and our bait the
+life-blood of our citizens, who died for the Christian faith.&rsquo;&rdquo;</p>
+
+<p><span class="pagenum"><a name="page224"></a>224</span></p>
+
+<p>I take this most interesting passage from a volume of despatches
+addressed from London to the Signory of Venice, by the
+ambassador Giustiniani, during the years 1516-1519; despatches
+not only full of matters of historical interest, but of the most
+delightful every-day description of all that went on at the English
+court. They were translated by Mr. Brown from the original
+letters, and will, I believe, soon be published, and I hope
+also, read and enjoyed: for I cannot close these volumes without
+expressing a conviction, which has long been forcing itself upon
+my mind, that <i>restored</i> history is of little more value than restored
+painting or architecture; that the only history worth reading is
+that written at the time of which it treats, the history of what
+was done and seen, heard out of the mouths of the men who did
+and saw. One fresh draught of such history is worth more than
+a thousand volumes of abstracts, and reasonings, and suppositions,
+and theories; and I believe that, as we get wiser, we shall take
+little trouble about the history of nations who have left no distinct
+records of themselves, but spend our time only in the
+examination of the faithful documents which, in any period of
+the world, have been left, either in the form of art or literature,
+portraying the scenes, or recording the events, which in those
+days were actually passing before the eyes of men.</p>
+
+
+<p class="center scs bmarg"><a name="app_10"></a>10. FINAL APPENDIX.</p>
+
+<p>The statements respecting the dates of Venetian buildings
+made throughout the preceding pages, are founded, as above
+stated, on careful and personal examination of all the mouldings,
+or other features available as evidence, of every palace of importance
+in the city. Three parts, at least, of the time occupied in
+the completion of the work have been necessarily devoted to the
+collection of these evidences, of which it would be quite useless
+to lay the mass before the reader; but of which the leading points
+must be succinctly stated, in order to show the nature of my
+authority for any of the conclusions expressed in the text.</p>
+
+<p>I have therefore collected in the plates which illustrate this
+article of the Appendix, for the examination of any reader who
+may be interested by them, as many examples of the evidence-bearing
+details as are sufficient for the proof required, especially
+including all the exceptional forms; so that the reader may rest
+<span class="pagenum"><a name="page225"></a>225</span>
+assured that if I had been able to lay before him all the evidence
+in my possession, it would have been still more conclusive than
+the portion now submitted to him.</p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">V.</td>
+</tr>
+<tr>
+  <td class="figcenter">
+    <a name="plate_5"><img src="images/img225.jpg" width="650" height="404" alt="BYZANTINE BASES." title="BYZANTINE BASES." /></a></td>
+</tr>
+<tr>
+  <td class="caption">BYZANTINE BASES.</td>
+</tr>
+</table>
+
+<p>We must examine in succession the Bases, Doorways and
+Jambs, Capitals, Archivolts, Cornices, and Tracery Bars, of
+Venetian architecture.</p>
+
+
+<p class="center bmarg"><i>I. Bases.</i></p>
+
+<p>The principal points we have to notice are the similarity and
+simplicity of the Byzantine bases in general, and the distinction
+between those of Torcello and Murano, and of St. Mark&rsquo;s, as
+tending to prove the early dates attributed in the text to the
+island churches. I have sufficiently illustrated the forms of the
+Gothic bases in Plates <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_10">X.</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_11">XI.</a>, and <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_13">XIII.</a> of the first volume, so
+that I here note chiefly the Byzantine or Romanesque ones,
+adding two Gothic forms for the sake of comparison.</p>
+
+<p>The most characteristic examples, then, are collected in <a href="#plate_5">Plate
+V.</a> opposite; namely:</p>
+
+<table class="nobctr" style="margin-left: 1em; " summary="Contents">
+
+<tr><td>
+<p class="sc"><a href="#plate_5">Plate V.</a></p>
+<p>Vol. III.</p></td>
+
+<td>
+<p>&nbsp;1, 2, 3, 4. In the upper gallery of apse of Murano.</p>
+<p>&nbsp;5. Lower shafts of apse. Murano.</p>
+<p>&nbsp;6. Casa Falier.</p>
+<p>&nbsp;7. Small shafts of panels. Casa Farsetti.</p>
+<p>&nbsp;8. Great shafts and plinth. Casa Farsetti.</p>
+<p>&nbsp;9. Great lower shafts. Fondaco de&rsquo; Turchi.</p>
+<p>10. Ducal Palace, upper arcade.</p>
+<p>11. General late Gothic form.</p>
+<p>12. Tomb of Dogaressa Vital Michele, in St. Mark&rsquo;s atrium.</p>
+<p>13. Upper arcade of Madonnetta House.</p>
+<p>14. Rio-Foscari House.</p>
+<p>15. Upper arcade. Terraced House.</p>
+<p>16, 17, 18. Nave. Torcello.</p>
+<p>19, 20. Transepts. St. Mark&rsquo;s.</p>
+<p>21. Nave. St. Mark&rsquo;s.</p>
+<p>22. External pillars of northern portico. St. Mark&rsquo;s.</p>
+<p>23, 24. Clustered pillars of northern portico. St. Mark&rsquo;s.</p>
+<p>25, 26. Clustered pillars of southern portico. St. Mark&rsquo;s.</p>
+</td></tr>
+</table>
+
+<p><span class="pagenum"><a name="page226"></a>226</span></p>
+
+<p>Now, observe, first, the enormous difference in style between
+the bases 1 to 5, and the rest in the upper row, that is to say,
+between the bases of Murano and the twelfth and thirteenth
+century bases of Venice; and, secondly, the difference between
+the bases 16 to 20 and the rest in the lower row, that is to say,
+between the bases of Torcello (with those of St. Mark&rsquo;s which
+belong to the nave, and which may therefore be supposed to be
+part of the earlier church), and the later ones of the St. Mark&rsquo;s
+Façade.</p>
+
+<p>Secondly: Note the fellowship between 5 and 6, one of the
+evidences of the early date of the Casa Falier.</p>
+
+<p>Thirdly: Observe the slurring of the upper roll into the
+cavetto, in 13, 14, and 15, and the consequent relationship
+established between three most important buildings, the Rio-Foscari
+House, Terraced House, and Madonnetta House.</p>
+
+<p>Fourthly: Byzantine bases, if they have an incision between
+the upper roll and cavetto, are very apt to approach the form of
+fig. 23, in which the upper roll is cut out of the flat block, and
+the ledge beneath it is sloping. Compare Nos. 7, 8, 9, 21, 22,
+23, 24, 25, 26. On the other hand, the later Gothic base, 11,
+has always its upper roll well developed, and, generally, the fillet
+between it and the cavetto vertical. The sloping fillet is indeed
+found down to late periods; and the vertical fillet, as in No. 12,
+in Byzantine ones; but still, when a base has such a sloping fillet
+and peculiarly graceful sweeping cavetto, as those of No. 10,
+looking as if they would run into one line with each other, it is
+strong presumptive evidence of its belonging to an early, rather
+than a late period.</p>
+
+<p>The base 12 is the boldest example I could find of the exceptional
+form in early times; but observe, in this, that the upper
+roll is larger than the lower. This is <i>never</i> the case in late
+Gothic, where the proportion is always as in fig. 11. Observe
+that in Nos. 8 and 9 the upper rolls are at least as large as the
+lower, an important evidence of the dates of the Casa Farsetti
+and Fondaco de&rsquo; Turchi.</p>
+
+<p>Lastly: Note the peculiarly steep profile of No. 22, with
+reference to what is said of this base in Vol. II. <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#app_9">Appendix 9</a>.</p>
+
+<p><span class="pagenum"><a name="page227"></a>227</span></p>
+
+<p class="center bmarg"><i>II. Doorways and Jambs.</i></p>
+
+<p>The entrances to St. Mark&rsquo;s consist, as above mentioned, of
+great circular or ogee porches; underneath which the real open
+entrances, in which the valves of the bronze doors play, are
+square headed.</p>
+
+<div style="position: absolute; left: 12%; right: 55%; text-align: left">
+<p>The mouldings of the jambs
+of these doors are highly curious,
+and the most characteristic are
+therefore represented in one
+view. The outsides of the
+jambs are lowest.</p>
+
+<p class="nomarg"><i>a</i>. Northern lateral door.</p>
+<p class="nomarg"><i>b</i>. First northern door of the façade.</p>
+<p class="nomarg"><i>c</i>. Second door of the façade.</p>
+<p class="nomarg"><i>d</i>. Fourth door of the façade.</p>
+<p class="nomarg"><i>e</i>. Central door of the façade.</p>
+</div>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">Fig. 1</td>
+</tr>
+<tr>
+  <td class="figcenter2">
+    <a name="fig_1"><img src="images/img227.jpg" width="450" height="666" alt="Fig. 1" title="Fig. 1" /></a></td>
+</tr>
+</table>
+
+<p><span class="pagenum"><a name="page228"></a>228</span></p>
+
+<p>I wish the reader especially to note the arbitrary character of
+the curves and incisions; all evidently being drawn by hand,
+none being segments of circles, none like another, none influenced
+by any visible law. I do not give these mouldings as beautiful;
+they are, for the most part, very poor in effect, but they are
+singularly characteristic of the free work of the time.</p>
+
+<p>The kind of door to which these mouldings belong, is shown,
+with the other groups of doors, in <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_14">Plate XIV.</a> Vol. II. fig. 6 <i>a</i>.
+Then 6 <i>b</i>, 6 <i>c</i>, 6 <i>d</i> represent the groups of doors in which the
+Byzantine influence remained energetic, admitting slowly the
+forms of the pointed Gothic; 7 <i>a</i>, with the gable above, is the
+intermediate group between the Byzantine and Gothic schools;
+7 <i>b</i>, 7 <i>c</i>, 7 <i>d</i>, 7 <i>e</i> are the advanced guards of the Gothic and Lombardic
+invasions, representative of a large number of thirteenth
+century arcades and doors. Observe that 6 <i>d</i> is shown to be of a
+late school by its finial, and 6 <i>e</i> of the latest school by its finial,
+complete ogee arch (instead of round or pointed), and abandonment
+of the lintel.</p>
+
+<p>These examples, with the exception of 6 <i>a</i>, which is a general
+form, are all actually existing doors; namely:</p>
+
+<p class="nomargi">6 <i>b.</i> In the Fondamenta Venier, near St. Maria della Salute.</p>
+<p class="nomargi">6 <i>c.</i> In the Calle delle Botteri, between the Rialto and San Cassan.</p>
+<p class="nomargi">6 <i>d.</i> Main door of San Gregorio.</p>
+<p class="nomargi">6 <i>e.</i> Door of a palace in Rio San Paternian.</p>
+<p class="nomargi">7 <i>a.</i> Door of a small courtyard near house of Marco Polo.</p>
+<p class="nomargi">7 <i>b.</i> Arcade in narrow canal, at the side of Casa Barbaro.</p>
+<p class="nomargi">7 <i>c.</i> At the turn of the canal, close to the Ponte dell&rsquo; Angelo.</p>
+<p class="nomargi">7 <i>d.</i> In Rio San Paternian (a ruinous house).</p>
+<p class="nomargi">7 <i>e.</i> At the turn of the canal on which the Sotto Portico della Stua opens, near San Zaccaria.</p>
+
+<p>If the reader will take a magnifying glass to the figure 6 <i>d</i>, he
+will see that its square ornaments, of which, in the real door,
+each contains a rose, diminish to the apex of the arch; a very
+interesting and characteristic circumstance, showing the subtle
+feeling of the Gothic builders. They must needs diminish the
+ornamentation, in order to sympathize with the delicacy of the
+point of the arch. The magnifying glass will also show the
+<span class="pagenum"><a name="page229"></a>229</span>
+Bondumieri shield in No. 7 <i>d</i>, and the Leze shield in No. 7 <i>e</i>,
+both introduced on the keystones in the grand early manner.
+The mouldings of these various doors will be noticed under the
+head Archivolt.</p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">VI.</td>
+</tr>
+<tr>
+  <td class="figcenter">
+    <a name="plate_6"><img src="images/img229.jpg" width="395" height="650" alt="" title="" /></a></td>
+</tr>
+<tr>
+  <td class="caption">BYZANTINE JAMBS.</td>
+</tr>
+</table>
+
+<p>Now, throughout the city we find a number of doors resembling
+the square doors of St. Mark, and occurring with rare exceptions
+either in buildings of the Byzantine period, or imbedded
+in restored houses; never, in a single instance, forming a connected
+portion of any late building; and they therefore furnish
+a most important piece of evidence, wherever they are part of
+the original structure of a <i>Gothic</i> building, that such building is
+one of the advanced guards of the Gothic school, and belongs to
+its earliest period.</p>
+
+<p>On <a href="#plate_6">Plate VI.</a>, opposite, are assembled all the important examples
+I could find in Venice of these mouldings. The reader
+will see at a glance their peculiar character, and unmistakable
+likeness to each other. The following are the references:</p>
+
+<table class="nobctr" style="margin-left: 1em; " summary="data">
+
+<tr><td>
+<p class="sc"><a href="#plate_6">Plate VI.</a></p>
+<p>Vol. III.</p></td>
+
+<td>
+<p>&nbsp;1. Door in Calle Mocenigo.</p>
+<p>&nbsp;2. Angle of tomb of Dogaressa Vital Michele.</p>
+<p>&nbsp;3. Door in Sotto Portico, St. Apollonia (near Ponte di Canonica).</p>
+<p>&nbsp;4. Door in Calle della Verona (another like it is close by).</p>
+<p>&nbsp;5. Angle of tomb of Doge Marino Morosini.</p>
+<p>&nbsp;6, 7. Door in Calle Mocenigo.</p>
+<p>&nbsp;8. Door in Campo S. Margherita.</p>
+<p>&nbsp;9. Door at Traghetto San Samuele, on south side of Grand Canal.</p>
+<p>10. Door at Ponte St. Toma.</p>
+<p>11. Great door of Church of Servi.</p>
+<p>12. In Calle della Chiesa, Campo San Filippo e Giacomo.</p>
+<p>13. Door of house in Calle di Rimedio (Vol. II.).</p>
+<p>14. Door in Fondaco de&rsquo; Turchi.</p>
+<p>15. Door in Fondamenta Malcanton, near Campo S. Margherita.</p>
+<p>16. Door in south side of Canna Reggio.</p>
+<p>17, 18. Doors in Sotto Portico dei Squellini.</p>
+</td></tr></table>
+
+<p><span class="pagenum"><a name="page230"></a>230</span></p>
+
+<p>The principal points to be noted in these mouldings are
+their curious differences of level, as marked by the dotted lines,
+more especially in 14, 15, 16, and the systematic projection of
+the outer or lower mouldings in 16, 17, 18. Then, as points of
+evidence, observe that 1 is the jamb and 6 the archivolt (7 the
+angle on a larger scale) of the brick door given in my folio work
+from Ramo di rimpetto Mocenigo, one of the evidences of the
+early date of that door; 8 is the jamb of the door in Campo
+Santa Margherita (also given in my folio work), fixing the early
+date of that also; 10 is from a Gothic door opening off the Ponte
+St. Toma; and 11 is also from a Gothic building. All the rest
+are from Byzantine work, or from ruins. The angle of the tomb
+of Marino Morosini (5) is given for comparison only.</p>
+
+<p>The doors with the mouldings 17, 18, are from the two ends
+of a small dark passage, called the Sotto Portico dei Squellini,
+opening near Ponte Cappello, on the Rio-Marin: 14 is the outside
+one, arranged as usual, and at <i>a</i>, in the rough stone, are places
+for the staples of the door valve; 15, at the other end of the passage,
+opening into the little Corte dei Squellini, is set with the
+part <i>a</i> outwards, it also having places for hinges; but it is curious
+that the rich moulding should be set in towards the dark
+passage, though natural that the doors should both open one way.</p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">VII.</td>
+</tr>
+<tr>
+  <td class="figcenter">
+    <a name="plate_7"><img src="images/img230.jpg" width="402" height="650" alt="GOTHIC JAMBS." title="GOTHIC JAMBS." /></a></td>
+</tr>
+<tr>
+  <td class="caption">GOTHIC JAMBS.</td>
+</tr>
+</table>
+
+<p>The next Plate, <a href="#plate_7">VII.</a>, will show the principal characters of
+the Gothic jambs, and the total difference between them and the
+Byzantine ones. Two more Byzantine forms, 1 and 2, are given
+here for the sake of comparison; then 3, 4, and 5 are the common
+profiles of simple jambs of doors in the Gothic period; 6 is
+one of the jambs of the Frari windows, continuous into the
+archivolt, and meeting the traceries, where the line is set upon
+it at the extremity of its main slope; 7 and 8 are jambs of the
+Ducal Palace windows, in which the great semicircle is the half
+shaft which sustains the traceries, and the rest of the profile is
+continuous in the archivolt; 17, 18, and 19 are the principal piers
+of the Ducal Palace; and 20, from St. Fermo of Verona, is put
+with them in order to show the step of transition from the Byzantine
+form 2 to the Gothic chamfer, which is hardly represented
+at Venice. The other profiles on the plate are all late Gothic,
+given to show the gradual increase of complexity without any
+gain of power. The open lines in 12, 14, 16, etc., are the parts
+<span class="pagenum"><a name="page231"></a>231</span>
+of the profile cut into flowers or cable mouldings; and so much
+incised as to show the constant outline of the cavetto or curve
+beneath them. The following are the references:</p>
+
+<table class="nobctr" style="margin-left: 1em; " summary="data">
+
+<tr><td>
+<p class="sc"><a href="#plate_7">Plate VII.</a></p>
+<p>Vol. III.</p></td>
+
+<td>
+<p>&nbsp;1. Door in house of Marco Polo.</p>
+<p>&nbsp;2. Old door in a restored church of St. Cassan.</p>
+<p>&nbsp;3, 4, 5. Common jambs of Gothic doors.</p>
+<p>&nbsp;6. Frari windows.</p>
+<p>&nbsp;7, 8. Ducal Palace windows.</p>
+<p>&nbsp;9. Casa Priuli, great entrance.</p>
+<p>10. San Stefano, great door.</p>
+<p>11. San Gregorio, door opening to the water.</p>
+<p>12. Lateral door, Frari.</p>
+<p>13. Door of Campo San Zaccaria.</p>
+<p>14. Madonna dell&rsquo;Orto.</p>
+<p>15. San Gregorio, door in the façade.</p>
+<p>16. Great lateral door, Frari.</p>
+<p>17. Pilaster at Vine angle, Ducal Palace.</p>
+<p>18. Pier, inner cortile, Ducal Palace.</p>
+<p>19. Pier, under the medallion of Venice, on the Piazetta façade of the Ducal Palace.</p>
+</td></tr></table>
+
+
+<p class="center bmarg"><i>III. Capitals.</i></p>
+
+<p>I shall here notice the various facts I have omitted in the text
+of the work.</p>
+
+<p>First, with respect to the Byzantine Capitals represented in
+<a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_7">Plate VII.</a> Vol. II., I omitted to notice that figs. 6 and 7 represent
+two sides of the same capital at Murano (though one is
+necessarily drawn on a smaller scale than the other). Fig. 7 is
+the side turned to the light, and fig. 6 to the shade, the inner
+part, which is quite concealed, not being touched at all.</p>
+
+<p>We have here a conclusive proof that these capitals were cut
+for their place in the apse; therefore I have always considered
+them as tests of Venetian workmanship, and, on the strength of
+that proof, have occasionally spoken of capitals as of true Venetian
+work, which M. Lazari supposes to be of the Lower Empire.
+No. 11, from St. Mark&rsquo;s, was not above noticed. The way in
+which the cross is gradually left in deeper relief as the sides slope
+inwards and away from it, is highly picturesque and curious.</p>
+
+<p><span class="pagenum"><a name="page232"></a>232</span></p>
+
+<p>No. 9 has been reduced from a larger drawing, and some of
+the life and character of the curves lost in consequence. It is
+chiefly given to show the irregular and fearless freedom of the
+Byzantine designers, no two parts of the foliage being correspondent;
+in the original it is of white marble, the ground being
+colored blue.</p>
+
+<p><a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_10">Plate X.</a> Vol. II. represents the four principal orders of
+Venetian capitals in their greatest simplicity, and the profiles of
+the most interesting examples of each. The figures 1 and 4
+are the two great concave and convex groups, and 2 and 3 the
+transitional. Above each type of form I have put also an example
+of the group of flowers which represent it in nature: fig. 1
+has a lily; fig. 2 a variety of the Tulipa sylvestris; figs. 3 and
+4 forms of the magnolia. I prepared this plate in the early
+spring, when I could not get any other examples,<a name="FnAnchor_65" href="#Footnote_65"><span class="sp">65</span></a> or I would
+rather have had two different species for figs. 3 and 4; but the
+half-open magnolia will answer the purpose, showing the beauty
+of the triple curvature in the sides.</p>
+
+<p>I do not say that the forms of the capitals are actually taken
+from flowers, though assuredly so in some instances, and partially
+so in the decoration of nearly all. But they were designed
+by men of pure and natural feeling for beauty, who therefore
+instinctively adopted the forms represented, which are afterwards
+proved to be beautiful by their frequent occurrence in
+common flowers.</p>
+
+<p>The convex forms, 3 and 4, are put lowest in the plate only
+because they are heaviest; they are the earliest in date, and have
+already been enough examined.</p>
+
+<p>I have added a plate to this volume (<a href="#plate_12">Plate XII.</a>), which
+should have appeared in illustration of the fifth chapter of Vol.
+II., but was not finished in time. It represents the central capital
+and two of the lateral ones of the Fondaco de&rsquo; Turchi, the
+central one drawn very large, in order to show the excessive
+simplicity of its chiselling, together with the care and sharpness
+of it, each leaf being expressed by a series of sharp furrows and
+<span class="pagenum"><a name="page233"></a>233</span>
+ridges. Some slight errors in the large tracings from which the
+engraving was made have, however, occasioned a loss of spring
+in the curves, and the little fig. 4 of <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_10">Plate X.</a> Vol. II. gives a
+truer idea of the distant effect of the capital.</p>
+
+<p>The profiles given in <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_10">Plate X.</a> Vol. II. are the following:</p>
+
+<table class="nobctr" style="margin-left: 1em; " summary="data">
+
+<tr><td>&nbsp;</td>
+<td style="vertical-align: top;">1.</td>
+<td>
+<p><i>a.</i> Main capitals, upper arcade, Madonnetta House.</p>
+<p><i>b.</i> Main capitals, upper arcade, Casa Falier.</p>
+<p><i>c.</i> Lateral capitals, upper arcade, Fondaco de&rsquo; Turchi.</p>
+<p><i>d.</i> Small pillars of St. Mark&rsquo;s Pulpit.</p>
+<p><i>e.</i> Casa Farsetti.</p>
+<p><i>f.</i> Inner capitals of arcade of Ducal Palace.</p>
+<p><i>g.</i> Plinth of the house<a name="FnAnchor_66" href="#Footnote_66"><span class="sp">66</span></a> at Apostoli.</p>
+<p><i>h.</i> Main capitals of house at Apostoli.</p>
+<p><i>i.</i> Main capitals, upper arcade, Fondaco de&rsquo; Turchi.</p></td></tr>
+
+<tr><td>
+<p><span class="sc"><a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_10">Plate X.</a></span></p>
+<p>vol. II.</p></td>
+
+<td style="vertical-align: top;"><span class="correction" title="Number 2. misplaced.">2.</span></td>
+
+<td><p><i>a.</i> Lower arcade, Fondaco de&rsquo; Turchi.</p>
+<p><i>b, c.</i> Lower pillars, house at Apostoli.</p>
+<p><i>d.</i> San Simeon Grande.</p>
+<p><i>e.</i> Restored house on Grand Canal. Three of the old arches left.</p>
+<p><i>f.</i> Upper arcade, Ducal Palace.</p>
+<p><i>g.</i> Windows of third order, central shaft, Ducal Palace.</p>
+<p><i>h.</i> Windows of third order, lateral shaft, Ducal Palace.</p>
+<p><i>i.</i> Ducal Palace, main shafts.</p>
+<p><i>k.</i> Piazzetta shafts.</p></td></tr>
+
+<tr><td>&nbsp;</td>
+<td style="vertical-align: top;">3.</td>
+
+<td><p><i>a.</i> St. Mark&rsquo;s Nave.</p>
+<p><i>b, c.</i> Lily capitals, St. Mark&rsquo;s.</p></td></tr>
+
+<tr><td>&nbsp;</td>
+<td style="vertical-align: top;"><span class="correction" title="Missing number 4.">4.</span></td>
+
+<td><p><i>a.</i> Fondaco de&rsquo; Turchi, central shaft, upper arcade.</p>
+<p><i>b.</i> Murano, upper arcade.</p>
+<p><i>c.</i> Murano, lower arcade.</p>
+<p><i>d.</i> Tomb of St. Isidore.</p>
+<p><i>e.</i> General late Gothic profile.</p></td></tr></table>
+
+
+<p><span class="pagenum"><a name="page234"></a>234</span></p>
+
+<p>The last two sections are convex in effect, though not in reality;
+the bulging lines being carved into bold flower-work.</p>
+
+<p>The capitals belonging to the groups 1 and 2, in the Byzantine
+times, have already been illustrated in <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_8">Plate VIII.</a> Vol. II.;
+we have yet to trace their succession in the Gothic times. This
+is done in <a href="#plate_2">Plate II.</a> of this volume, which we will now examine
+carefully. The following are the capitals represented in that
+plate:</p>
+
+<table class="nobctr" style="margin-left: 1em; " summary="data">
+
+<tr><td>
+<p class="sc"><a href="#plate_2">Plate II.</a></p>
+<p>Vol. III.</p></td>
+
+<td>
+<p>&nbsp;1. Small shafts of St. Mark&rsquo;s Pulpit.</p>
+<p>&nbsp;2. From the transitional house in the Calle di Rimedio (conf. Vol. II.).</p>
+<p>&nbsp;3. General simplest form of the middle Gothic capital.</p>
+<p>&nbsp;4. Nave of San Giacomo de Lorio.</p>
+<p>&nbsp;5. Casa Falier.</p>
+<p>&nbsp;6. Early Gothic house in Campo Sta. M<span class="sp">a.</span> Mater Domini.</p>
+<p>&nbsp;7. House at the Apostoli.</p>
+<p>&nbsp;8. Piazzetta shafts.</p>
+<p>&nbsp;9. Ducal Palace, upper arcade.</p>
+<p>10. Palace of Marco Querini.</p>
+<p>11. Fondaco de&rsquo; Turchi.</p>
+<p>12. Gothic palaces in Campo San Polo.</p>
+<p>13. Windows of fourth order, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_16">Plate XVI.</a> Vol. II.</p>
+<p>14. Nave of Church of San Stefano.</p>
+<p>15. Late Gothic Palace at the Miracoli.</p>
+</td></tr></table>
+
+<p>The two lateral columns form a consecutive series: the central
+column is a group of exceptional character, running parallel
+with both. We will take the lateral ones first. 1. Capital of
+pulpit of St. Mark&rsquo;s (representative of the simplest concave forms
+of the Byzantine period). Look back to <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_8">Plate VIII.</a> Vol. II.,
+and observe that while all the forms in that plate are contemporaneous,
+we are now going to follow a series <i>consecutive</i> in time,
+which begins from fig. 1, either in that plate or in this; that is
+to say, with the simplest possible condition to be found at the
+time; and which proceeds to develope itself into gradually
+increasing richness, while the <i>already rich</i> capitals of the old
+school die at its side. In the forms 14 and 15 (<a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_8">Plate VIII.</a>) the
+<span class="pagenum"><a name="page235"></a>235</span>
+Byzantine school expired; but from the Byzantine simple capital
+(1, <a href="#plate_2">Plate II.</a> above) which was coexistent with them, sprang
+another hardy race of capitals, whose succession we have now to
+trace.</p>
+
+<p>The form 1, <a href="#plate_2">Plate II.</a> is evidently the simplest conceivable
+condition of the truncated capital, long ago represented generally
+in Vol. I., being only rounded a little on its side to fit it to
+the shaft. The next step was to place a leaf beneath each of the
+truncations (fig. 4, <a href="#plate_2">Plate II.</a>, San Giacomo de Lorio), the end of
+the leaf curling over at the top in a somewhat formal spiral,
+partly connected with the traditional volute of the Corinthian
+capital. The sides are then enriched by the addition of some
+ornament, as a shield (fig. 7) or rose (fig. 10), and we have the
+formed capital of the early Gothic. Fig. 10, being from the
+palace of Marco Querini, is certainly not later than the middle
+of the thirteenth century (see Vol. II.), and fig. 7, is, I believe,
+of the same date; it is one of the bearing capitals of the lower
+story of the palace at the Apostoli, and is remarkably fine in the
+treatment of its angle leaves, which are not deeply under-cut,
+but show their magnificent sweeping under surface all the way
+down, not as a leaf surface, but treated like the gorget of a helmet,
+with a curved line across it like that where the gorget
+meets the mail. I never saw anything finer in simple design.
+Fig. 10 is given chiefly as a certification of date, and to show the
+treatment of the capitals of this school on a small scale. Observe
+the more expansive head in proportion to the diameter of
+the shaft, the leaves being drawn from the angles, as if gathered
+in the hand, till their edges meet; and compare the rule given
+in Vol. I. <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#chap_9">Chap. IX.</a> § <span class="scs">XIV.</span> The capitals of the remarkable
+house, of which a portion is represented in Fig. XXXI. Vol. II.,
+are most curious and pure examples of this condition; with
+experimental trefoils, roses, and leaves introduced between their
+volutes. When compared with those of the Querini Palace,
+they form one of the most important evidences of the date of the
+building.</p>
+
+<p>Fig. 13. One of the bearing capitals, already drawn on a
+small scale in the windows represented in <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_16">Plate XVI.</a> Vol. II.</p>
+
+<p>Now, observe. The capital of the form of fig. 10 appeared
+sufficient to the Venetians for all ordinary purposes; and they
+<span class="pagenum"><a name="page236"></a>236</span>
+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. <a href="#fig_3">Fig. 3</a> represents the general
+aspect of these later capitals, which may be conveniently
+called the rose capitals of Venice; two are seen on service, in
+<a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_8">Plate VIII.</a> 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, <a href="#plate_2">Plate II.</a>, and as generally represented in <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_10">Plate X.</a>
+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.</p>
+
+<p>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.</p>
+
+<p>The leaves which are used in fig. 13, it will be observed, have
+<span class="pagenum"><a name="page237"></a>237</span>
+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,
+<a href="#plate_2">Plate II.</a>, 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. <span class="correction" title="changed from Ma">M^{a.}</span> Mater
+Domini, already drawn in my folio work.</p>
+
+<p>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.</p>
+
+<p>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&rsquo;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.</p>
+
+<p><a href="#fig_2">Fig. 2</a> 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
+<span class="pagenum"><a name="page238"></a>238</span>
+capitals given in the lateral columns in <a href="#plate_2">Plate II.</a>, the points of
+the leaves <i>turn over</i>. But in this central group they lie <i>flat</i>
+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.</p>
+
+<p>In fig. 2 the leaf at the angle is cut, exactly in the manner of
+an Egyptian bas-relief, <i>into</i> 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.</p>
+
+<p>Fig. 5 is the central capital of the windows of Casa Falier,
+drawn in <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_15">Plate XV.</a> Vol. II.; and one of the leaves set on its
+angles is drawn larger at fig. 7, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_20">Plate XX.</a> 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,&mdash;round in the
+middle one, truncated in the sides,&mdash;are wrought with a precision
+and care which I have hardly ever seen equalled: but of
+this more presently.</p>
+
+<p>The next figure (8, <a href="#plate_2">Plate II.</a>) 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 <i>raised</i> 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.
+<span class="pagenum"><a name="page239"></a>239</span>
+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&rsquo;s, which
+never occur after the year 1300.</p>
+
+<p>Nothing can be more beautiful or original than the adaptation
+of these broad bearing abaci; but as they have nothing to do
+with the capital itself, and could not easily be brought into the
+space, they are omitted in <a href="#plate_2">Plate II.</a>, where fig. 8 shows the bell
+of the capital only. Its profile is curiously subtle,&mdash;apparently
+concave everywhere, but in reality concave (all the way down)
+only on the angles, and slightly convex at the sides (the profile
+through the side being 2 <i>k</i>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_10">Plate X.</a> Vol. II.); in this subtlety
+of curvature, as well as in the simple cross, showing the influence
+of early times.</p>
+
+<p>The leaf on the angle, of which more presently, is fig. 5, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_20">Plate
+XX.</a> Vol. II.</p>
+
+<p>Connected with this school of transitional capitals we find a
+form in the later Gothic, such as fig. 14, from the Church of
+San Stefano; but which appears in part derived from an old and
+rich Byzantine type, of which fig. 11, from the Fondaco de&rsquo;
+Turchi, is a characteristic example.</p>
+
+<p>I must now take the reader one step farther, and ask him to
+examine, finally, the treatment of the leaves, down to the cutting
+of their most minute lobes, in the series of capitals of which we
+have hitherto only sketched the general forms.</p>
+
+<p>In all capitals with nodding leaves, such as 6 and 9 in <a href="#plate_2">Plate
+II.</a>, the real form of the leaf is not to be seen, except in perspective;
+but, in order to render the comparison more easy, I have in
+<a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_20">Plate XX.</a> Vol. II. opened all the leaves out, as if they were to
+be dried in a herbarium, only leaving the furrows and sinuosities
+of surface, but laying the outside contour nearly flat upon
+the page, except for a particular reason in figs. 2, 10, 11,
+and 15.</p>
+
+<p>I shall first, as usual, give the references, and then note the
+points of interest.</p>
+
+<p><span class="pagenum"><a name="page240"></a>240</span></p>
+
+<table class="nobctr" style="margin-left: 1em; " summary="data">
+
+<tr><td>
+<p class="sc"><a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_20">Plate XX.</a></p>
+<p>Vol. II.</p></td>
+
+<td>
+<p>&nbsp;1, 2, 3. Fondaco de&rsquo; Turchi, upper arcade.</p>
+<p>&nbsp;4. Greek pillars brought from St. Jean d&rsquo;Acre.</p>
+<p>&nbsp;5. Piazzetta shafts.</p>
+<p>&nbsp;6. Madonnetta House.</p>
+<p>&nbsp;7. Casa Falier.</p>
+<p>&nbsp;8. Palace near St. Eustachio.</p>
+<p>&nbsp;9. Tombs, outside of St. John and Paul.</p>
+<p>10. Tomb of Giovanni Soranzo.</p>
+<p>11. Tomb of Andrea Dandolo.</p>
+<p>12, 13, 14. Ducal Palace.</p></td></tr></table>
+
+
+<p>N.B. The upper row, 1 to 4, is Byzantine, the next transitional,
+the last two Gothic.</p>
+
+<p>Fig. 1. The leaf of the capital No. 6, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_8">Plate VIII.</a> Vol. II.
+Each lobe of the leaf has a sharp furrow up to its point, from its
+root.</p>
+
+<p>Fig. 2. The leaf of the capital on the right hand, at the top
+of <a href="#plate_12">Plate XII.</a> in this volume. The lobes worked in the same
+manner, with deep black drill holes between their points.</p>
+
+<p>Fig. 3. One of the leaves of fig. 14, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_8">Plate VIII.</a> Vol. II. fully
+unfolded. The lobes worked in the same manner, but left shallow,
+so as not to destroy the breadth of light; the central line
+being drawn by drill holes, and the interstices between lobes cut
+black and deep.</p>
+
+<p>Fig. 4. Leaf with flower; pure Byzantine work, showing
+whence the treatment of all the other leaves has been derived.</p>
+
+<p>Fig. 6. For the sake of symmetry, this is put in the centre:
+it is the earliest of the three in this row; taken from the Madonnetta
+House, where the capitals have leaves both at their
+sides and angles. The tall angle leaf, with its two lateral ones,
+is given in the plate; and there is a remarkable distinction in
+the mode of workmanship of these leaves, which, though found
+in a palace of the Byzantine period, is indicative of a tendency
+to transition; namely, that the sharp furrow is now drawn <i>only
+to the central lobe</i> of each division of the leaf, and the rest of
+the surface of the leaf is left nearly flat, a slight concavity only
+marking the division of the extremities. At the base of these
+leaves they are perfectly flat, only cut by the sharp and narrow
+furrow, as an elevated table-land is by ravines.</p>
+
+<p><span class="pagenum"><a name="page241"></a>241</span></p>
+
+<p>Fig. 5. A more advanced condition; the fold at the recess,
+between each division of the leaf, carefully expressed, and the
+concave or depressed portions of the extremities marked more
+deeply, as well as the central furrow, and a rib added in the
+centre.</p>
+
+<p>Fig. 7. A contemporary, but more finished form; the
+sharp furrows becoming softer, and the whole leaf more
+flexible.</p>
+
+<p>Fig. 8. An exquisite form of the same period, but showing
+still more advanced naturalism, from a very early group of
+third order windows, near the Church of St. Eustachio on the
+Grand Canal.</p>
+
+<p>Fig. 9. Of the same time, from a small capital of an angle
+shaft of the sarcophagi at the <i>side</i> of St. John and Paul, in the
+little square which is adorned by the Colleone statue. This
+leaf is very quaint and pretty in giving its midmost lateral
+divisions only two lobes each, instead of the usual three or
+four.</p>
+
+<p>Fig. 10. Leaf employed in the cornice of the tomb of the
+Doge Giovanni Soranzo, who died in 1312. It nods over, and
+has three ribs on its upper surface; thus giving us the completed
+ideal form of the leaf, but its execution is still very
+archaic and severe.</p>
+
+<p>Now the next example, fig. 11, is from the tomb of the Doge
+Andrea Dandolo, and therefore executed between 1354 and 1360;
+and this leaf shows the Gothic naturalism and refinement of
+curvature fully developed. In this forty years&rsquo; interval, then,
+the principal advance of Gothic sculpture is to be placed.</p>
+
+<p>I had prepared a complete series of examples, showing this
+advance, and the various ways in which the separations of the
+ribs, a most characteristic feature, are more and more delicately
+and scientifically treated, from the beginning to the middle of
+the fourteenth century, but I feared that no general reader
+would care to follow me into these minutiæ, and have cancelled
+this portion of the work, at least for the present, the main point
+being, that the reader should feel the full extent of the change,
+which he can hardly fail to do in looking from fig. 10 to figs. 11
+and 12. I believe that fig. 12 is the earlier of the two; and it
+is assuredly the finer, having all the elasticity and simplicity of
+<span class="pagenum"><a name="page242"></a>242</span>
+the earliest forms, with perfect flexibility added. In fig. 11
+there is a perilous element beginning to develope itself into one
+feature, namely, the extremities of the leaves, which, instead of
+merely nodding over, now curl completely round into a kind of
+ball. This occurs early, and in the finest Gothic work, especially
+in cornices and other running mouldings: but it is a fatal
+symptom, a beginning of the intemperance of the later Gothic,
+and it was followed out with singular avidity; the ball of coiled
+leafage increasing in size and complexity, and at last becoming
+the principal feature of the work; the light striking on its
+vigorous projection, as in fig. 14. Nearly all the Renaissance
+Gothic of Venice depends upon these balls for effect, a late capital
+being generally composed merely of an upper and lower range
+of leaves terminating in this manner.</p>
+
+<p>It is very singular and notable how, in this loss of <i>temperance</i>,
+there is loss of <i>life</i>. For truly healthy and living leaves do not
+bind themselves into knots at the extremities. They bend, and
+wave, and nod, but never curl. It is in disease, or in death, by
+blight, or frost, or poison only, that leaves in general assume
+this ingathered form. It is the flame of autumn that has
+shrivelled them, or the web of the caterpillar that has bound
+them: and thus the last forms of the Venetian leafage set forth
+the fate of Venetian pride; and, in their utmost luxuriance and
+abandonment, perish as if eaten of worms.</p>
+
+<p>And now, by glancing back to <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_10">Plate X.</a> Vol. II, the reader
+will see in a moment the kind of evidence which is found of the
+date of capitals in their profiles merely. Observe: we have seen
+that the treatment of the leaves in the Madonnetta House seemed
+&ldquo;indicative of a tendency to transition.&rdquo; Note their profile, 1<i>a</i>,
+and its close correspondence with 1 <i>h</i>, which is actually of a
+transitional capital from the upper arcade of second order
+windows in the Apostoli Palace; yet both shown to be very
+close to the Byzantine period, if not belonging to it, by their
+fellowship with the profile <i>i</i>, from the Fondaco de&rsquo; Turchi.
+Then note the close correspondence of all the other profiles in
+that line, which belong to the concave capitals or plinths of the
+Byzantine palaces, and note their composition, the abacus being,
+in idea, merely an echo or reduplication of the capital itself; as
+seen in perfect simplicity in the profile <i>f</i>, which is a roll under
+<span class="pagenum"><a name="page243"></a>243</span>
+a <i>tall</i> concave curve forming the bell of the capital, with a roll
+and <i>short</i> concave curve for its abacus. This peculiar abacus is
+an unfailing test of early date; and our finding this simple profile
+used for the Ducal Palace (<i>f</i>), is strongly confirmatory of all
+our former conclusions.</p>
+
+<p>Then the next row, 2, are the Byzantine and early Gothic
+semi-convex curves, in their pure forms, having no roll below;
+but often with a roll added, as at <i>f</i>, and in certain early Gothic
+conditions curiously fused into it, with a cavetto between, as <i>b</i>,
+<i>c</i>, <i>d</i>. But the more archaic form is as at <i>f</i> and <i>k</i>; and as these
+two profiles are from the Ducal Palace and Piazzetta shafts, they
+join again with the rest of the evidence of their early date. The
+profiles <i>i</i> and <i>k</i> are both most beautiful; <i>i</i> is that of the great
+capitals of the Ducal Palace, and the small profiles between it
+and <i>k</i> are the varieties used on the fillet at its base. The profile
+<i>i</i> should have had leaves springing from it, as 1 <i>h</i> has, only more
+boldly, but there was no room for them.</p>
+
+<p>The reader cannot fail to discern at a glance the fellowship
+of the whole series of profiles, 2 <i>a</i> to <i>k</i>, nor can he but with equal
+ease observe a marked difference in 4 <i>d</i> and 4 <i>e</i> from any others
+in the plate; the bulging outlines of leafage being indicative of
+the luxuriant and flowing masses, no longer expressible with a
+simple line, but to be considered only as confined within it, of
+the later Gothic. Now <i>d</i> is a dated profile from the tomb of
+St. Isidore, 1355, which by its dog-tooth abacus and heavy leafage
+distinguishes itself from all the other profiles, and therefore
+throws them back into the first half of the century. But, observe,
+it still retains the noble swelling root. This character
+soon after vanishes; and, in 1380, the profile <i>e</i>, at once heavy,
+feeble, and ungraceful, with a meagre and valueless abacus
+hardly discernible, is characteristic of all the capitals of Venice.</p>
+
+<p>Note, finally, this contraction of the abacus. Compare 4 <i>c</i>,
+which is the earliest form in the plate, from Murano, with 4 <i>e</i>,
+which is the latest. The other profiles show the gradual process
+of change; only observe, in 3<i>a</i> the abacus is not drawn; it
+is so bold that it would not come into the plate without reducing
+the bell curve to too small a scale.</p>
+
+<p>So much for the evidence derivable from the capitals; we
+have next to examine that of the archivolts or arch mouldings.</p>
+
+
+<p><span class="pagenum"><a name="page244"></a>244</span></p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">VIII.</td>
+</tr>
+<tr>
+  <td class="figcenter">
+    <a name="plate_8"><img src="images/img244.jpg" width="650" height="402" alt="BYZANTINE ARCHIVOLTS." title="BYZANTINE ARCHIVOLTS." /></a></td>
+</tr>
+<tr>
+  <td class="caption">BYZANTINE ARCHIVOLTS.</td>
+</tr>
+</table>
+
+<p class="bmarg center"><i>IV. Archivolts.</i></p>
+
+<p>In <a href="#plate_8">Plate VIII.</a>, opposite, are arranged in one view all the
+conditions of Byzantine archivolt employed in Venice, on a large
+scale. It will be seen in an instant that there can be no mistaking
+the manner of their masonry. The soffit of the arch is
+the horizontal line at the bottom of all these profiles, and each of
+them (except 13, 14) is composed of two slabs of marble, one
+for the soffit, another for the face of the arch; the one on the
+soffit is worked on the edge into a roll (fig. 10) or dentil (fig. 9),
+and the one on the face is bordered on the other side by another
+piece let edgeways into the wall, and also worked into a roll or
+dentil: in the richer archivolts a cornice is added to this roll, as
+in figs. 1 and 4, or takes its place, as in figs. 1, 3, 5, and 6; and
+in such richer examples the facestone, and often the soffit, are
+sculptured, the sculpture being cut into their surfaces, as indicated
+in fig. 11. The concavities cut in the facestones of 1, 2, 4,
+5, 6 are all indicative of sculpture in effect like that of Fig.
+XXVI. Vol. II., of which archivolt fig. 5, here, is the actual
+profile. The following are the references to the whole:</p>
+
+<table class="nobctr" style="margin-left: 1em; " summary="data">
+
+<tr><td>
+<p class="sc"><a href="#plate_8">Plate VIII.</a></p>
+<p>Vol. III.</p></td>
+
+<td>
+<p>&nbsp;1. Rio-Foscari House.</p>
+<p>&nbsp;2. Terraced House, entrance door.</p>
+<p>&nbsp;3. Small Porticos of St. Mark&rsquo;s, external arches.</p>
+<p>&nbsp;4. Arch on the canal at Ponte St. Toma.</p>
+<p>&nbsp;5. Arch of Corte del Remer.</p>
+<p>&nbsp;6. Great outermost archivolt of central door, St. Mark&rsquo;s.</p>
+<p>&nbsp;7. Inner archivolt of southern porch, St. Mark&rsquo;s Façade.</p>
+<p>&nbsp;8. Inner archivolt of central entrance, St. Mark&rsquo;s.</p>
+<p>&nbsp;9. Fondaco de&rsquo; Turchi, main arcade.</p>
+<p>10. Byzantine restored house on Grand Canal, lower arcade.</p>
+<p>11. Terraced House, upper arcade.</p>
+<p>12. Inner archivolt of northern porch of façade, St. Mark&rsquo;s.</p>
+<p>13 and 14. Transitional forms.</p></td></tr></table>
+
+
+<p><span class="pagenum"><a name="page245"></a>245</span></p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">IX.</td>
+</tr>
+<tr>
+  <td class="figcenter">
+    <a name="plate_9"><img src="images/img245.jpg" width="402" height="650" alt="GOTHIC ARCHIVOLTS." title="GOTHIC ARCHIVOLTS." /></a></td>
+</tr>
+<tr>
+  <td class="caption">GOTHIC ARCHIVOLTS.</td>
+</tr>
+</table>
+
+<p>There is little to be noted respecting these forms, except that,
+in fig. 1, the two lower rolls, with the angular projections between,
+represent the fall of the mouldings of two proximate
+arches on the abacus of the bearing shaft; their two cornices
+meeting each other, and being gradually narrowed into the little
+angular intermediate piece, their sculptures being slurred into
+the contracted space, a curious proof of the earliness of the
+work. The real archivolt moulding is the same as fig. 4 <i>c c</i>,
+including only the midmost of the three rolls in fig. 1.</p>
+
+<p>It will be noticed that 2, 5, 6, and 8 are sculptured on the
+soffits as well as the faces; 9 is the common profile of arches
+decorated only with colored marble, the facestone being colored,
+the soffit white. The effect of such a moulding is seen in the
+small windows at the right hand of Fig. XXVI. Vol. II.</p>
+
+<p>The reader will now see that there is but little difficulty in
+identifying Byzantine work, the archivolt mouldings being so
+similar among themselves, and so unlike any others. We have
+next to examine the Gothic forms.</p>
+
+<p>Figs. 13 and 14 in <a href="#plate_8">Plate VIII.</a> represent the first brick
+mouldings of the transitional period, occurring in such instances
+as Fig. XXIII. or Fig. XXXIII. Vol. II. (the soffit stone of the
+Byzantine mouldings being taken away), and this profile, translated
+into solid stone, forms the almost universal moulding of
+the windows of the second order. These two brick mouldings
+are repeated, for the sake of comparison, at the top of <a href="#plate_9">Plate IX.</a>
+opposite; and the upper range of mouldings which they commence,
+in that plate, are the brick mouldings of Venice in the
+early Gothic period. All the forms below are in stone; and the
+moulding 2, translated into stone, forms the universal archivolt
+of the early pointed arches of Venice, and windows of second
+and third orders. The moulding 1 is much rarer, and used for
+the most part in doors only.</p>
+
+<p>The reader will see at once the resemblance of character in
+the various flat brick mouldings, 3 to 11. They belong to such
+arches as 1 and 2 in <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_17">Plate XVII.</a> Vol. II.; or 6 <i>b</i>, 6 <i>c</i>, in <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_14">Plate
+XIV.</a> Vol. II., 7 and 8 being actually the mouldings of those
+two doors; the whole group being perfectly defined, and separate
+from all the other Gothic work in Venice, and clearly the
+result of an effort to imitate, in brickwork, the effect of the flat
+<span class="pagenum"><a name="page246"></a>246</span>
+sculptured archivolts of the Byzantine times. (See Vol. II.
+<a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#chap_7">Chap. VII.</a> § <span class="scs">XXXVII.</span>)</p>
+
+<p>Then comes the group 14 to 18 in stone, derived from the
+mouldings 1 and 2; first by truncation, 14; then by beading
+the truncated angle, 15, 16. The occurrence of the profile 16
+in the three beautiful windows represented in the uppermost
+figure of <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_18">Plate XVIII.</a> Vol. I. renders that group of peculiar
+interest, and is strong evidence of its antiquity. Then a cavetto
+is added, 17; first shallow and then deeper, 18, which is the
+common archivolt moulding of the central Gothic door and window:
+but, in the windows of the early fourth order, this moulding
+is complicated by various additions of dog-tooth mouldings
+under the dentil, as in 20; or the <i>gabled</i> dentil (see fig. 20, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_9">Plate
+IX.</a> Vol. I), as fig. 21; or both, as figs 23, 24. All these varieties
+expire in the advanced period, and the established moulding
+for windows is 29. The intermediate group, 25 to 28, I
+found only in the high windows of the third order in the Ducal
+Palace, or in the Chapter-house of the Frari, or in the arcades of
+the Ducal Palace; the great outside lower arcade of the Ducal
+Palace has the profile 31, the left-hand side being the innermost.</p>
+
+<p>Now observe, all these archivolts, without exception, assume
+that the spectator looks from the outside only: none are complete
+on both sides; they are essentially <i>window</i> mouldings, and have
+no resemblance to those of our perfect Gothic arches prepared for
+traceries. If they were all completely drawn in the plate, they
+should be as fig. 25, having a great depth of wall behind the
+mouldings, but it was useless to represent this in every case.
+The Ducal Palace begins to show mouldings on both sides, 28, 31;
+and 35 is a <i>complete</i> arch moulding from the apse of the Frari.
+That moulding, though so perfectly developed, is earlier than the
+Ducal Palace, and with other features of the building, indicates
+the completeness of the Gothic system, which made the architect
+of the Ducal Palace found his work principally upon that
+church.</p>
+
+<p>The other examples in this plate show the various modes of
+combination employed in richer archivolts. The triple change
+of slope in 38 is very curious. The references are as follows:</p>
+
+<p><span class="pagenum"><a name="page247"></a>247</span></p>
+
+<table class="nobctr" style="margin-left: 1em; " summary="data">
+
+<tr><td>
+<p class="sc"><a href="#plate_9">Plate IX.</a></p>
+<p>Vol. III.</p></td>
+
+<td>
+<p>&nbsp;1. Transitional to the second order.</p>
+<p>&nbsp;2. Common second order.</p>
+<p>&nbsp;3. Brick, at Corte del Forno, Round arch.</p>
+<p>&nbsp;4. Door at San Giovanni Grisostomo.</p>
+<p>&nbsp;5. Door at Sotto Portico della Stua.</p>
+<p>&nbsp;6. Door in Campo St. Luca, of rich brickwork.</p>
+<p>&nbsp;7. Round door at Fondamenta Venier.</p>
+<p>&nbsp;8. Pointed door. Fig. 6<i>c</i>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_14">Plate XIV.</a> Vol. II.</p>
+<p>&nbsp;9. Great pointed arch, Salizzada San Lio.</p>
+<p>10. Round door near Fondaco de&rsquo; Turchi.</p>
+<p>11. Door with Lion, at Ponte della Corona.</p>
+<p>12. San Gregorio, Façade.</p>
+<p>13. St. John and Paul, Nave.</p>
+<p>14. Rare early fourth order, at San Cassan.</p>
+<p>15. General early Gothic archivolt.</p>
+<p>16. Same, from door in Rio San G. Grisostomo.</p>
+<p>17. Casa Vittura.</p>
+<p>18. Casa Sagredo, Unique thirds. Vol. II.</p>
+<p>19. Murano Palace, Unique fourths.<a name="FnAnchor_67" href="#Footnote_67"><span class="sp">67</span></a></p>
+<p>20. Pointed door of Four-Evangelist House.<a name="FnAnchor_68" href="#Footnote_68"><span class="sp">68</span></a></p>
+<p>21. Keystone door in Campo St. M. Formosa.</p>
+<p>22. Rare fourths, at St. Pantaleon.</p>
+<p>23. Rare fourths, Casa Papadopoli.</p>
+<p>24. Rare fourths, Chess house.<a name="FnAnchor_69" href="#Footnote_69"><span class="sp">69</span></a></p>
+<p>25. Thirds of Frari Cloister</p>
+<p>26. Great pointed arch of Frari Cloister.</p>
+<p>27. Unique thirds, Ducal Palace.</p>
+<p>28. Inner Cortile, pointed arches, Ducal Palace.</p>
+<p>29. Common fourth and fifth order Archivolt.</p>
+<p>30. Unique thirds, Ducal Palace.</p>
+<p>31. Ducal Palace, lower arcade.</p>
+<div><span class="pagenum"><a name="page248"></a>248</span></div>
+<p>32. Casa Priuli, arches in the inner court.</p>
+<p>33. Circle above the central window, Ducal Palace.</p>
+<p>34. Murano apse.</p>
+<p>35. Acute-pointed arch, Frari.</p>
+<p>36. Door of Accademia delle belle Arti.</p>
+<p>37. Door in Calle Tiossi, near Four-Evangelist House.</p>
+<p>38. Door in Campo San Polo.</p>
+<p>39. Door of palace at Ponte Marcello.</p>
+<p>40. Door of a palace close to the Church of the Miracoli.</p></td></tr></table>
+
+
+
+<p class="bmarg center"><i>V. Cornices.</i></p>
+
+<p><a href="#plate_10">Plate X.</a> represents, in one view, the cornices or string-courses
+of Venice, and the abaci of its capitals, early and late;
+these two features being inseparably connected, as explained in
+Vol. I.</p>
+
+<p>The evidence given by these mouldings is exceedingly clear.
+The two upper lines in the Plate, 1-11, 12-24, are all plinths
+from Byzantine buildings. The reader will at once observe
+their unmistakable resemblances. The row 41 to 50 are contemporary
+abaci of capitals; 52, 53, 54, 56, are examples of late
+Gothic abaci; and observe, especially, these are all rounded at
+the <i>top</i> of the cavetto, but the Byzantine abaci are rounded, if
+at all, at the <i>bottom</i> of the cavetto (see 7, 8, 9, 10, 20, 28, 46).
+Consider what a valuable test of date this is, in any disputable
+building.</p>
+
+<p>Again, compare 28, 29, one from St. Mark&rsquo;s, the other from
+the Ducal Palace, and observe the close resemblance, giving farther
+evidence of early date in the palace.</p>
+
+<p>25 and 50 are drawn to the same scale. The former is the
+wall-cornice, the latter the abacus of the great shafts, in the
+Casa Loredan; the one passing into the other, as seen in Fig.
+XXVIII. Vol. I. It is curious to watch the change in proportion,
+while the moulding, all but the lower roll, remains the
+same.</p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">X.</td>
+</tr>
+<tr>
+  <td class="figcenter">
+    <a name="plate_10"><img src="images/img248.jpg" width="404" height="650" alt="CORNICES AND ABACI." title="CORNICES AND ABACI." /></a></td>
+</tr>
+<tr>
+  <td class="caption">CORNICES AND ABACI.</td>
+</tr>
+</table>
+
+<p>The following are the references:</p>
+
+<table class="nobctr" style="margin-left: 1em; margin-right: 7em;" summary="data">
+
+<tr><td>
+<p class="sc"><a href="#plate_10">Plate X.</a></p>
+<p>Vol. III.</p></td>
+
+<td>
+<p>&nbsp;1. Common plinth of St. Mark&rsquo;s.</p>
+<p>&nbsp;2. Plinth above lily capitals, St. Mark&rsquo;s.</p>
+<div><span class="pagenum"><a name="page249"></a>249</span></div>
+<p>&nbsp;3, 4. Plinths in early surface Gothic.</p>
+<p>&nbsp;5. Plinth of door in Campo St. Luca.</p>
+<p>&nbsp;6. Plinth of treasury door, St. Mark&rsquo;s.</p>
+<p>&nbsp;7. Archivolts of nave, St. Mark&rsquo;s.</p>
+<p>&nbsp;8. Archivolts of treasury door, St. Mark&rsquo;s.</p>
+<p>&nbsp;9. Moulding of circular window in St. John and Paul.</p>
+<p>10. Chief decorated narrow plinth, St. Mark&rsquo;s.</p>
+<p>11. Plinth of door, Campo St. Margherita.</p>
+<p>12. Plinth of tomb of Doge Vital Falier.</p>
+<p>13. Lower plinth, Fondaco de&rsquo; Turchi, and Terraced House.</p>
+<p>14. Running plinth of Corte del Remer.</p>
+<p>15. Highest plinth at top of Fondaco de&rsquo; Turchi.</p>
+<p>16. Common Byzantine plinth.</p>
+<p>17. Running plinth of Casa Falier.</p>
+<p>18. Plinth of arch at Ponte St. Toma.</p>
+<p>19, 20, 21. Plinths of tomb of Doge Vital Falier.</p>
+<p>22. Plinth of window in Calle del Pistor.</p>
+<p>23. Plinth of tomb of Dogaressa Vital Michele.</p>
+<p>24. Archivolt in the Frari.</p>
+<p>25. Running plinth, Casa Loredan.</p>
+<p>26. Running plinth, under pointed arch, in Salizzada San Lio.</p>
+<p>27. Running plinth, Casa Erizzo.</p>
+<p>28. Circles in portico of St. Mark&rsquo;s.</p>
+<p>29. Ducal Palace cornice, lower arcade.</p>
+<p>30. Ducal Palace cornice, upper arcade.</p>
+<p>31. Central Gothic plinth.</p>
+<p>32. Late Gothic plinth.</p>
+<p>33. Late Gothic plinth, Casa degli Ambasciatori.</p>
+<p>34. Late Gothic plinth, Palace near the Jesuiti.</p>
+<p>35, 36. Central balcony cornice.</p>
+<p>37. Plinth of St. Mark&rsquo;s balustrade.</p>
+<p>38. Cornice of the Frari, in brick, cabled.</p>
+<p>39. Central balcony plinth.</p>
+<p>40. Uppermost cornice, Ducal Palace.</p>
+<p>41. Abacus of lily capitals, St. Mark&rsquo;s.</p>
+<p>42. Abacus, Fondaco de&rsquo; Turchi.</p>
+<div><span class="pagenum"><a name="page250"></a>250</span></div>
+<p>43. Abacus, large capital of Terraced House.</p>
+<p>44. Abacus, Fondaco de&rsquo; Turchi.</p>
+<p>45. Abacus, Ducal Palace, upper arcade.</p>
+<p>46. Abacus, Corte del Remer.</p>
+<p>47. Abacus, small pillars, St. Mark&rsquo;s pulpit.</p>
+<p>48. Abacus, Murano and Torcello.</p>
+<p>49. Abacus, Casa Farsetti.</p>
+<p>50. Abacus, Casa Loredan, lower story.</p>
+<p>51. Abacus, capitals of Frari.</p>
+<p>52. Abacus, Casa Cavalli (plain).</p>
+<p>53. Abacus, Casa Priuli (flowered).</p>
+<p>54. Abacus, Casa Foscari (plain).</p>
+<p>55. Abacus, Casa Priuli (flowered).</p>
+<p>56. Abacus, <a href="#plate_2">Plate II.</a> fig. 15.</p>
+<p>57. Abacus, St. John and Paul.</p>
+<p>58. Abacus, St. Stefano.</p></td></tr></table>
+
+
+<p>It is only farther to be noted, that these mouldings are used
+in various proportions, for all kinds of purposes: sometimes for
+true cornices; sometimes for window-sills; sometimes, 3 and 4
+(in the Gothic time) especially, for dripstones of gables: 11 and
+such others form little plinths or abaci at the spring of arches,
+such as those shown at <i>a</i>, Fig. XXIII. Vol. II. Finally, a large
+number of superb Byzantine cornices occur, of the form shown
+at the top of the arch in <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_5">Plate V.</a> Vol. II., having a profile like
+16 or 19 here; with nodding leaves of acanthus thrown out
+from it, being, in fact, merely one range of the leaves of a Byzantine
+capital unwrapped, and formed into a continuous line.
+I had prepared a large mass of materials for the illustration of
+these cornices, and the Gothic ones connected with them; but
+found the subject would take up another volume, and was forced,
+for the present, to abandon it. The lower series of profiles, 7
+to 12 in <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_15">Plate XV.</a> Vol. I, shows how the leaf-ornament is laid
+on the simple early cornices.</p>
+
+
+<p class="bmarg center"><i>VI. Traceries.</i></p>
+
+<p>We have only one subject more to examine, the character of
+the early and late Tracery Bars.</p>
+
+<p><span class="pagenum"><a name="page251"></a>251</span></p>
+
+<p>The reader may perhaps have been surprised at the small attention
+given to traceries in the course of the preceding volumes:
+but the reason is, that there are no <i>complicated</i> traceries at Venice
+belonging to the good Gothic time, with the single exception
+of those of the Casa Cicogna; and the magnificent arcades of the
+Ducal Palace Gothic are so simple as to require little explanation.</p>
+
+<p>There are, however, two curious circumstances in the later
+traceries; the first, that they are universally considered by the
+builder (as the old Byzantines considered sculptured surfaces of
+stone) as material out of which a certain portion is <i>to be cut</i>, to
+fill his window. A fine Northern Gothic tracery is a complete
+and systematic arrangement of arches and foliation, <i>adjusted</i> to
+the form of the window; but a Venetian tracery is a piece of a
+larger composition, cut to the shape of the window. In the
+Porta della Carta, in the Church of the Madonna dell&rsquo;Orto, in
+the Casa Bernardo on the Grand Canal, in the old Church of the
+Misericordia, and wherever else there are rich traceries in Venice,
+it will always be found that a certain arrangement of quatrefoils
+and other figures has been planned as if it were to extend indefinitely
+into miles of arcade; and out of this colossal piece of marble
+lace, a piece in the shape of a window is cut, mercilessly and
+fearlessly: whatever fragments and odd shapes of interstice,
+remnants of this or that figure of the divided foliation, may occur
+at the edge of the window, it matters not; all are cut across,
+and shut in by the great outer archivolt.</p>
+
+<p>It is very curious to find the Venetians treating what in other
+countries became of so great individual importance, merely as a
+kind of diaper ground, like that of their chequered colors on the
+walls. There is great grandeur in the idea, though the system
+of their traceries was spoilt by it: but they always treated their
+buildings as masses of color rather than of line; and the great
+traceries of the Ducal Palace itself are not spared any more than
+those of the minor palaces. They are cut off at the flanks in the
+middle of the quatrefoils, and the terminal mouldings take up
+part of the breadth of the poor half of a quatrefoil at the extremity.</p>
+
+<p>One other circumstance is notable also. In good Northern
+Gothic the tracery bars are of a constant profile, the same on
+<span class="pagenum"><a name="page252"></a>252</span>
+both sides; and if the plan of the tracery leaves any interstices
+so small that there is not room for the full profile of the tracery
+bar all round them, those interstices are entirely closed, the
+tracery bars being supposed to have met each other. But in
+Venice, if an interstice becomes anywhere inconveniently small,
+the tracery bar is sacrificed; cut away, or in some way altered in
+profile, in order to afford more room for the light, especially in
+the early traceries, so that one side of a tracery bar is often
+quite different from the other. For instance, in the bars 1 and
+2, <a href="#plate_11">Plate XI.</a>, from the Frari and St. John and Paul, the uppermost
+side is towards a great opening, and there was room for the
+bevel or slope to the cusp; but in the other side the opening was
+too small, and the bar falls vertically to the cusp. In 5 the uppermost
+side is to the narrow aperture, and the lower to the small
+one; and in fig. 9, from the Casa Cicogna, the uppermost side
+is to the apertures of the tracery, the lowermost to the arches
+beneath, the great roll following the design of the tracery; while
+13 and 14 are left without the roll at the base of their cavettos
+on the uppermost sides, which are turned to narrow apertures.
+The earliness of the Casa Cicogna tracery is seen in a moment
+by its being moulded on the face only. It is in fact nothing
+more than a series of quatrefoiled apertures in the solid wall of
+the house, with mouldings on their faces, and magnificent arches
+of pure pointed fifth order sustaining them below.</p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">XI.</td>
+</tr>
+<tr>
+  <td class="figcenter">
+    <a name="plate_11"><img src="images/img252.jpg" width="404" height="650" alt="TRACERY BARS." title="TRACERY BARS." /></a></td>
+</tr>
+<tr>
+  <td class="caption">TRACERY BARS.</td>
+</tr>
+</table>
+
+<p>The following are the references to the figures in the plate:</p>
+
+<table class="nobctr" style="margin-left: 1em; margin-right: 7em;" summary="data">
+
+<tr><td>
+<p class="sc"><a href="#plate_11">Plate XI.</a></p>
+<p>Vol. III.</p></td>
+
+<td>
+<p>&nbsp;1. Frari.</p>
+<p>&nbsp;2. Apse, St. John and Paul.</p>
+<p>&nbsp;3. Frari.</p>
+<p>&nbsp;4. Ducal Palace, inner court, upper window.</p>
+<p>&nbsp;5. Madonna dell&rsquo;Orto.</p>
+<p>&nbsp;6. St. John and Paul.</p>
+<p>&nbsp;7. Casa Bernardo.</p>
+<p>&nbsp;8. Casa Contarini Fasan.</p>
+<p>&nbsp;9. Casa Cicogna.</p>
+<p>10. 11. Frari.</p>
+<p>12. Murano Palace (see note, p. 265).</p>
+<p>13. Misericordia.</p>
+<div><span class="pagenum"><a name="page253"></a>253</span></div>
+<p>14. Palace of the younger Foscari.<a name="FnAnchor_70" href="#Footnote_70"><span class="sp">70</span></a></p>
+<p>15. Casa d&rsquo;Oro; great single windows.</p>
+<p>16. Hotel Danieli.</p>
+<p>17. Ducal Palace.</p>
+<p>18. Casa Erizzo, on Grand Canal.</p>
+<p>19. Main story, Casa Cavalli.</p>
+<p>20. Younger Foscari.</p>
+<p>21. Ducal Palace, traceried windows.</p>
+<p>22. Porta della Carta.</p>
+<p>23. Casa d&rsquo;Oro.</p>
+<p>24. Casa d&rsquo;Oro, upper story.</p>
+<p>25. Casa Facanon.</p>
+<p>26. Casa Cavalli, near Post-Office.</p></td></tr></table>
+
+<p>It will be seen at a glance that, except in the very early fillet
+traceries of the Frari and St. John and Paul, Venetian work
+consists of roll traceries of one general pattern. It will be seen
+also, that 10 and 11 from the Frari, furnish the first examples of
+the form afterwards completely developed in 17, the tracery bar
+of the Ducal Palace; but that this bar differs from them in
+greater strength and squareness, and in adding a recess between
+its smaller roll and the cusp. Observe, that this is done for
+strength chiefly; as, in the contemporary tracery (21) of the
+upper windows, no such additional thickness is used.</p>
+
+<p>Figure 17 is slightly inaccurate. The little curved recesses
+behind the smaller roll are not equal on each side; that next the
+cusp is smallest, being about <b><span class="above">5</span>&#8260;<span class="below">8</span></b> of an inch, while that next the
+cavetto is about <b><span class="above">7</span>&#8260;<span class="below">8</span></b>; to such an extent of subtlety did the old
+builders carry their love of change.</p>
+
+<p>The return of the cavetto in 21, 23, and 26, is comparatively
+rare, and is generally a sign of later date.</p>
+
+<table style="float: left; width: auto;" summary="Illustration">
+<tr>
+  <td class="caption1">II.</td>
+</tr>
+<tr>
+  <td class="figleft2">
+    <a name="fig_2"><img src="images/img254a.jpg" width="220" height="492" alt="II." title="II." /></a></td>
+</tr>
+<tr>
+  <td class="caption1">III.</td>
+</tr>
+<tr>
+  <td class="figleft2">
+    <a name="fig_3"><img src="images/img254b.jpg" width="320" height="151" alt="III." title="III." /></a></td>
+</tr>
+</table>
+
+<p>The reader must observe that the great sturdiness of the form
+of the bars, 5, 9, 17, 24, 25, is a consequence of the peculiar
+office of Venetian traceries in supporting the mass of the building
+above, already noticed in Vol. II.; and indeed the forms of
+<span class="pagenum"><a name="page254"></a>254</span>
+the Venetian Gothic are, in many other ways, influenced by
+the difficulty of obtaining stability on sandy foundations. One
+thing is especially noticeable in all their arrangements of
+traceries; namely, the endeavor to obtain
+equal and horizontal pressure
+along the whole breadth of the building,
+not the divided and local pressures
+of Northern Gothic. This object
+is considerably aided by the
+structure of the balconies, which are
+of great service in knitting the shafts
+together, forming complete tie-beams
+of marble, as well as a kind of rivets,
+at their bases. For instance, at <i>b</i>,
+<a href="#fig_2">Fig. II.</a>, is represented the masonry
+of the base of the upper arcade of the
+Ducal Palace, showing the root of
+one of its main shafts, with the binding
+balconies. The solid stones
+which form the foundation are much
+broader than the balcony shafts, so
+that the socketed arrangement is not
+seen: it is shown as it would appear
+in a longitudinal section. The balconies
+are not let into the circular
+shafts, but fitted to their circular
+curves, so as to grasp them, and riveted with metal; and the
+bars of stone which form the tops of the balconies are of great
+strength and depth, the
+small trefoiled arches being
+cut out of them as in
+<a href="#fig_3">Fig. III.</a>, so as hardly to
+diminish their binding
+power. In the lighter independent
+balconies they
+are often cut deeper; but
+in all cases the bar of stone
+is nearly independent of the small shafts placed beneath it, and
+would stand firm though these were removed, as at <i>a</i>, <a href="#fig_2">Fig. II.</a>,
+<span class="pagenum"><a name="page255"></a>255</span>
+supported either by the main shafts of the traceries, or by its
+own small pilasters with semi-shafts at their sides, of the plan
+<i>d</i>, <a href="#fig_2">Fig. II.</a>, in a continuous balcony, and <i>e</i> at the angle of one.</p>
+
+<p>There is one more very curious circumstance illustrative of
+the Venetian desire to obtain horizontal pressure. In all the
+Gothic staircases with which I am acquainted, out of Venice, in
+which vertical shafts are used to support an inclined line, those
+shafts are connected by arches rising each above the other, with
+a little bracket above the capitals, on the side where it is necessary
+to raise the arch; or else, though less gracefully, with a
+longer curve to the lowest side of the arch.</p>
+
+<p>But the Venetians seem to have had a morbid horror of
+arches which were not <i>on a level</i>. They could not endure the
+appearance of the roof of one arch bearing against the side of
+another; and rather than introduce the idea of obliquity into
+bearing curves, they abandoned the arch principle altogether; so
+that even in their richest Gothic staircases, where trefoiled
+arches, exquisitely decorated, are used on the landings, they ran
+the shafts on the sloping stair simply into the bar of stone above
+them, and used the excessively ugly and valueless arrangement
+of <a href="#fig_2">Fig. II.</a>, rather than sacrifice the sacred horizontality of their
+arch system.</p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">Fig. IV.</td>
+</tr>
+<tr>
+  <td class="figcenter2">
+    <a name="fig_4"><img src="images/img255.jpg" width="600" height="201" alt="Fig. IV." title="Fig. IV." /></a></td>
+</tr>
+</table>
+
+<p>It will be noted, in <a href="#plate_11">Plate XI.</a>, that the form and character of
+the tracery bars themselves are independent of the position or
+projection of the cusps on their flat sides. In this respect, also,
+Venetian traceries are peculiar, the example 22 of the Porta della
+Carta being the only one in the plate which is subordinated according
+<span class="pagenum"><a name="page256"></a>256</span>
+to the Northern system. In every other case the form
+of the aperture is determined, either by a flat and solid cusp as
+in 6, or by a pierced cusp as in 4. The effect of the pierced
+cusp is seen in the uppermost figure, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_18">Plate XVIII.</a> Vol. II.; and
+its derivation from the solid cusp will be understood, at once,
+from the woodcut <a href="#fig_4">Fig. IV.</a>, which represents a series of the
+flanking stones of any arch of the fifth order, such as <i>f</i> in <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_3">Plate
+III.</a> Vol. I.</p>
+
+<table style="float: right; width: auto;" summary="Illustration">
+<tr>
+  <td class="caption1">Fig. V.</td>
+</tr>
+<tr>
+  <td class="figright2">
+    <a name="fig_5"><img src="images/img256.jpg" width="220" height="272" alt="Fig. V." title="Fig. V." /></a></td>
+</tr>
+</table>
+
+<p>The first on the left shows the condition of cusp in a perfectly
+simple and early Gothic arch, 2 and 3 are those of common
+arches of the fifth order, 4 is the condition in more studied examples
+of the Gothic advanced guard, and 5 connects them all
+with the system of traceries. Introducing the common archivolt
+mouldings on the projecting edge of 2 and 3, we obtain the bold
+and deep fifth order window, used down to the close of the fourteenth
+century or even later, and always grand in its depth of
+cusp, and consequently of shadow; but
+the narrow cusp 4 occurs also in very
+early work, and is piquant when set beneath
+a bold flat archivolt, as in <a href="#fig_5">Fig.
+V.</a>, from the Corte del Forno at Santa
+Marina. The pierced cusp gives a peculiar
+lightness and brilliancy to the
+window, but is not so sublime. In the
+richer buildings the surface of the flat
+and solid cusp is decorated with a shallow
+trefoil (see <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_8">Plate VIII.</a> Vol. I.), or,
+when the cusp is small, with a triangular
+incision only, as seen in figs. 7 and 8, <a href="#plate_11">Plate XI.</a> The recesses
+on the sides of the other cusps indicate their single or double
+lines of foliation. The cusp of the Ducal Palace has a fillet only
+round its edge, and a ball of red marble on its truncated point,
+and is perfect in its grand simplicity; but in general the cusps
+of Venice are far inferior to those of Verona and of the other
+cities of Italy, chiefly because there was always some confusion
+in the mind of the designer between true cusps and the mere
+bending inwards of the arch of the fourth order. The two series,
+4 <i>a</i> to 4 <i>e</i>, and 5 <i>a</i> to 5 <i>e</i>, in <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_14">Plate XIV.</a> Vol. II., are
+arranged so as to show this connexion, as well as the varieties of
+<span class="pagenum"><a name="page257"></a>257</span>
+curvature in the trefoiled arches of the fourth and fifth orders,
+which, though apparently slight on so small a scale, are of enormous
+importance in distant effect; a house in which the joints
+of the cusps project as much as in 5 <i>c</i>, being quite piquant and
+grotesque when compared with one in which the cusps are subdued
+to the form 5 <i>b</i>. 4 <i>d</i> and 4 <i>e</i> are Veronese forms, wonderfully
+effective and spirited; the latter occurs at Verona only, but
+the former at Venice also. 5 <i>d</i> occurs in Venice, but is very
+rare; and 5 <i>e</i> I found only once, on the narrow canal close to
+the entrance door of the Hotel Danieli. It was partly walled up,
+but I obtained leave to take down the brickwork and lay open
+one side of the arch, which may still be seen.</p>
+
+<hr class="short" />
+
+<p>The above particulars are enough to enable the reader to
+judge of the distinctness of evidence which the details of Venetian
+architecture bear to its dates. Farther explanation of the
+plates would be vainly tedious: but the architect who uses these
+volumes in Venice will find them of value, in enabling him
+instantly to class the mouldings which may interest him; and
+for this reason I have given a larger number of examples than
+would otherwise have been sufficient for my purpose.</p>
+
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_58" href="#FnAnchor_58"><span class="fn">58</span></a> &ldquo;Olim <i>magistri</i> prothi palatii nostri novi.&rdquo;&mdash;<i>Cadorin</i>, p. 127.</p>
+
+<p><a name="Footnote_59" href="#FnAnchor_59"><span class="fn">59</span></a> A print, dated 1585, barbarously inaccurate, as all prints were at that
+time, but still in some respects to be depended upon, represents all the windows
+on the façade full of traceries; and the circles above, between them,
+occupied by quatrefoils.</p>
+
+<p><a name="Footnote_60" href="#FnAnchor_60"><span class="fn">60</span></a> &ldquo;Lata tanto, quantum est ambulum existens super columnis versus
+canale respicientibus.&rdquo;</p>
+
+<p><a name="Footnote_61" href="#FnAnchor_61"><span class="fn">61</span></a> Bettio, p. 28.</p>
+
+<p><a name="Footnote_62" href="#FnAnchor_62"><span class="fn">62</span></a> In the bombardment of Venice in 1848, hardly a single palace escaped
+without three or four balls through its roof: three came into the Scuola di
+San Rocco, tearing their way through the pictures of Tintoret, of which
+the ragged fragments were still hanging from the ceiling in 1851; and the
+shells had reached to within a hundred yards of St. Mark&rsquo;s Church itself,
+at the time of the capitulation.</p>
+
+<p><a name="Footnote_63" href="#FnAnchor_63"><span class="fn">63</span></a> A <i>Mohammedan</i> youth is punished, I believe, for such misdemeanors,
+by being <i>kept away</i> from prayers.</p>
+
+<p><a name="Footnote_64" href="#FnAnchor_64"><span class="fn">64</span></a> &ldquo;Those Venetians are fishermen.&rdquo;</p>
+
+<p><a name="Footnote_65" href="#FnAnchor_65"><span class="fn">65</span></a> I am afraid that the kind friend, Lady Trevelyan, who helped me to
+finish this plate, will not like to be thanked here; but I cannot let her send
+into Devonshire for magnolias, and draw them for me, <i>without</i> thanking
+her.</p>
+
+<p><a name="Footnote_66" href="#FnAnchor_66"><span class="fn">66</span></a> That is, the house in the parish of the Apostoli, on the Grand Canal,
+noticed in Vol. II.; and see also the Venetian Index, under head &ldquo;Apostoli.&rdquo;</p>
+
+<p><a name="Footnote_67" href="#FnAnchor_67"><span class="fn">67</span></a> Close to the bridge over the main channel through Murano is a massive
+foursquare Gothic palace, containing some curious traceries, and many
+<i>unique</i> transitional forms of window, among which these windows of the
+fourth order occur, with a roll within their dentil band.</p>
+
+<p><a name="Footnote_68" href="#FnAnchor_68"><span class="fn">68</span></a> Thus, for the sake of convenience, we may generally call the palace
+with the emblems of the Evangelists on its spandrils, Vol. II.</p>
+
+<p><a name="Footnote_69" href="#FnAnchor_69"><span class="fn">69</span></a> The house with chequers like a chess-board on its spandrils, given in
+my folio work.</p>
+
+<p><a name="Footnote_70" href="#FnAnchor_70"><span class="fn">70</span></a> The palace next the Casa Foscari, on the Grand Canal, sometimes said
+to have belonged to the son of the Doge.</p>
+</div>
+
+<p><span class="pagenum"><a name="page258"></a>258</span></p>
+
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page259"></a>259</span></p>
+
+<h3>INDICES.</h3>
+
+<table class="nobctr" summary="title">
+<tr><td>
+<p class="scs"><b>&nbsp;I. PERSONAL INDEX.</b></p>
+<p class="scs"><b>II. LOCAL INDEX.</b></p></td>
+
+<td style="border-left: 1px solid black; padding-left: 1em;"><p class="scs"><b>III. TOPICAL INDEX.</b></p>
+<p class="scs"><b>IV. VENETIAN INDEX.</b></p></td></tr></table>
+<hr class="short" />
+
+<p>The first of the following Indices contains the names of
+persons; the second those of places (not in Venice) alluded to in
+the body of the work. The third Index consists of references to
+the subjects touched upon. In the fourth, called the Venetian
+Index, I have named every building of importance in the city of
+Venice itself, or near it; supplying, for the convenience of the
+traveller, short notices of those to which I had no occasion to
+allude in the text of the work; and making the whole as complete
+a guide as I could, with such added directions as I should
+have given to any private friend visiting the city. As, however,
+in many cases, the opinions I have expressed differ widely from
+those usually received; and, in other instances, subjects which
+may be of much interest to the traveller have not come within
+the scope of my inquiry; the reader had better take Lazari&rsquo;s
+small Guide in his hand also, as he will find in it both the information
+I have been unable to furnish, and the expression of most
+of the received opinions upon any subject of art.</p>
+
+<p>Various inconsistencies will be noticed in the manner of indicating
+the buildings, some being named in Italian, some in
+English, and some half in one, and half in the other. But these
+inconsistencies are permitted in order to save trouble, and make
+the Index more practically useful. For instance, I believe the
+traveller will generally look for &ldquo;Mark,&rdquo; rather than for &ldquo;Marco,&rdquo;
+when he wishes to find the reference to St. Mark&rsquo;s Church; but
+I think he will look for Rocco, rather than for Roch, when he is
+seeking for the account of the Scuola di San Rocco. So also I
+have altered the character in which the titles of the plates are
+<span class="pagenum"><a name="page260"></a>260</span>
+printed, from the black letter in the first volume, to the plain
+Roman in the second and third; finding experimentally that the
+former character was not easily legible, and conceiving that the
+book would be none the worse for this practical illustration of its
+own principles, in a daring sacrifice of symmetry to convenience.</p>
+
+<p>These alphabetical Indices will, however, be of little use, unless
+another, and a very different kind of Index, be arranged in the
+mind of the reader; an Index explanatory of the principal purposes
+and contents of the various parts of this essay. It is difficult
+to analyze the nature of the reluctance with which either a
+writer or painter takes it upon him to explain the meaning of his
+own work, even in cases where, without such explanation, it
+must in a measure remain always disputable: but I am persuaded
+that this reluctance is, in most instances, carried too far; and
+that, wherever there really is a serious purpose in a book or a
+picture, the author does wrong who, either in modesty or vanity
+(both feelings have their share in producing the dislike of personal
+interpretation), trusts entirely to the patience and intelligence
+of the readers or spectators to penetrate into their significance.
+At all events, I will, as far as possible, spare such trouble
+with respect to these volumes, by stating here, finally and clearly,
+both what they intend and what they contain; and this the
+rather because I have lately noticed, with some surprise, certain
+reviewers announcing as a discovery, what I thought had lain
+palpably on the surface of the book, namely, that &ldquo;if Mr. Ruskin
+be right, all the architects, and all the architectural teaching
+of the last three hundred years, must have been wrong.&rdquo; That
+is indeed precisely the fact; and the very thing I meant to say,
+which indeed I thought I had said over and over again. I believe
+the architects of the last three centuries to have been wrong;
+wrong without exception; wrong totally, and from the foundation.
+This is exactly the point I have been endeavoring to prove,
+from the beginning of this work to the end of it. But as it
+seems not yet to have been stated clearly enough, I will here try
+to put my entire theorem into an unmistakable form.</p>
+
+<p>The various nations who attained eminence in the arts before
+the time of Christ, each of them, produced forms of architecture
+which in their various degrees of merit were almost exactly indicative
+of the degrees of intellectual and moral energy of the
+<span class="pagenum"><a name="page261"></a>261</span>
+nations which originated them; and each reached its greatest
+perfection at the time when the true energy and prosperity of the
+people who had invented it were at their culminating point.
+Many of these various styles of architecture were good, considered
+in relation to the times and races which gave birth to them;
+but none were absolutely good or perfect, or fitted for the practice
+of all future time.</p>
+
+<p>The advent of Christianity for the first time rendered possible
+the full development of the soul of man, and therefore the full
+development of the arts of man.</p>
+
+<p>Christianity gave birth to a new architecture, not only immeasurably
+superior to all that had preceded it, but demonstrably
+the best architecture that <i>can</i> exist; perfect in construction and
+decoration, and fit for the practice of all time.</p>
+
+<p>This architecture, commonly called &ldquo;Gothic,&rdquo; though in
+conception perfect, like the theory of a Christian character,
+never reached an actual perfection, having been retarded and
+corrupted by various adverse influences; but it reached its highest
+perfection, hitherto manifested, about the close of the thirteenth
+century, being then indicative of a peculiar energy in the
+Christian mind of Europe.</p>
+
+<p>In the course of the fifteenth century, owing to various causes
+which I have endeavored to trace in the preceding pages, the
+Christianity of Europe was undermined; and a Pagan architecture
+was introduced, in imitation of that of the Greeks and
+Romans.</p>
+
+<p>The architecture of the Greeks and Romans themselves was
+not good, but it was natural; and, as I said before, good in some
+respects, and for a particular time.</p>
+
+<p>But the imitative architecture introduced first in the fifteenth
+century, and practised ever since, was neither good nor natural.
+It was good in no respect, and for no time. All the architects
+who have built in that style have built what was worthless; and
+therefore the greater part of the architecture which has been
+built for the last three hundred years, and which we are now
+building, is worthless. We must give up this style totally, despise
+it and forget it, and build henceforward only in that perfect and
+Christian style hitherto called Gothic, which is everlastingly the
+best.</p>
+
+<p><span class="pagenum"><a name="page262"></a>262</span></p>
+
+<p>This is the theorem of these volumes.</p>
+
+<p>In support of this theorem, the first volume contains, in its
+first chapter, a sketch of the actual history of Christian architecture,
+up to the period of the Reformation; and, in the subsequent
+chapters, an analysis of the entire system of the laws of
+architectural construction and decoration, deducing from those
+laws positive conclusions as to the best forms and manners of
+building for all time.</p>
+
+<p>The second volume contains, in its first five chapters, an account
+of one of the most important and least known forms of
+Christian architecture, as exhibited in Venice, together with an
+analysis of its nature in the fourth chapter; and, which is a peculiarly
+important part of this section, an account of the power of
+color over the human mind.</p>
+
+<p>The sixth chapter of the second volume contains an analysis
+of the nature of Gothic architecture, properly so called, and
+shows that in its external form it complies precisely with the
+abstract laws of structure and beauty, investigated in the first
+volume. The seventh and eighth chapters of the second volume
+illustrate the nature of Gothic architecture by various Venetian
+examples. The third volume investigates, in its first chapter,
+the causes and manner of the corruption of Gothic architecture;
+in its second chapter, defines the nature of the Pagan architecture
+which superseded it; in the third chapter, shows the connexion
+of that Pagan architecture with the various characters of
+mind which brought about the destruction of the Venetian
+nation; and, in the fourth chapter, points out the dangerous
+tendencies in the modern mind which the practice of such an
+architecture indicates.</p>
+
+<p>Such is the intention of the preceding pages, which I hope
+will no more be doubted or mistaken. As far as regards the
+manner of its fulfilment, though I hope, in the course of other
+inquiries, to add much to the elucidation of the points in dispute,
+I cannot feel it necessary to apologize for the imperfect handling
+of a subject which the labor of a long life, had I been able to
+bestow it, must still have left imperfectly treated.</p>
+
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page263"></a>263</span></p>
+
+<h3>I.</h3>
+
+<h3>PERSONAL INDEX.</h3>
+<hr class="short" />
+
+<div class="nomargi">
+<h5>A</h5>
+
+<p>Alberti, Duccio degli, his tomb, <a href="#page074">iii. 74</a>, <a href="#page080">80</a>.</p>
+
+<p>Alexander III., his defence by Venetians, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page007">i. 7</a>.</p>
+
+<p>Ambrose, St., his verbal subtleties, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page320">ii. 320</a>.</p>
+
+<p>Angelico, Frà, artistical power of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page400">i. 400</a>;
+  his influence on Protestants, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page105">ii. 105</a>;
+  his coloring, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page145">ii. 145</a>.</p>
+
+<p>Aristotle, his evil influence on the modern mind, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page319">ii. 319</a>.</p>
+
+<p>Averulinus, his book on architecture, <a href="#page063">iii. 63</a>.</p>
+
+
+
+<h5>B</h5>
+
+
+<p>Barbaro, monuments of the family, <a href="#page125">iii. 125.</a></p>
+
+<p>Barbarossa, Emperor, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page007">i. 7</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page009">9</a>.</p>
+
+<p>Baseggio, Pietro, <a href="#page199">iii. 199.</a></p>
+
+<p>Bellini, John, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page011">i. 11</a>;
+  his kindness to Albert Durer, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page383">i. 383</a>;
+  general power of, see Venetian Index, under head &ldquo;Giovanni Grisostomo;&rdquo;
+  Gentile, his brother, <a href="#page021">iii. 21</a>.</p>
+
+<p>Berti, Bellincion, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page263">ii. 263</a>.</p>
+
+<p>Browning, Elizabeth B., her poetry, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page206">ii. 206</a>.</p>
+
+<p>Bunsen, Chevalier, his work on Romanesque Churches, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page381">ii. 381</a>.</p>
+
+<p>Bunyan, John, his portraiture of constancy, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page333">ii. 333</a>;
+  of patience, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page334">ii. 334</a>;
+  of vanity, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page346">ii. 346</a>;
+  of sin, <a href="#page147">iii. 147</a>.</p>
+
+
+<h5>C</h5>
+
+<p>Calendario, Filippo, <a href="#page199">iii. 199</a>.</p>
+
+<p>Canaletto, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page024">i. 24</a>;
+  and see Venetian Index under head &ldquo;Carità.&rdquo;</p>
+
+<p>Canova, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page217">i. 217</a>;
+  and see Venetian Index under head &ldquo;Frari.&rdquo;</p>
+
+<p>Cappello, Vincenzo, his tomb, <a href="#page122">iii. 122</a>.</p>
+
+<p>Caracci, school of the, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page024">i. 24</a>.</p>
+
+<div><span class="pagenum"><a name="page264"></a>264</span></div>
+
+<p>Cary, his translation of Dante, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page264">ii. 264</a>.</p>
+
+<p>Cavalli, Jacopo, his tomb, <a href="#page082">iii. 82</a>.</p>
+
+<p>Cicero, influence of his philosophy, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page317">ii. 317</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page318">318</a>.</p>
+
+<p>Claude Lorraine, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page024">i. 24.</a></p>
+
+<p>Comnenus, Manuel, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page263">ii. 263</a>.</p>
+
+<p>Cornaro, Marco, his tomb, <a href="#page079">iii. 79</a>.</p>
+
+<p>Correggio, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page192">ii. 192</a>.</p>
+
+<p>Crabbe, naturalism in his poetry, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page195">ii. 195</a>.</p>
+
+
+<h5>D</h5>
+
+<p>Dandolo, Andrea, tomb of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page070">ii. 70</a>;
+  Francesco, tomb of, <a href="#page074">iii. 74</a>;
+  character of, <a href="#page076">iii. 76</a>;
+  Simon, tomb of, <a href="#page079">iii. 79</a>.</p>
+
+<p>Dante, his central position, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page340">ii. 340</a>, <a href="#page158">iii. 158</a>;
+  his system of virtue, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page323">ii. 323</a>;
+  his portraiture of sin, <a href="#page147">iii. 147</a>.</p>
+
+<p>Daru, his character as a historian, <a href="#page213">iii. 213</a>.</p>
+
+<p>Dolci, Carlo, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page105">ii. 105</a>.</p>
+
+<p>Dolfino, Giovanni, tomb of, <a href="#page078">iii. 78</a>.</p>
+
+<p>Durer, Albert, his rank as a landscape painter, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page383">i. 383</a>;
+  his power in grotesque, <a href="#page145">iii. 145</a>.</p>
+
+
+<h5>E</h5>
+
+<p>Edwin, King, his conversion, <a href="#page062">iii. 62</a>.</p>
+
+
+<h5>F</h5>
+
+<p>Faliero, Bertuccio, his tomb, <a href="#page094">iii. 94</a>;
+  Marino, his house, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page254">ii. 254</a>;
+  Vitale, miracle in his time, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page061">ii. 61</a>.</p>
+
+<p>Fergusson, James, his system of beauty, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page388">i. 388</a>.</p>
+
+<p>Foscari, Francesco, his reign, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page004">i. 4</a>, <a href="#page165">iii. 165</a>;
+  his tomb, <a href="#page084">iii. 84</a>;
+  his countenance, <a href="#page086">iii. 86</a>.</p>
+
+
+<h5>G</h5>
+
+<p>Garbett, answer to Mr., <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page403">i. 403</a>.</p>
+
+<p>Ghiberti, his sculpture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page217">i. 217</a>.</p>
+
+<p>Giotto, his system of the virtues, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page323">ii. 323</a>,
+  <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page329">329</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page341">341</a>;
+  his rank as a painter, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page188">ii. 188</a>, <a href="#page172">iii. 172</a>.</p>
+
+<p>Giulio Romano, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page023">i. 23</a>.</p>
+
+<p>Giustiniani, Marco, his tomb, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page315">i. 315</a>;
+  Sebastian, ambassador to England, <a href="#page224">iii. 224</a>.</p>
+
+<p>Godfrey of Bouillon, his piety, <a href="#page062">iii. 62</a>.</p>
+
+<p>Gozzoli, Benozzo, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page195">ii. 195</a>.</p>
+
+<div><span class="pagenum"><a name="page265"></a>265</span></div>
+
+<p>Gradenigo, Pietro, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page290">ii. 290</a>.</p>
+
+<p>Grande, Can, della Scala, his tomb, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page268">i. 268</a>
+  (the cornice <i>g</i> in <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_16">Plate XVI.</a> is taken from it), <a href="#page071">iii. 71</a>.</p>
+
+<p>Guariento, his Paradise, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page296">ii. 296</a>.</p>
+
+<p>Guercino, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page105">ii. 105</a>.</p>
+
+
+<h5>H</h5>
+
+<p>Hamilton, Colonel, his paper on the Serapeum, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page220">ii. 220</a>.</p>
+
+<p>Hobbima, <a href="#page184">iii. 184</a>.</p>
+
+<p>Hunt, William, his painting of peasant boys, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page192">ii. 192</a>;
+  of still life, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page394">ii. 394</a>.</p>
+
+<p>Hunt, William Holman, relation of his works to modern and ancient art, <a href="#page185">iii. 185</a>.</p>
+
+
+<h5>K</h5>
+
+<p>Knight, Gally, his work on Architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page378">i. 378</a>.</p>
+
+
+<h5>L</h5>
+
+<p>Leonardo da Vinci, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page171">ii. 171</a>.</p>
+
+<p>Louis XI., <a href="#page194">iii. 194</a>.</p>
+
+
+<h5>M</h5>
+
+<p>Martin, John, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page104">ii. 104</a>.</p>
+
+<p>Mastino, Can, della Scala, his tomb, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page224">ii. 224</a>, <a href="#page072">iii. 72</a>.</p>
+
+<p>Maynard, Miss, her poems, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page397">ii. 397</a>.</p>
+
+<p>Michael Angelo, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page134">ii. 134</a>,
+ <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page188">188</a>, <a href="#page056">iii. 56</a>, <a href="#page090">90</a>, <a href="#page099">99</a>, <a href="#page158">158</a>.</p>
+
+<p>Millais, John E., relation of his works to older art, <a href="#page185">iii. 185</a>;
+  aerial perspective in his &ldquo;Huguenot,&rdquo; <a href="#page047">iii. 47</a>.</p>
+
+<p>Milton, how inferior to Dante, <a href="#page147">iii. 147</a>.</p>
+
+<p>Mocenigo, Tomaso, his character, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page004">i. 4</a>;
+  his speech on rebuilding the Ducal Palace, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page299">ii. 299</a>;
+  his tomb, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page026">i. 26</a>, <a href="#page084">iii. 84</a>.</p>
+
+<p>Morosini, Carlo, Count, note on Daru&rsquo;s History by, <a href="#page213">iii. 213</a>.</p>
+
+<p>Morosini, Marino, his tomb, <a href="#page093">iii. 93</a>.</p>
+
+<p>Morosini, Michael, his character, <a href="#page213">iii. 213</a>;
+  his tomb, <a href="#page080">iii. 80</a>.</p>
+
+<p>Murillo, his sensualism, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page192">ii. 192</a>.</p>
+
+
+<h5>N</h5>
+
+<p>Napoleon, his genius in civil administration, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page399">i. 399</a>.</p>
+
+<p>Niccolo Pisano, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page215">i. 215</a>.</p>
+
+
+<h5>O</h5>
+
+<p>Orcagna, his system of the virtues, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page329">ii. 329</a>.</p>
+
+<p>Orseolo, Pietro (Doge), <a href="#page120">iii. 120</a>.</p>
+
+<p>Otho the Great, his vow at Murano, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page032">ii. 32</a>.</p>
+
+
+
+<div><span class="pagenum"><a name="page266"></a>266</span></div>
+
+<h5>P</h5>
+
+
+<p>Palladio, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page024">i. 24</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page146">146</a>;
+  and see Venetian Index, under head &ldquo;Giorgio Maggiore.&rdquo;</p>
+
+<p>Participazio, Angelo, founds the Ducal Palace, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page287">ii. 287</a>.</p>
+
+<p>Pesaro, Giovanni, tomb of, <a href="#page092">iii. 92</a>;
+  Jacopo, tomb of, <a href="#page091">iii. 91</a>.</p>
+
+<p>Philippe de Commynes, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page012">i. 12</a>.</p>
+
+<p>Plato, influence of his philosophy, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page317">ii. 317</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page338">338</a>;
+  his playfulness, <a href="#page127">iii. 127</a>.</p>
+
+<p>Poussin, Nicolo and Gaspar, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page023">i. 23</a>.</p>
+
+<p>Procaccini, Camillo, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page188">ii. 188</a>.</p>
+
+<p>Prout, Samuel, his style, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page250">i. 250</a>, <a href="#page019">iii. 19</a>, <a href="#page134">134</a>.</p>
+
+<p>Pugin, Welby, his rank as an architect, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page385">i. 385</a>.</p>
+
+
+<h5>Q</h5>
+
+<p>Querini, Marco, his palace, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page255">ii. 255</a>.</p>
+
+
+<h5>R</h5>
+
+<p>Raffaelle, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page188">ii. 188</a>, <a href="#page056">iii. 56</a>, <a href="#page108">108</a>, <a href="#page136">136</a>.</p>
+
+<p>Reynolds, Sir J., his painting at New College, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page323">ii. 323</a>;
+  his general manner, <a href="#page184">iii. 184</a>.</p>
+
+<p>Rogers, Samuel, his works, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page195">ii. 195</a>, <a href="#page113">iii. 113</a>.</p>
+
+<p>Rubens, intellectual rank of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page400">i. 400</a>;
+  coarseness of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page145">ii. 145</a>.</p>
+
+
+<h5>S</h5>
+
+<p>Salvator Rosa, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page024">i. 24</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page105">ii. 105</a>,
+  <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page145">145</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page188">188</a>.</p>
+
+<p>Scaligeri, tombs of, at Verona;
+  see &ldquo;Grande,&rdquo; &ldquo;Mastino,&rdquo; &ldquo;Signorio;&rdquo; palace of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page257">ii. 257</a>.</p>
+
+<p>Scott, Sir W., his feelings of romance, <a href="#page191">iii. 191</a>.</p>
+
+<p>Shakspeare, his &ldquo;Seven Ages,&rdquo; whence derived, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page361">ii. 361</a>.</p>
+
+<p>Sharpe, Edmund, his works, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page342">i. 342</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page408">408</a>.</p>
+
+<p>Signorio, Can, della Scala, his tomb, character, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page268">i. 268</a>, <a href="#page073">iii. 73</a>.</p>
+
+<p>Simplicius, St., <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page356">ii. 356</a>.</p>
+
+<p>Spenser, value of his philosophy, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page327">ii. 327</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page341">341</a>;
+  his personifications of the months, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page272">ii. 272</a>;
+  his system of the virtues, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page326">ii. 326</a>;
+  scheme of the first book of the Faërie Queen, <a href="#page205">iii. 205</a>.</p>
+
+<p>Steno, Michael, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page306">ii. 306</a>; his tomb, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page296">ii. 296</a>.</p>
+
+<p>Stothard (the painter), his works, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page187">ii. 187</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page195">195</a>.</p>
+
+<p>Symmachus, St., <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page357">ii. 357</a>.</p>
+
+
+<div><span class="pagenum"><a name="page267"></a>267</span></div>
+
+<h5>T</h5>
+
+<p>Teniers, David, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page188">ii. 188</a>.</p>
+
+<p>Tiepolo, Jacopo and Lorenzo, their tombs, <a href="#page069">iii. 69</a>;
+  Bajamonte, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page255">ii. 255</a>.</p>
+
+<p>Tintoret, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page012">i. 12</a>;
+  his genius and function, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page149">ii. 149</a>;
+  his Paradise, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page304">ii. 304</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page372">372</a>;
+  his rank among the men of Italy, <a href="#page158">iii. 158</a>.</p>
+
+<p>Titian, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page012">i. 12</a>;
+  his function and fall, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page149">ii. 149</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page187">187</a>.</p>
+
+<p>Turner, his rank as a landscape painter, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page382">i. 382</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page187">ii. 187</a>.</p>
+
+
+<h5>U</h5>
+
+<p>Uguccione, Benedetto, destroys Giotto&rsquo;s façade at Florence, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page197">i. 197</a>.</p>
+
+
+<h5>V</h5>
+
+<p>Vendramin, Andrea (Doge), his tomb, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page027">i. 27</a>, <a href="#page088">iii. 88</a>.</p>
+
+<p>Verocchio, Andrea, <a href="#page011">iii. 11</a>, <a href="#page013">13</a>.</p>
+
+<p>Veronese, Paul, artistical rank of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page400">i. 400</a>;
+  his designs of balustrades, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page247">ii. 247</a>;
+  and see in Venetian Index, &ldquo;Ducal Palace,&rdquo; &ldquo;Pisani,&rdquo; &ldquo;Sebastian,&rdquo; &ldquo;Redentore,&rdquo; &ldquo;Accademia.&rdquo;</p>
+
+
+<h5>W</h5>
+
+<p>West, Benjamin, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page104">ii. 104</a>.</p>
+
+<p>Wordsworth, his observation of nature, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page247">i. 247</a> (note).</p>
+
+
+<h5>Z</h5>
+
+<p>Zeno, Carlo, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page004">i. 4</a>, <a href="#page080">iii. 80</a>.</p>
+
+<p>Ziani, Sebastian (Doge), builds Ducal Palace, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page289">ii. 289</a>.</p>
+
+</div>
+
+
+<hr class="art" />
+<div><span class="pagenum"><a name="page268"></a>268</span></div>
+
+<h3>II.</h3>
+
+<h3>LOCAL INDEX.</h3>
+<hr class="short" />
+
+<div class="nomargi">
+<h5>A</h5>
+
+
+<p>Abbeville, door of church at, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page225">ii. 225</a>;
+  parapet at, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page245">ii. 245</a>.</p>
+
+<p>Alexandria, Church at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page381">i. 381</a>.</p>
+
+<p>Alhambra, ornamentation of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page429">i. 429</a>.</p>
+
+<p>Alps, how formed for distant effect, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page247">i. 247</a>;
+  how seen from Venice, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page002">ii. 2</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page028">28</a>.</p>
+
+<p>Amiens, pillars of Cathedral at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page102">i. 102</a>.</p>
+
+<p>Arqua, hills of, how seen from Venice, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page002">ii. 2</a>.</p>
+
+<p>Assisi, Giotto&rsquo;s paintings at, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page323">ii. 323</a>.</p>
+
+
+
+<h5>B</h5>
+
+
+<p>Beauvais, piers of Cathedral at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page093">i. 93</a>;
+  grandeur of its buttress structure, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page170">i. 170</a>.</p>
+
+<p>Bergamo, Duomo at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page275">i. 275</a>.</p>
+
+<p>Bologna, Palazzo Pepoli at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page275">i. 275</a>.</p>
+
+<p>Bourges, Cathedral at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page043">i. 43</a>,
+  <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page102">102</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page228">228</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page271">271</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page299">299</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page092">ii. 92</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page186">186</a>;
+  house of Jacques C&oelig;ur at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page346">i. 346</a>.</p>
+
+
+
+<h5>C</h5>
+
+
+<p>Chamouni, glacier forms at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page222">i. 222</a>.</p>
+
+<p>Como, Broletto of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page141">i. 141</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page339">339</a>.</p>
+
+
+
+<h5>D</h5>
+
+
+<p>Dijon, pillars in Church of Notre Dame at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page102">i. 102</a>;
+  tombs of Dukes of Burgundy, <a href="#page068">iii. 68</a>.</p>
+
+
+
+<h5>E</h5>
+
+
+<p>Edinburgh, college at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page207">i. 207</a>.</p>
+
+
+
+<div><span class="pagenum"><a name="page269"></a>269</span></div>
+
+<h5>F</h5>
+
+
+<p>Falaise (St. Gervaise at), piers of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page103">i. 103</a>.</p>
+
+<p>Florence, Cathedral of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page197">i. 197</a>, <a href="#page013">iii. 13</a>.</p>
+
+
+
+<h5>G</h5>
+
+
+<p>Gloucester, Cathedral of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page192">i. 192</a>.</p>
+
+
+<h5>L</h5>
+
+
+<p>Lombardy, geology of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page005">ii. 5</a>.</p>
+
+<p>London, Church in Margaret Street, Portland Place, <a href="#page196">iii. 196</a>;
+  Temple Church, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page412">i. 412</a>;
+  capitals in Belgrave and Grosvenor Squares, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page330">i. 330</a>;
+  Bank of England, base of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page283">i. 283</a>;
+  wall of, typical of accounts, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page295">i. 295</a>;
+  statue in King William Street, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page210">i. 210</a>;
+  shops in Oxford Street, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page202">i. 202</a>;
+  Arthur Club-house, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page295">i. 295</a>;
+  Athenæum Club-house, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page157">i. 157</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page283">283</a>;
+  Duke of York&rsquo;s Pillar, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page283">i. 283</a>;
+  Treasury, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page205">i. 205</a>;
+  Whitehall, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page205">i. 205</a>;
+  Westminster, fall of houses at, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page268">ii. 268</a>;
+  Monument, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page082">i. 82</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page283">283</a>;
+  Nelson Pillar, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page216">i. 216</a>;
+  Wellington Statue, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page257">i. 257</a>.</p>
+
+<p>Lucca, Cathedral of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page275">ii. 275</a>;
+  San Michele at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page375">i. 375</a>.</p>
+
+<p>Lyons, porch of cathedral at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page379">i. 379</a>.</p>
+
+
+<h5>M</h5>
+
+
+<p>Matterhorn (Mont Cervin), structure of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page058">i. 58</a>;
+  lines of, applied to architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page308">i. 308</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page310">310</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page332">332</a>.</p>
+
+<p>Mestre, scene in street of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page355">i. 355</a>.</p>
+
+<p>Milan, St. Ambrogio, piers of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page102">i. 102</a>;
+  capital of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page324">i. 324</a>;
+  St. Eustachio, tomb of St. Peter Martyr, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page218">i. 218</a>.</p>
+
+<p>Moulins, brickwork at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page296">i. 296</a>.</p>
+
+<p>Murano, general aspect of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page029">ii. 29</a>;
+  Duomo of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page032">ii. 32</a>;
+  balustrades of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page247">ii. 247</a>;
+  inscriptions at, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page384">ii. 384</a>.</p>
+
+
+<h5>N</h5>
+
+
+<p>Nineveh, style of its decorations, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page234">i. 234</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page239">239</a>; <a href="#page159">iii. 159</a>.</p>
+
+
+<h5>O</h5>
+
+
+<p>Orange (South France), arch at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page250">i. 250</a>.</p>
+
+<p>Orleans, Cathedral of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page095">i. 95</a>.</p>
+
+
+<h5>P</h5>
+
+
+<p>Padua, Arena chapel at, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page324">ii. 324</a>;
+  St. Antonio at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page135">i. 135</a>;
+  St. Sofia at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page327">i. 327</a>;
+  Eremitani, Church of, at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page135">i. 135</a>.</p>
+
+<div><span class="pagenum"><a name="page270"></a>270</span></div>
+
+<p>Paris, Hotel des Invalides, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page214">i. 214</a>;
+  Arc de l&rsquo;Etoile, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page291">i. 291</a>;
+  Colonne Vendome, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page212">i. 212</a>.</p>
+
+<p>Pavia, St. Michele at, piers of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page102">i. 102</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page337">337</a>;
+  ornaments of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page376">i. 376</a>.</p>
+
+<p>Pisa, Baptistery of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page275">ii. 275</a>.</p>
+
+<p>Pistoja, San Pietro at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page295">i. 295</a>.</p>
+
+
+<h5>R</h5>
+
+
+<p>Ravenna, situation of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page006">ii. 6</a>.</p>
+
+<p>Rouen, Cathedral, piers of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page103">i. 103</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page153">153</a>;
+  pinnacles of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page213">ii. 213</a>;
+  St. Maclou at, sculptures of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page197">ii. 197</a>.</p>
+
+
+<h5>S</h5>
+
+
+<p>Salisbury Cathedral, piers of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page102">i. 102</a>;
+  windows at, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page224">ii. 224</a>.</p>
+
+<p>Sens, Cathedral of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page135">i. 135</a>.</p>
+
+<p>Switzerland, cottage architecture of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page156">i. 156</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page203">203</a>, <a href="#page133">iii. 133</a>.</p>
+
+
+<h5>V</h5>
+
+
+<p>Verona, San Fermo at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page136">i. 136</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page259">ii. 259</a>;
+  Sta. Anastasia at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page142">i. 142</a>;
+  Duomo of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page373">i. 373</a>;
+  St. Zeno at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page373">i. 373</a>;
+  balconies at, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page247">ii. 247</a>;
+  archivolt at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page335">i. 335</a>;
+  tombs at, see in Personal Index, &ldquo;Grande,&rdquo; &ldquo;Mastino,&rdquo; &ldquo;Signorio.&rdquo;</p>
+
+<p>Vevay, architecture of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page136">i. 136</a>.</p>
+
+<p>Vienne (South France), Cathedral of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page274">i. 274</a>.</p>
+
+
+<h5>W</h5>
+
+
+<p>Warwick, Guy&rsquo;s tower at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page168">i. 168</a>.</p>
+
+<p>Wenlock (Shropshire), Abbey of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page270">i. 270</a>.</p>
+
+<p>Winchester, Cathedral of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page192">i. 192</a>.</p>
+
+
+<h5>Y</h5>
+
+
+<p>York, Minster of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page205">i. 205</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page313">313</a>.</p>
+
+</div>
+
+
+
+<hr class="art" />
+<div><span class="pagenum"><a name="page271"></a>271</span></div>
+
+<h3>III.</h3>
+
+<h3>TOPICAL INDEX.</h3>
+<hr class="short" />
+
+<div class="nomargi">
+<h5>A</h5>
+
+<p>Abacus, defined, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page107">i. 107</a>;
+  law of its proportion, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page111">i. 111-115</a>;
+  its connection with cornices, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page116">i. 116</a>;
+  its various profiles, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page319">i. 319-323</a>; <a href="#page243">iii. 243-248</a>.</p>
+
+<p>Acanthus, leaf of, its use in architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page233">i. 233</a>;
+  how treated at Torcello, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page015">ii. 15</a>.</p>
+
+<p>Alabaster, use of, in incrustation, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page086">ii. 86</a>.</p>
+
+<p>Anachronism, necessity of, in the best art, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page198">ii. 198</a>.</p>
+
+<p>Anatomy, a disadvantageous study for artists, <a href="#page047">iii. 47</a>.</p>
+
+<p>Angels, use of their images in Venetian heraldry, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page278">ii. 278</a>;
+  statues of, on the Ducal Palace, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page311">ii. 311</a>.</p>
+
+<p>Anger, how symbolically represented, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page344">ii. 344</a>.</p>
+
+<p>Angles, decoration of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page260">i. 260</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page305">ii. 305</a>;
+  of Gothic Palaces, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page238">ii. 238</a>;
+  of Ducal Palace, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page307">ii. 307</a>.</p>
+
+<p>Animal character in northern and southern climates, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page156">ii. 156</a>;
+  in grotesque art, <a href="#page149">iii. 149</a>.</p>
+
+<p>Apertures, analysis of their structure, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page050">i. 50</a>;
+  general forms of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page174">i. 174</a>.</p>
+
+<p>Apse, forms of, in southern and northern churches compared, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page170">i. 170</a>.</p>
+
+<p>Arabesques of Raffaelle, their baseness, <a href="#page136">iii. 136</a>.</p>
+
+<p>Arabian architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page018">i. 18</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page234">234</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page235">235</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page429">429</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page135">ii. 135</a>.</p>
+
+<p>Arches, general structure of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page122">i. 122</a>;
+  moral characters of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page126">i. 126</a>;
+  lancet, round, and depressed, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page129">i. 129</a>;
+  four-centred, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page130">i. 130</a>;
+  ogee, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page131">i. 131</a>;
+  non-concentric, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page133">i. 133</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page341">341</a>;
+  masonry of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page133">i. 133</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page218">ii. 218</a>;
+  load of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page144">i. 144</a>;
+  are not derived from vegetation, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page201">ii. 201</a>.</p>
+
+<div><span class="pagenum"><a name="page272"></a>272</span></div>
+
+<p>Architects, modern, their unfortunate position, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page404">i. 404</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page407">407</a>.</p>
+
+<p>Architecture, general view of its divisions, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page047">i. 47-51</a>;
+  how to judge of it, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page173">ii. 173</a>;
+  adaptation of, to requirements of human mind, <a href="#page192">iii. 192</a>;
+  richness of early domestic, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page100">ii. 100</a>, <a href="#page002">iii. 2</a>;
+  manner of its debasement in general, <a href="#page003">iii. 3</a>.</p>
+
+<p>Archivolts, decoration of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page334">i. 334</a>;
+  general families of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page335">i. 335</a>;
+  of Murano, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page049">ii. 49</a>;
+  of St. Mark&rsquo;s, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page095">ii. 95</a>;
+  in London, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page097">ii. 97</a>;
+  Byzantine, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page138">ii. 138</a>;
+  profiles of, <a href="#page244">iii. 244</a>.</p>
+
+<p>Arts, relative dignity of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page395">i. 395</a>;
+  how represented in Venetian sculpture, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page355">ii. 355</a>;
+  what relation exists between them and their materials, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page394">ii. 394</a>;
+  art divided into the art of facts, of design, and of both, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page183">ii. 183</a>;
+  into purist, naturalist, and sensualist, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page187">ii. 187</a>;
+  art opposed to inspiration, <a href="#page151">iii. 151</a>;
+  defined, <a href="#page170">iii. 170</a>;
+  distinguished from science, <a href="#page035">iii. 35</a>;
+  how to enjoy that of the ancients, <a href="#page188">iii. 188</a>.</p>
+
+<p>Aspiration, not the primal motive of Gothic work, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page151">i. 151</a>.</p>
+
+<p>Astrology, judicial, representation of its doctrines in Venetian sculpture, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page352">ii. 352</a>.</p>
+
+<p>Austrian government in Italy, <a href="#page209">iii. 209</a>.</p>
+
+<p>Avarice, how represented figuratively, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page344">ii. 344</a>.</p>
+
+
+<h5>B</h5>
+
+<p>Backgrounds, diapered, <a href="#page020">iii. 20</a>.</p>
+
+<p>Balconies, of Venice, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page243">ii. 243</a>;
+  general treatment of, <a href="#page254">iii. 254</a>;
+  of iron, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page247">ii. 247</a>.</p>
+
+<p>Ballflower, its use in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page279">i. 279</a>.</p>
+
+<p>Balustrades. See &ldquo;Balconies.&rdquo;</p>
+
+<p>Bases, general account of, <a href="#page225">iii. 225</a>;
+  of walls, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page055">i. 55</a>;
+  of piers, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page073">i. 73</a>;
+  of shafts, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page084">i. 84</a>;
+  decoration of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page281">i. 281</a>;
+  faults of Gothic profiles of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page285">i. 285</a>;
+  spurs of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page286">i. 286</a>;
+  beauty of, in St. Mark&rsquo;s, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page290">i. 290</a>;
+  Lombardie, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page292">i. 292</a>;
+  ought not to be richly decorated, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page292">i. 292</a>;
+  general effect of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page387">ii. 387</a>.</p>
+
+<p>Battlements, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page162">i. 162</a>;
+  abuse of, in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page219">i. 219</a>.</p>
+
+<p>Beauty and ornament, relation of the terms, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page404">i. 404</a>.</p>
+
+<p>Bellstones of capitals defined, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page108">i. 108</a>.</p>
+
+<p>Birds, use of in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page234">i. 234</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page140">ii. 140</a>.</p>
+
+<p>Bishops, their ancient authority, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page025">ii. 25</a>.</p>
+
+<p>Body, its relation to the soul, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page041">i. 41</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page395">395</a>.</p>
+
+<p>Brackets, division of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page161">i. 161</a>;
+  ridiculous forms of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page161">i. 161</a>.</p>
+
+<div><span class="pagenum"><a name="page273"></a>273</span></div>
+
+<p>Breadth in Byzantine design, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page133">ii. 133</a>.</p>
+
+<p>Brickwork, ornamental, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page296">i. 296</a>;
+  in general, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page241">ii. 241</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page260">260</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page261">261</a>.</p>
+
+<p>Brides of Venice, legend of the, <a href="#page113">iii. 113</a>, <a href="#page116">116</a>.</p>
+
+<p>Buttresses, general structure of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page166">i. 166</a>;
+  flying, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page192">i. 192</a>;
+  supposed sanctity of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page173">i. 173</a>.</p>
+
+<p>Bull, symbolical use of, in representing rivers, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page418">i. 418</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page421">421</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page424">424</a>.</p>
+
+<p>Byzantine style, analysis of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page075">ii. 75</a>;
+  ecclesiastical fitness of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page097">ii. 97</a>;
+  centralization in, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page236">ii. 236</a>;
+  palaces built in, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page118">ii. 118</a>;
+  sculptures in, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page137">ii. 137</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page140">140</a>.</p>
+
+
+<h5>C</h5>
+
+<p>Candlemas, ancient symbols of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page272">ii. 272</a>.</p>
+
+<p>Capitals, general structure of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page105">i. 105</a>;
+  bells of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page107">i. 107</a>;
+  just proportions of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page114">i. 114</a>;
+  various families of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page013">i. 13</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page065">65</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page324">324</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page129">ii. 129</a>, <a href="#page231">iii. 231</a>;
+  are necessary to shafts in good architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page119">i. 119</a>;
+  Byzantine, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page131">ii. 131</a>, <a href="#page231">iii. 231</a>;
+  Lily, of St. Mark&rsquo;s, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page137">ii. 137</a>;
+  of Solomon&rsquo;s temple, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page137">ii. 137</a>.</p>
+
+<p>Care, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page348">ii. 348</a>. See &ldquo;Sorrow.&rdquo;</p>
+
+<p>Caryatides, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page302">i. 302</a>.</p>
+
+<p>Castles, English, entrances of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page177">i. 177</a>.</p>
+
+<p>Cathedrals, English, effect of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page063">ii. 63</a>.</p>
+
+<p>Ceilings, old Venetian, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page280">ii. 280</a>.</p>
+
+<p>Centralization in design, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page237">ii. 237</a>.</p>
+
+<p>Chalet of Switzerland, its character, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page203">i. 203</a>.</p>
+
+<p>Chamfer defined, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page263">i. 263</a>;
+  varieties of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page262">i. 262</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page429">429</a>.</p>
+
+<p>Changefulness, an element of Gothic, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page172">ii. 172</a>.</p>
+
+<p>Charity, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page327">ii. 327</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page339">339</a>.</p>
+
+<p>Chartreuse, Grande, morbid life in, <a href="#page190">iii. 190</a>.</p>
+
+<p>Chastity, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page328">ii. 328</a>.</p>
+
+<p>Cheerfulness, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page326">ii. 326</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page348">348</a>;
+  virtue of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page326">ii. 326</a>.</p>
+
+<p>Cherries, cultivation of, at Venice, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page361">ii. 361</a>.</p>
+
+<p>Christianity, how mingled with worldliness, <a href="#page109">iii. 109</a>;
+  how imperfectly understood, <a href="#page168">iii. 168</a>;
+  influence of, in liberating workmen, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page159">ii. 159</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page243">i. 243</a>;
+  influence of, on forms, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page099">i. 99</a>.</p>
+
+<p>Churches, wooden, of the North, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page381">i. 381</a>;
+  considered as ships, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page025">ii. 25</a>;
+  decoration of, how far allowable, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page102">ii. 102</a>.</p>
+
+<p>Civilization, progress of, <a href="#page168">iii. 168</a>;
+  twofold danger of, <a href="#page169">iii. 169</a>.</p>
+
+<p>Classical literature, its effect on the modern mind, <a href="#page012">iii. 12</a>.</p>
+
+<p>Climate, its influence on architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page151">i. 151</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page155">ii. 155</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page203">203</a>.</p>
+
+<div><span class="pagenum"><a name="page274"></a>274</span></div>
+
+<p>Color, its importance in early work, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page038">ii. 38</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page040">40</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page078">78</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page091">91</a>;
+  its spirituality, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page145">ii. 145</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page396">396</a>;
+  its relation to music, <a href="#page186">iii. 186</a>;
+  quartering of, <a href="#page020">iii. 20</a>;
+  how excusing realization, <a href="#page186">iii. 186</a>.</p>
+
+<p>Commerce, how regarded by Venetians, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page006">i. 6</a>.</p>
+
+<p>Composition, definition of the term, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page182">ii. 182</a>.</p>
+
+<p>Constancy, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page333">ii. 333</a>.</p>
+
+<p>Construction, architectural, how admirable, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page036">i. 36</a>.</p>
+
+<p>Convenience, how consulted by Gothic architecture, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page179">ii. 179</a>.</p>
+
+<p>Cornices, general divisions of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page063">i. 63</a>, <a href="#page248">iii. 248</a>;
+  of walls, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page060">i. 60</a>;
+  of roofs, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page149">i. 149</a>;
+  ornamentation of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page305">i. 305</a>;
+  curvatures of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page310">i. 310</a>;
+  military, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page160">i. 160</a>;
+  Greek, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page157">i. 157</a>.</p>
+
+<p>Courses in walls, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page060">i. 60</a>.</p>
+
+<p>Crockets, their use in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page346">i. 346</a>;
+  their abuse at Venice, <a href="#page109">iii. 109</a>.</p>
+
+<p>Crosses, Byzantine, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page139">ii. 139</a>.</p>
+
+<p>Crusaders, character of the, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page263">ii. 263</a>.</p>
+
+<p>Crystals, architectural appliance of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page225">i. 225</a>.</p>
+
+<p>Cupid, representation of, in early and later art, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page342">ii. 342</a>.</p>
+
+<p>Curvature, on what its beauty depends, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page222">i. 222</a>, <a href="#page005">iii. 5</a>.</p>
+
+<p>Cusps, definition of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page135">i. 135</a>;
+  groups of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page138">i. 138</a>;
+  relation of, to vegetation, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page219">ii. 219</a>;
+  general treatment of, <a href="#page255">iii. 255</a>;
+  earliest occurrence of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page220">ii. 220</a>.</p>
+
+
+<h5>D</h5>
+
+<p>Daguerreotype, probable results of, <a href="#page169">iii. 169</a>.</p>
+
+<p>Darkness, a character of early churches, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page018">ii. 18</a>;
+  not an abstract evil, <a href="#page220">iii. 220</a>.</p>
+
+<p>Death, fear of, in Renaissance times, <a href="#page065">iii. 65</a>, <a href="#page090">90</a>, <a href="#page092">92</a>;
+  how anciently regarded, <a href="#page139">iii. 139</a>, <a href="#page156">156</a>.</p>
+
+<p>Decoration, true nature of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page405">i. 405</a>;
+  how to judge of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page044">i. 44</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page045">45</a>.
+  See &ldquo;Ornament.&rdquo;</p>
+
+<p>Demons, nature of, how illustrated by Milton and Dante, <a href="#page147">iii. 147</a>.</p>
+
+<p>Dentil, Venetian, defined, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page273">i. 273</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page275">275</a>.</p>
+
+<p>Design, definition of the term, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page183">ii. 183</a>;
+  its relations to naturalism, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page184">ii. 184</a>.</p>
+
+<p>Despair, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page334">ii. 334</a>.</p>
+
+<p>Diaper patterns in brick, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page296">i. 296</a>;
+  in color, <a href="#page021">iii. 21</a>, <a href="#page022">22</a>.</p>
+
+<p>Discord, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page333">ii. 333</a>.</p>
+
+<div><span class="pagenum"><a name="page275"></a>275</span></div>
+
+<p>Discs, decoration by means of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page240">i. 240</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page416">416</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page147">ii. 147</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page264">264</a>.</p>
+
+<p>Division of labor, evils of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page165">ii. 165</a>.</p>
+
+<p>Doge of Venice, his power, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page003">i. 3</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page360">360</a>.</p>
+
+<p>Dogtooth moulding defined, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page269">i. 269</a>.</p>
+
+<p>Dolphins, moral disposition of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page230">i. 230</a>;
+  use of, in symbolic representation of sea, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page422">i. 422</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page423">423</a>.</p>
+
+<p>Domestic architecture, richness of, in middle ages, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page099">ii. 99</a>.</p>
+
+<p>Doors, general structure of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page174">i. 174</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page176">176</a>;
+  smallness of in English cathedrals, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page176">i. 176</a>;
+  ancient Venetian, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page277">ii. 277</a>, <a href="#page227">iii. 227</a>.</p>
+
+<p>Doric architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page157">i. 157</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page301">301</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page307">307</a>;
+  Christian Doric, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page308">i. 308</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page315">315</a>.</p>
+
+<p>Dragon, conquered by St. Donatus, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page033">ii. 33</a>;
+  use of, in ornamentation, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page219">ii. 219</a>.</p>
+
+<p>Dreams, how resembled by the highest arts, <a href="#page153">iii. 153</a>;
+  prophetic, in relation to the Grotesque, <a href="#page156">iii. 156</a>.</p>
+
+<p>Dress, its use in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page212">i. 212</a>;
+  early Venetian, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page383">ii. 383</a>;
+  dignity of, <a href="#page191">iii. 191</a>;
+  changes in modern dress, <a href="#page192">iii. 192</a>.</p>
+
+<p>Duties of buildings, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page047">i. 47</a>.</p>
+
+
+<h5>E</h5>
+
+<p>Earthquake of 1511, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page242">ii. 242</a>.</p>
+
+<p>Eastern races, their power over color, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page147">ii. 147</a>.</p>
+
+<p>Eaves, construction of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page156">i. 156</a>.</p>
+
+<p>Ecclesiastical architecture in Venice, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page020">i. 20</a>;
+  no architecture exclusively ecclesiastical, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page099">ii. 99</a>.</p>
+
+<p>Edge decoration, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page268">i. 268</a>.</p>
+
+<p>Education, University, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page391">i. 391</a>; <a href="#page110">iii. 110</a>;
+  evils of, with respect to architectural workmen, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page107">ii. 107</a>;
+  how to be successfully undertaken, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page165">ii. 165</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page214">214</a>;
+  modern education in general, how mistaken, <a href="#page110">iii. 110</a>, <a href="#page234">234</a>;
+  system of, in Plato, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page318">ii. 318</a>;
+  of Persian kings, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page318">ii. 318</a>;
+  not to be mistaken for erudition, <a href="#page219">iii. 219</a>;
+  ought to be universal, <a href="#page220">iii. 220</a>.</p>
+
+<p>Egg and arrow mouldings, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page314">i. 314</a>.</p>
+
+<p>Egyptian architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page099">i. 99</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page239">239</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page203">ii. 203</a>.</p>
+
+<p>Elgin marbles, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page171">ii. 171</a>.</p>
+
+<p>Encrusted architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page271">i. 271</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page272">272</a>;
+  general analysis of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page076">ii. 76</a>.</p>
+
+<p>Energy of Northern Gothic, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page371">i. 371</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page016">ii. 16</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page204">204</a>.</p>
+
+<p>English (early) capitals, faults of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page100">i. 100</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page411">411</a>;
+  English mind, its mistaken demands of perfection, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page160">ii. 160</a>.</p>
+
+<p>Envy, how set forth, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page346">ii. 346</a>.</p>
+
+<p>Evangelists, types of, how explicable, <a href="#page155">iii. 155</a>.</p>
+
+
+<div><span class="pagenum"><a name="page276"></a>276</span></div>
+
+<h5>F</h5>
+
+<p>Faërie Queen, Spenser&rsquo;s, value of, theologically, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page328">ii. 328</a>.</p>
+
+<p>Faith, influence of on art, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page104">ii. 104</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page105">105</a>;
+  Titian&rsquo;s picture of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page011">i. 11</a>;
+  how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page337">ii. 337</a>.</p>
+
+<p>Falsehood, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page349">ii. 349</a>.</p>
+
+<p>Fatalism, how expressed in Eastern architecture, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page205">ii. 205</a>.</p>
+
+<p>Fear, effect of, on human life, <a href="#page137">iii. 137</a>;
+  on Grotesque art, <a href="#page142">iii. 142</a>.</p>
+
+<p>Feudalism, healthy effects of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page184">i. 184</a>.</p>
+
+<p>Fig-tree, sculpture of, on Ducal Palace, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page307">ii. 307</a>.</p>
+
+<p>Fillet, use of, in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page267">i. 267</a>.</p>
+
+<p>Finials, their use in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page346">i. 346</a>;
+  a sign of decline in Venetian architecture, <a href="#page109">iii. 109</a>.</p>
+
+<p>Finish in workmanship, when to be required, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page165">ii. 165</a>;
+  dangers of, <a href="#page170">iii. 170</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page162">ii. 162</a>.</p>
+
+<p>Fir, spruce, influence of, on architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page152">i. 152</a>.</p>
+
+<p>Fire, forms of, in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page228">i. 228</a>.</p>
+
+<p>Fish, use of, in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page229">i. 229</a>.</p>
+
+<p>Flamboyant Gothic, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page278">i. 278</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page225">ii. 225</a>.</p>
+
+<p>Flattery, common in Renaissance times, <a href="#page064">iii. 64</a>.</p>
+
+<p>Flowers, representation of, how desirable, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page340">i. 340</a>;
+  how represented in mosaic, <a href="#page179">iii. 179</a>.</p>
+
+<p>Fluting of columns, a mistake, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page301">i. 301</a>.</p>
+
+<p>Foils, definition of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page221">ii. 221</a>.</p>
+
+<p>Foliage, how carved in declining periods, <a href="#page008">iii. 8</a>, <a href="#page017">17</a>. See &ldquo;Vegetation.&rdquo;</p>
+
+<p>Foliation defined, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page219">ii. 219</a>;
+  essential to Gothic architecture, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page222">ii. 222</a>.</p>
+
+<p>Folly, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page325">ii. 325</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page348">348</a>.</p>
+
+<p>Form of Gothic, defined, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page209">ii. 209</a>.</p>
+
+<p>Fortitude, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page337">ii. 337</a>.</p>
+
+<p>Fountains, symbolic representations of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page427">i. 427</a>.</p>
+
+<p>French architecture, compared with Italian, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page226">ii. 226</a>.</p>
+
+<p>Frivolity, how exhibited in Grotesque art, <a href="#page143">iii. 143</a>.</p>
+
+<p>Fruit, its use in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page232">i. 232</a>.</p>
+
+
+<h5>G</h5>
+
+<p>Gable, general structure of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page124">i. 124</a>;
+  essential to Gothic, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page210">ii. 210</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page217">217</a>.</p>
+
+<div><span class="pagenum"><a name="page277"></a>277</span></div>
+
+<p>Gardens, Italian, <a href="#page136">iii. 136</a>.</p>
+
+<p>Generalization, abuses of, <a href="#page176">iii. 176</a>.</p>
+
+<p>Geology of Lombardy, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page005">ii. 5</a>.</p>
+
+<p>Glass, its capacities in architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page409">i. 409</a>;
+  manufacture of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page166">ii. 166</a>;
+  true principles of working in, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page168">ii. 168</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page395">395</a>.</p>
+
+<p>Gluttony, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page343">ii. 343</a>.</p>
+
+<p>Goldsmiths&rsquo; work, a high form of art, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page166">ii. 166</a>.</p>
+
+<p>Gondola, management of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page375">ii. 375</a>.</p>
+
+<p>Gothic architecture, analysis of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page151">ii. 151</a>;
+  not derived from vegetable structure, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page121">i. 121</a>;
+  convenience of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page178">ii. 178</a>;
+  divisions of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page215">ii. 215</a>;
+  surface and linear, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page226">ii. 226</a>;
+  Italian and French, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page226">ii. 226</a>;
+  flamboyant, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page278">i. 278</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page225">ii. 225</a>;
+  perpendicular, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page192">i. 192</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page223">ii. 223</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page227">227</a>;
+  early English, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page109">i. 109</a>;
+  how to judge of it, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page228">ii. 228</a>;
+  how fitted for domestic purposes, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page269">ii. 269</a>, <a href="#page195">iii. 195</a>;
+  how first corrupted, <a href="#page003">iii. 3</a>;
+  how to be at present built, <a href="#page196">iii. 196</a>;
+  early Venetian, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page248">ii. 248</a>;
+  ecclesiastical Venetian, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page021">i. 21</a>;
+  central Venetian, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page231">ii. 231</a>;
+  how adorned by color in Venice, <a href="#page023">iii. 23</a>.</p>
+
+<p>Government of Venice, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page002">i. 2</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page366">ii. 366</a>.</p>
+
+<p>Grammar, results of too great study of it, <a href="#page055">iii. 55</a>, <a href="#page106">106</a>.</p>
+
+<p>Greek architecture, general character of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page240">i. 240</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page215">ii. 215</a>, <a href="#page159">iii. 159</a>.</p>
+
+<p>Grief. See &ldquo;Sorrow.&rdquo;</p>
+
+<p>Griffins, Lombardic, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page292">i. 292</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page387">387</a>.</p>
+
+<p>Grotesque, analysis of, <a href="#page132">iii. 132</a>;
+  in changes of form, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page317">i. 317</a>;
+  in Venetian painting, <a href="#page162">iii. 162</a>;
+  symbolical, <a href="#page155">iii. 155</a>;
+  its character in Renaissance work, <a href="#page113">iii. 113</a>, <a href="#page121">121</a>, <a href="#page136">136</a>, <a href="#page143">143</a>.</p>
+
+<p>Gutters of roofs, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page151">i. 151</a>.</p>
+
+
+<h5>H</h5>
+
+
+<p>Heathenism, typified in ornament, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page317">i. 317</a>. See &ldquo;Paganism.&rdquo;</p>
+
+<p>Heaven and Hell, proofs of their existence in natural phenomena, <a href="#page138">iii. 138</a>.</p>
+
+<p>History, how to be written and read, <a href="#page224">iii. 224</a>.</p>
+
+<p>Hobbima, <a href="#page184">iii. 184</a>.</p>
+
+<p>Honesty, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page349">ii. 349</a>.</p>
+
+<p>Hope, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page341">ii. 341</a>.</p>
+
+<p>Horseshoe arches, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page129">i. 129</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page249">ii. 249</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page250">250</a>.</p>
+
+<p>Humanity, spiritual nature of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page041">i. 41</a>;
+  divisions of, with respect to art, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page394">i. 394</a>.</p>
+
+<p>Humility, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page339">ii. 339</a>.</p>
+
+
+<div><span class="pagenum"><a name="page278"></a>278</span></div>
+
+<h5>I</h5>
+
+
+<p>Idleness, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page345">ii. 345</a>.</p>
+
+<p>Idolatry, proper sense of the term, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page388">ii. 388</a>;
+  is no encourager of art, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page110">ii. 110</a>. See &ldquo;Popery.&rdquo;</p>
+
+<p>Imagination, its relation to art, <a href="#page182">iii. 182</a>.</p>
+
+<p>Imitation of precious stones, &amp;c., how reprehensible, <a href="#page026">iii. 26</a>, <a href="#page030">30</a>.</p>
+
+<p>Imposts, continuous, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page120">i. 120</a>.</p>
+
+<p>Infidelity, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page335">ii. 335</a>;
+  an element of the Renaissance spirit, <a href="#page100">iii. 100</a>.</p>
+
+<p>Injustice, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page349">ii. 349</a>.</p>
+
+<p>Inlaid ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page369">i. 369</a>;
+  perfection of, in early Renaissance, <a href="#page026">iii. 26</a>.</p>
+
+<p>Inscriptions at Murano, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page047">ii. 47</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page054">54</a>;
+  use of, in early times, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page111">ii. 111</a>.</p>
+
+<p>Insects, use of, in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page230">i. 230</a>.</p>
+
+<p>Inspiration, how opposed to art, <a href="#page151">iii. 151</a>, <a href="#page171">171</a>.</p>
+
+<p>Instinct, its dignity, <a href="#page171">iii. 171</a>.</p>
+
+<p>Intellect, how variable in dignity, <a href="#page173">iii. 173</a>.</p>
+
+<p>Involution, delightfulness of, in ornament, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page136">ii. 136</a>.</p>
+
+<p>Iron, its use in architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page184">i. 184</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page410">410</a>.</p>
+
+<p>Italians, modern character of, <a href="#page209">iii. 209</a>.</p>
+
+<p>Italy, how ravaged by recent war, <a href="#page209">iii. 209</a>.</p>
+
+
+<h5>J</h5>
+
+
+<p>Jambs, Gothic, <a href="#page137">iii. 137</a>.</p>
+
+<p>Jesting, evils of, <a href="#page129">iii. 129</a>.</p>
+
+<p>Jesuits, their restricted power in Venice, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page366">i. 366</a>.</p>
+
+<p>Jewels, their cutting, a bad employment, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page166">ii. 166</a>.</p>
+
+<p>Judgments, instinctive, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page399">i. 399</a>.</p>
+
+<p>Job, book of, its purpose, <a href="#page053">iii. 53</a>.</p>
+
+
+<h5>K</h5>
+
+<p>Keystones, how mismanaged in Renaissance work. See Venetian Index, under head &ldquo;Libreria.&rdquo;</p>
+
+<p>Knowledge, its evil consequences, <a href="#page040">iii. 40</a>;
+  how to be received, <a href="#page050">iii. 50</a>, &amp;c. See &ldquo;Education.&rdquo;</p>
+
+
+<h5>L</h5>
+
+
+<p>Labor, manual, ornamental value of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page407">i. 407</a>;
+  evils of its division, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page165">ii. 165</a>;
+  is not a degradation, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page168">ii. 168</a>.</p>
+
+<div><span class="pagenum"><a name="page279"></a>279</span></div>
+
+<p>Labyrinth, in Venetian streets, its clue, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page254">ii. 254</a>.</p>
+
+<p>Lagoons, Venetian, nature of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page007">ii. 7</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page008">8</a>.</p>
+
+<p>Landscape, lower schools of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page024">i. 24</a>;
+  Venetian, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page149">ii. 149</a>;
+  modern love of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page175">ii. 175</a>, <a href="#page123">iii. 123</a>.</p>
+
+<p>Laws of right in architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page032">i. 32</a>;
+  laws in general, how permissibly violated, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page255">i. 255</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page210">ii. 210</a>;
+  their position with respect to art, <a href="#page096">iii. 96</a>;
+  and to religion, <a href="#page205">iii. 205</a>.</p>
+
+<p>Leaves, use of, in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page232">i. 232</a> (see &ldquo;Vegetation&rdquo;);
+  proportion of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page128">ii. 128</a>.</p>
+
+<p>Liberality, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page333">ii. 333</a>.</p>
+
+<p>Life in Byzantine architecture, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page133">ii. 133</a>.</p>
+
+<p>Lilies, beautiful proportions of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page128">ii. 128</a>;
+  used for parapet ornaments, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page242">ii. 242</a>;
+  lily capitals, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page137">ii. 137</a>.</p>
+
+<p>Limitation of ornament, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page254">i. 254</a>.</p>
+
+<p>Lines, abstract use of, in ornament, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page221">i. 221</a>.</p>
+
+<p>Lintel, its structure, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page124">i. 124</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page126">126</a>.</p>
+
+<p>Lion, on piazzetta shafts, <a href="#page238">iii. 238</a>.</p>
+
+<p>Load, of arches, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page133">i. 133</a>.</p>
+
+<p>Logic, a contemptible science, <a href="#page105">iii. 105</a>.</p>
+
+<p>Lombardic architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page017">i. 17</a>.</p>
+
+<p>Lotus leaf, its use in architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page233">i. 233</a>.</p>
+
+<p>Love, its power over human life, <a href="#page137">iii. 137</a>.</p>
+
+<p>Lusts, their power over human nature, how symbolized by Spenser, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page328">ii. 328</a>.</p>
+
+<p>Luxury, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page342">ii. 342</a>;
+  how traceable in ornament, <a href="#page004">iii. 4</a>;
+  of Renaissance schools, <a href="#page061">iii. 61</a>.</p>
+
+
+<h5>M</h5>
+
+
+<p>Madonna, Byzantine representations of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page053">ii. 53</a>.</p>
+
+<p>Magnitude, vulgar admiration of, <a href="#page064">iii. 64</a>.</p>
+
+<p>Malmsey, use of, in Feast of the Maries, <a href="#page117">iii. 117</a>.</p>
+
+<p>Marble, its uses, <a href="#page027">iii. 27</a>.</p>
+
+<p>Maries, Feast of the, <a href="#page117">iii. 117</a>.</p>
+
+<p>Mariolatry, ancient and modern, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page055">ii. 55</a>.</p>
+
+<p>Marriages of Venetians, <a href="#page116">iii. 116</a>.</p>
+
+<p>Masonry, Mont-Cenisian, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page132">i. 132</a>;
+  of walls, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page061">i. 61</a>;
+  of arches, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page133">i. 133</a>.</p>
+
+<p>Materials, invention of new, how injurious to art, <a href="#page042">iii. 42</a>.</p>
+
+<p>Misery, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page347">ii. 347</a>.</p>
+
+<p>Modesty, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page335">ii. 335</a>.</p>
+
+<div><span class="pagenum"><a name="page280"></a>280</span></div>
+
+<p>Monotony, its place in art, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page176">ii. 176</a>.</p>
+
+<p>Months, personifications of, in ancient art, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page272">ii. 272</a>.</p>
+
+<p>Moroseness, its guilt, <a href="#page130">iii. 130</a>.</p>
+
+<p>Mosaics at Torcello, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page018">ii. 18</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page019">19</a>;
+  at St. Mark&rsquo;s, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page170">ii. 70</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page112">112</a>;
+  early character of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page110">ii. 110</a>, <a href="#page175">iii. 175</a>, <a href="#page178">178</a>.</p>
+
+<p>Music, its relation to color, <a href="#page186">iii. 186</a>.</p>
+
+<p>Mythology of Venetian painters, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page150">ii. 150</a>;
+  ancient, how injurious to the Christian mind, <a href="#page107">iii. 107</a>.</p>
+
+
+<h5>N</h5>
+
+
+<p>Natural history, how necessary a study, <a href="#page054">iii. 54</a>.</p>
+
+<p>Naturalism, general analysis of it with respect to art, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page181">ii. 181</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page190">190</a>;
+  its advance in Gothic art, <a href="#page006">iii. 6</a>;
+  not to be found in the encrusted style, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page089">ii. 89</a>;
+  its presence in the noble Grotesque, <a href="#page144">iii. 144</a>.</p>
+
+<p>Nature (in the sense of material universe) not improvable by art, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page350">i. 350</a>;
+  its relation to architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page351">i. 351</a>.</p>
+
+<p>Niches, use of, in Northern Gothic, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page278">i. 278</a>;
+  in Venetian, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page240">ii. 240</a>;
+  in French and Veronese, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page227">ii. 227</a>.</p>
+
+<p>Norman hatchet-work, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page297">i. 297</a>;
+  zigzag, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page339">i. 339</a>.</p>
+
+<p>Novelty, its necessity to the human mind, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page176">ii. 176</a>.</p>
+
+
+<h5>O</h5>
+
+
+<p>Oak-tree, how represented in symbolical art, <a href="#page185">iii. 185</a>.</p>
+
+<p>Obedience, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page334">ii. 334</a>.</p>
+
+<p>Oligarchical government, its effect on the Venetians, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page005">i. 5</a>.</p>
+
+<p>Olive-tree, neglect of, by artists, <a href="#page175">iii. 175</a>;
+  general expression of, <a href="#page176">iii. 176</a>, <a href="#page177">177</a>;
+  representations of, in mosaic, <a href="#page178">iii. 178</a>.</p>
+
+<p>Order, uses and disadvantages of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page172">ii. 172</a>.</p>
+
+<p>Orders, Doric and Corinthian, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page013">i. 13</a>;
+  ridiculous divisions of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page157">i. 157</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page370">370</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page173">ii. 173</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page249">249</a>; <a href="#page099">iii. 99</a>.</p>
+
+<p>Ornament, material of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page211">i. 211</a>;
+  the best, expresses man&rsquo;s delight in God&rsquo;s work, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page220">i. 220</a>;
+  not in his own, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page211">i. 211</a>;
+  general treatment of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page236">i. 236</a>;
+  is necessarily imperfect, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page237">i. 237</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page240">240</a>;
+  divided into servile, subordinate, and insubordinate, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page242">i. 242</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page158">ii. 158</a>;
+  distant effect of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page248">i. 248</a>;
+  arborescent, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page252">i. 252</a>;
+  restrained within limits, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page255">i. 255</a>;
+  cannot be overcharged if good, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page406">i. 406</a>.</p>
+
+<p>Oxford, system of education at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page391">i. 391</a>.</p>
+
+
+<div><span class="pagenum"><a name="page281"></a>281</span></div>
+
+<h5>P</h5>
+
+
+<p>Paganism, revival of its power in modern times, <a href="#page105">iii. 105</a>, <a href="#page107">107</a>, <a href="#page122">122</a>.</p>
+
+<p>Painters, their power of perception, <a href="#page037">iii. 37</a>;
+  influence of society on, <a href="#page041">iii. 41</a>;
+  what they should know, <a href="#page041">iii. 41</a>;
+  what is their business, <a href="#page187">iii. 187</a>.</p>
+
+<p>Palace, the Crystal, merits of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page409">i. 409</a>.</p>
+
+<p>Palaces, Byzantine, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page118">ii. 118</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page391">391</a>;
+  Gothic, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page231">ii. 231</a>.</p>
+
+<p>Papacy. See &ldquo;Popery.&rdquo;</p>
+
+<p>Parapets, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page162">i. 162</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page240">ii. 240</a>.</p>
+
+<p>Parthenon, curves of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page127">ii. 127</a>.</p>
+
+<p>Patience, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page334">ii. 334</a>.</p>
+
+<p>Pavements, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page052">ii. 52</a>.</p>
+
+<p>Peacocks, sculpture of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page240">i. 240</a>.</p>
+
+<p>Pedestals of shafts, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page082">i. 82</a>;
+  and see Venetian Index under head &ldquo;Giorgio Maggiore.&rdquo;</p>
+
+<p>Perception opposed to knowledge, <a href="#page037">iii. 37</a>.</p>
+
+<p>Perfection, inordinate desire of, destructive of art, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page237">i. 237</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page133">ii. 133</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page158">158</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page169">169</a>.</p>
+
+<p>Perpendicular style, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page190">i. 190</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page253">253</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page223">ii. 223</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page227">227</a>.</p>
+
+<p>Personification, evils of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page322">ii. 322</a>.</p>
+
+<p>Perspective, aerial, ridiculous exaggerations of, <a href="#page045">iii. 45</a>;
+  ancient pride in, <a href="#page057">iii. 57</a>;
+  absence of, in many great works, see in Venetian Index the notice of Tintoret&rsquo;s picture of the Pool of Bethesda, under head &ldquo;Rocco.&rdquo;</p>
+
+<p>Phariseeism and Liberalism, how opposed, <a href="#page097">iii. 97</a>.</p>
+
+<p>Philology, a base science, <a href="#page054">iii. 54</a>.</p>
+
+<p>Piazzetta at Venice, plan of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page283">ii. 283</a>;
+  shafts of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page233">ii. 233</a>.</p>
+
+<p>Pictures, judgment of, how formed, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page371">ii. 371</a>;
+  neglect of, in Venice, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page372">ii. 372</a>;
+  how far an aid to religion, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page104">ii. 104</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page110">110</a>.</p>
+
+<p>Picturesque, definition of term, <a href="#page134">iii. 134</a>.</p>
+
+<p>Piers, general structure of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page071">i. 71</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page098">98</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page118">118</a>.</p>
+
+<p>Pilgrim&rsquo;s Progress. See &ldquo;Bunyan.&rdquo;</p>
+
+<p>Pine of Italy, its effect on architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page152">i. 152</a>;
+  of Alps, effect in distance, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page245">i. 245</a>. See &ldquo;Fir.&rdquo;</p>
+
+<p>Pinnacles are of little practical service, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page170">i. 170</a>;
+  their effect on common roofs, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page347">i. 347</a>.</p>
+
+<p>Play, its relation to Grotesque art, <a href="#page126">iii. 126</a>.</p>
+
+<div><span class="pagenum"><a name="page282"></a>282</span></div>
+
+<p>Pleasure, its kinds and true uses, <a href="#page189">iii. 189</a>.</p>
+
+<p>Popery, how degraded in contest with Protestantism, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page034">i. 34</a>, <a href="#page103">iii. 103</a>;
+  its influence on art, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page023">i. 23</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page034">34</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page035">35</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page384">384</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page432">432</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page051">ii. 51</a>;
+  typified in ornament, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page316">i. 316</a>;
+  power of Pope in Venice, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page362">i. 362</a>;
+  arts used in support of Popery, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page074">ii. 74</a>.</p>
+
+<p>Porches, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page195">i. 195</a>.</p>
+
+<p>Portraiture, power of, in Venice, <a href="#page164">iii. 164</a>.</p>
+
+<p>Posture-making in Renaissance art, <a href="#page090">iii. 90</a>.</p>
+
+<p>Prayers, ancient and modern, difference between, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page315">ii. 315</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page390">390</a>.</p>
+
+<p>Pre-Raphaelitism, <a href="#page090">iii. 90</a>; present position of, <a href="#page168">iii. 168</a>, <a href="#page174">174</a>, <a href="#page188">188</a>.</p>
+
+<p>Pride, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page343">ii. 343</a>, <a href="#page207">iii. 207</a>;
+  of knowledge, <a href="#page035">iii. 35</a>;
+  of state, <a href="#page059">iii. 59</a>;
+  of system, <a href="#page095">iii. 95</a>.</p>
+
+<p>Priests, restricted power of, in Venice, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page366">i. 366</a>.</p>
+
+<p>Proportions, subtlety of, in early work, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page038">ii. 38</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page121">121</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page127">127</a>.</p>
+
+<p>Protestantism, its influence on art, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page023">i. 23</a>;
+  typified in ornament, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page316">i. 316</a>;
+  influence of, on prosperity of nations, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page368">i. 368</a>;
+  expenditure in favor of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page434">i. 434</a>;
+  is incapable of judging of art, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page105">ii. 105</a>;
+  how expressed in art, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page205">ii. 205</a>;
+  its errors in opposing Romanism, <a href="#page102">iii, 102</a>, <a href="#page103">103</a>, <a href="#page104">104</a>;
+  its shame of religious confession, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page278">ii. 278</a>.</p>
+
+<p>Prudence, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page340">ii. 340</a>.</p>
+
+<p>Pulpits, proper structure of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page022">ii. 22</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page380">380</a>.</p>
+
+<p>Purism in art, its nature and definition, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page189">ii. 189</a>.</p>
+
+<p>Purity, how symbolized, <a href="#page020">iii. 20</a>.</p>
+
+
+<h5>Q</h5>
+
+
+<p>Quadrupeds, use of in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page234">i. 234</a>.</p>
+
+<p>Quantity of ornament, its regulation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page023">i. 23</a>.</p>
+
+
+<h5>R</h5>
+
+
+<p>Rationalism, its influence on art, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page023">i. 23</a>.</p>
+
+<p>Realization, how far allowable in noble art, <a href="#page182">iii. 182</a>, <a href="#page186">186</a>.</p>
+
+<p>Recesses, decoration of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page278">i. 278</a>.</p>
+
+<p>Recumbent statues, <a href="#page072">iii. 72</a>.</p>
+
+<p>Redundance, an element of Gothic, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page206">ii. 206</a>.</p>
+
+<p>Religion, its influence on Venetian policy, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page006">i. 6</a>;
+  how far aided by pictorial art, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page104">ii. 104</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page109">109</a>;
+  contempt of, in Renaissance times, <a href="#page122">iii. 122</a>.</p>
+
+<div><span class="pagenum"><a name="page283"></a>283</span></div>
+
+<p>Renaissance architecture, nature of, <a href="#page033">iii. 33</a>;
+  early, <a href="#page001">iii. 1</a>;
+  Byzantine, <a href="#page015">iii. 15</a>;
+  Roman, <a href="#page032">iii. 32</a>;
+  Grotesque, <a href="#page112">iii. 112</a>;
+  inconsistencies of, <a href="#page042">iii. 42</a>, etc.</p>
+
+<p>Reptiles, how used in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page230">i. 230</a>.</p>
+
+<p>Resistance, line of, in arches, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page126">i. 126</a>.</p>
+
+<p>Restraint, ornamental, value of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page255">i. 255</a>.</p>
+
+<p>Reverence, how ennobling to humanity, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page163">ii. 163</a>.</p>
+
+<p>Rhetoric, a base study, <a href="#page106">iii. 106</a>.</p>
+
+<p>Rigidity, an element of Gothic, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page203">ii. 203</a>.</p>
+
+<p>Rivers, symbolical representation of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page419">i. 419</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page420">420</a>.</p>
+
+<p>Rocks, use of, in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page224">i. 224</a>;
+  organization of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page246">i. 246</a>;
+  curvatures of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page058">i. 58</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page224">224</a>.</p>
+
+<p>Roll-mouldings, decoration of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page276">i. 276</a>.</p>
+
+<p>Romance, modern errors of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page004">ii. 4</a>;
+  how connected with dress, <a href="#page192">iii. 192</a>.</p>
+
+<p>Romanesque style, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page015">i. 15</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page019">19</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page145">145</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page215">ii. 215</a>. See &ldquo;Byzantine,&rdquo; and &ldquo;Renaissance.&rdquo;</p>
+
+<p>Romanism. See &ldquo;Popery.&rdquo;</p>
+
+<p>Roofs, analysis of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page046">i. 46</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page148">148</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page212">ii. 212</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page216">216</a>;
+  domed, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page149">i. 149</a>;
+  Swiss, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page149">i. 149</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page345">345</a>;
+  steepness of, conducive to Gothic character, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page151">i. 151</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page209">ii. 209</a>;
+  decoration of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page343">i. 343</a>.</p>
+
+<p>Rustication, is ugly and foolish, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page065">i. 65</a>;
+  natural objects of which it produces a resemblance, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page296">i. 296</a>.</p>
+
+
+<h5>S</h5>
+
+
+<p>Salvia, its leaf applied to architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page287">i. 287</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page306">306</a>.</p>
+
+<p>Sarcophagi, Renaissance treatment of, <a href="#page090">iii. 90</a>;
+  ancient, <a href="#page069">iii. 69</a>, <a href="#page093">93</a>.</p>
+
+<p>Satellitic shafts, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page095">i. 95</a>.</p>
+
+<p>Satire in Grotesque art, <a href="#page126">iii. 126</a>, <a href="#page145">145</a>.</p>
+
+<p>Savageness, the first element of Gothic, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page155">ii. 155</a>;
+  in Grotesque art, <a href="#page159">iii. 159</a>.</p>
+
+<p>Science opposed to art, <a href="#page036">iii. 36</a>.</p>
+
+<p>Sculpture, proper treatment of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page216">i. 216</a>, &amp;c.</p>
+
+<p>Sea, symbolical representations of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page352">i. 352</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page421">421</a>;
+  natural waves of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page351">i. 351</a>.</p>
+
+<p>Sensualism in art, its nature and definition, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page189">ii. 189</a>;
+  how redeemed by color, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page145">ii. 145</a>.</p>
+
+<p>Serapeum at Memphis, cusps of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page220">ii. 220</a>.</p>
+
+<div><span class="pagenum"><a name="page284"></a>284</span></div>
+
+<p>Sermons, proper manner of regarding them, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page022">ii. 22</a>;
+  mode of their delivery in Scotch church, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page381">ii. 381</a>.</p>
+
+<p>Serrar del Consiglio, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page291">ii. 291</a>.</p>
+
+<p>Shafts, analysis of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page084">i. 84</a>;
+  vaulting shafts, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page145">i. 145</a>;
+  ornamentation of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page300">i. 300</a>;
+  twisted, by what laws regulated, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page303">i. 303</a>;
+  strength of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page402">i. 402</a>;
+  laws by which they are regulated in encrusted style, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page082">ii. 82</a>.</p>
+
+<p>Shields, use of, on tombs, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page224">ii. 224</a>, <a href="#page087">iii. 87</a>.</p>
+
+<p>Shipping, use of, in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page215">i. 215</a>.</p>
+
+<p>Shops in Venice, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page065">ii. 65</a>.</p>
+
+<p>Sight, how opposed to thought, <a href="#page039">iii. 39</a>.</p>
+
+<p>Simplicity of life in thirteenth century, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page263">ii. 263</a>.</p>
+
+<p>Sin, how symbolized in Grotesque art, <a href="#page141">iii. 141</a>.</p>
+
+<p>Slavery of Greeks and Egyptians, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page158">ii. 158</a>;
+  of English workmen, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page162">ii. 162</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page163">163</a>.</p>
+
+<p>Society, unhealthy state of, in modern times, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page163">ii. 163</a>.</p>
+
+<p>Sorrow, how sinful, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page325">ii. 325</a>;
+  how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page347">ii. 347</a>.</p>
+
+<p>Soul, its development in art, <a href="#page173">iii. 173</a>, <a href="#page188">188</a>;
+  its connection with the body, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page041">i. 41</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page395">395</a>.</p>
+
+<p>Spandrils, structure of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page146">i. 146</a>;
+  decoration of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page297">i. 297</a>.</p>
+
+<p>Spirals, architectural value of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page222">i. 222</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page016">ii. 16</a>.</p>
+
+<p>Spurs of bases, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page079">i. 79</a>.</p>
+
+<p>Staircases, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page208">i. 208</a>;
+  of Gothic palaces, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page280">ii. 280</a>.</p>
+
+<p>Stucco, when admissible, <a href="#page021">iii. 21</a>.</p>
+
+<p>Subordination of ornament, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page240">i. 240</a>.</p>
+
+<p>Superimposition of buildings, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page200">i. 200</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page386">ii. 386</a>.</p>
+
+<p>Surface-Gothic, explanation of term, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page225">ii. 225</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page227">227</a>.</p>
+
+<p>Symbolism, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page417">i. 417</a>;
+  how opposed to personification, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page322">ii. 322</a>.</p>
+
+<p>System, pride of, how hurtful, <a href="#page095">iii. 95</a>, <a href="#page099">99</a>.</p>
+
+
+<h5>T</h5>
+
+
+<p>Temperance, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page338">ii. 338</a>;
+  temperance in color and curvature, <span class="correction" title="No such page!">iii. 420</span>.</p>
+
+<p>Theology, opposed to religion, <a href="#page216">iii. 216</a>;
+  of Spencer, <a href="#page205">iii. 205</a>.</p>
+
+<p>Thirteenth century, its high position with respect to art, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page263">ii. 263</a>.</p>
+
+<p>Thought, opposed to sight, <a href="#page039">iii. 39</a>.</p>
+
+<p>Tombs at Verona, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page142">i. 142</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page412">412</a>;
+  at Venice, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page069">ii. 69</a>;
+  early Christian, <a href="#page067">iii. 67</a>;
+  Gothic, <a href="#page071">iii. 71</a>;
+  Renaissance treatment of, <a href="#page084">iii. 84</a>.</p>
+
+<p>Towers, proper character of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page204">i. 204</a>;
+  of St. Mark&rsquo;s, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page207">i. 207</a>.</p>
+
+<div><span class="pagenum"><a name="page285"></a>285</span></div>
+
+<p>Traceries, structure of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page184">i. 184</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page185">185</a>;
+  flamboyant, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page189">i. 189</a>;
+  stump, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page189">i. 189</a>;
+  English perpendicular, i 190, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page222">ii. 222</a>;
+  general character of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page220">ii. 220</a>;
+  strength of, in Venetian Gothic, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page234">ii. 234</a>, <a href="#page253">iii. 253</a>;
+  general forms of tracery bars, <a href="#page250">iii. 250</a>.</p>
+
+<p>Treason, how detested by Dante, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page327">ii. 327</a>.</p>
+
+<p>Trees, use of, in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page231">i. 231</a>.</p>
+
+<p>Trefoil, use of, in ornamentation, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page042">ii. 42</a>.</p>
+
+<p>Triangles, used for ornaments at Murano, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page043">ii. 43</a>.</p>
+
+<p>Tribune at Torcello, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page024">ii. 24</a>.</p>
+
+<p>Triglyphs, ugliness of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page043">i, 43</a>.</p>
+
+<p>Trunkmakers, their share in recovery of Brides of Venice, <a href="#page117">iii. 117</a>, <a href="#page118">118</a>.</p>
+
+<p>Truth, relation of, to religion, in Spenser&rsquo;s &ldquo;Faërie Queen,&rdquo; <a href="#page205">iii, 205</a>;
+  typified by stones, <a href="#page031">iii. 31</a>.</p>
+
+<p>Tympanum, decoration of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page299">i. 299</a>.</p>
+
+
+<h5>U</h5>
+
+
+<p>Unity of Venetian nobility, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page010">i. 10</a>.</p>
+
+
+
+<h5>V</h5>
+
+<p>Vain glory, speedy punishment of, <a href="#page122">iii. 122</a>.</p>
+
+<p>Vanity, how symbolized, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page346">ii. 346</a>.</p>
+
+<p>Variety in ornamental design, importance of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page043">ii. 43</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page133">133</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page142">142</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page172">172</a>.</p>
+
+<p>Vegetation, use of, in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page232">i. 232</a>;
+  peculiar meaning of, in Gothic, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page199">ii. 199</a>;
+  how connected with cusps, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page219">ii. 219</a>.</p>
+
+<p>Veil (wall veil), construction of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page058">i. 58</a>;
+  decoration of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page294">i. 294</a>.</p>
+
+<p>Vine, Lombardic sculpture of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page375">i. 375</a>;
+  at Torcello, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page015">ii. 15</a>;
+  use of, in ornamentation, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page141">ii. 141</a>;
+  in symbolism, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page143">ii. 143</a>;
+  sculpture of, on Ducal Palace, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page308">ii. 308</a>.</p>
+
+<p>Virtues, how symbolized in sepulchral monuments, <a href="#page082">iii. 82</a>, <a href="#page086">86</a>;
+  systems of, in Pagan and Christian philosophy, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page312">ii. 312</a>;
+  cardinal, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page317">ii. 317</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page318">318</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page320">320</a>;
+  of architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page036">i. 36</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page044">44</a>.</p>
+
+<p>Voussoirs defined, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page125">i. 125</a>;
+  contest between them and architraves, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page336">i. 336</a>.</p>
+
+
+<h5>W</h5>
+
+
+<p>Walls, general analysis of their structure, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page048">i. 48</a>;
+  bases of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page052">i. 52</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page053">53</a>;
+  cornices of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page063">i. 63</a>;
+  rustication of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page061">i. 61</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page338">338</a>;
+  decoration of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page294">i. 294</a>;
+  courses in, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page061">i. 61</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page295">295</a>.</p>
+
+<div><span class="pagenum"><a name="page286"></a>286</span></div>
+
+<p>Water, its use in ornamentation, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page226">i. 226</a>;
+  ancient representations of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page417">i. 417</a>.</p>
+
+<p>Weaving, importance of associations connected with, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page136">ii. 136</a>.</p>
+
+<p>Wells, old Venetian, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page279">ii. 279</a>.</p>
+
+<p>Windows, general forms of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page179">i. 179</a>;
+  Arabian, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page180">i. 180</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page135">ii. 135</a>;
+  square-headed, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page211">ii. 211</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page269">269</a>;
+  development of, in Venice, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page235">ii. 235</a>;
+  orders of, in Venice, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page248">ii. 248</a>;
+  advisable form of, in modern buildings, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page269">ii. 269</a>.</p>
+
+<p>Winds, how symbolized at Venice, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page367">ii. 367</a>.</p>
+
+<p>Wooden architecture, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page381">i. 381</a>.</p>
+
+<p>Womanhood, virtues of, as given by Spenser, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page326">ii. 326</a>.</p>
+
+
+<h5>Z</h5>
+
+
+<p>Zigzag, Norman, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page339">i. 339</a>.</p>
+
+</div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page287"></a>287</span></p>
+
+<h3>IV.</h3>
+
+<h3>VENETIAN INDEX.</h3>
+<hr class="short" />
+
+<p>I have endeavored to make the following index as useful as
+possible to the traveller, by indicating only the objects which are
+really worth his study. A traveller&rsquo;s interest, stimulated as it
+is into strange vigor by the freshness of every impression, and
+deepened by the sacredness of the charm of association which
+long familiarity with any scene too fatally wears away,<a name="FnAnchor_71" href="#Footnote_71"><span class="sp">71</span></a> is too
+precious a thing to be heedlessly wasted; and as it is physically
+impossible to see and to understand more than a certain quantity
+of art in a given time, the attention bestowed on second-rate
+works, in such a city as Venice, is not merely lost, but actually
+harmful,&mdash;deadening the interest and confusing the memory
+with respect to those which it is a duty to enjoy, and a disgrace
+to forget. The reader need not fear being misled by any omissions;
+for I have conscientiously pointed out every characteristic
+example, even of the styles which I dislike, and have referred to
+Lazari in all instances in which my own information failed: but
+if he is in any wise willing to trust me, I should recommend
+him to devote his principal attention, if he is fond of paintings,
+<span class="pagenum"><a name="page288"></a>288</span>
+to the works of Tintoret, Paul Veronese, and John Bellini; not
+of course neglecting Titian, yet remembering that Titian can be
+well and thoroughly studied in almost any great European
+gallery, while Tintoret and Bellini can be judged of <i>only</i> in
+Venice, and Paul Veronese, though gloriously represented by
+the two great pictures in the Louvre, and many others throughout
+Europe, is yet not to be fully estimated until he is seen at
+play among the fantastic chequers of the Venetian ceilings.</p>
+
+<p>I have supplied somewhat copious notices of the pictures of
+Tintoret, because they are much injured, difficult to read, and
+entirely neglected by other writers on art. I cannot express the
+astonishment and indignation I felt on finding, in Kugler&rsquo;s
+handbook, a paltry cenacolo, painted probably in a couple of
+hours for a couple of zecchins, for the monks of St. Trovaso,
+quoted as characteristic of this master; just as foolish readers
+quote separate stanzas of Peter Bell or the Idiot Boy, as characteristic
+of Wordsworth. Finally, the reader is requested to
+observe, that the dates assigned to the various buildings named
+in the following index, are almost without exception conjectural;
+that is to say, founded exclusively on the internal evidence of
+which a portion has been given in the Final Appendix. It is
+likely, therefore, that here and there, in particular instances,
+further inquiry may prove me to have been deceived; but such
+occasional errors are not of the smallest importance with respect
+to the general conclusions of the preceding pages, which will be
+found to rest on too broad a basis to be disturbed.</p>
+
+
+<h5>A</h5>
+
+<p class="i"><span class="sc">Accademia delle Belle Arti.</span> Notice above the door the
+two bas-reliefs of St. Leonard and St. Christopher, chiefly
+remarkable for their rude cutting at so late a date as 1377;
+but the niches under which they stand are unusual in their
+bent gables, and in little crosses within circles which fill their
+cusps. The traveller is generally too much struck by Titian&rsquo;s
+great picture of the &ldquo;Assumption,&rdquo; to be able to pay proper
+attention to the other works in this gallery. Let him, however,
+ask himself candidly, how much of his admiration is
+<span class="pagenum"><a name="page289"></a>289</span>
+dependent merely upon the picture being larger than any other
+in the room, and having bright masses of red and blue in it:
+let him be assured that the picture is in reality not one whit
+the better for being either large, or gaudy in color; and he
+will then be better disposed to give the pains necessary to discover
+the merit of the more profound and solemn works of
+Bellini and Tintoret. One of the most wonderful works in
+the whole gallery is Tintoret&rsquo;s &ldquo;Death of Abel,&rdquo; on the left of
+the &ldquo;Assumption;&rdquo; the &ldquo;Adam and Eve,&rdquo; on the right of it,
+is hardly inferior; and both are more characteristic examples
+of the master, and in many respects better pictures, than the
+much vaunted &ldquo;Miracle of St. Mark.&rdquo; All the works of
+Bellini in this room are of great beauty and interest. In the
+great room, that which contains Titian&rsquo;s &ldquo;Presentation of the
+Virgin,&rdquo; the traveller should examine carefully all the pictures
+by Vittor Carpaccio and Gentile Bellini, which represent
+scenes in ancient Venice; they are full of interesting architecture
+and costume. Marco Basaiti&rsquo;s &ldquo;Agony in the Garden&rdquo;
+is a lovely example of the religious school. The Tintorets
+in this room are all second rate, but most of the
+Veronese are good, and the large ones are magnificent.</p>
+
+<p class="i"><span class="sc">Aliga</span>. See <span class="sc">Giorgio</span>.</p>
+
+<p class="i"><span class="sc">Alvise, Church of St</span>. I have never been in this church, but
+Lazari dates its interior, with decision, as of the year 1388,
+and it may be worth a glance, if the traveller has time.</p>
+
+<p class="i"><span class="sc">Andrea, Church of St</span>. Well worth visiting for the sake of
+the peculiarly sweet and melancholy effect of its little grass-grown
+campo, opening to the lagoon and the Alps. The
+sculpture over the door, &ldquo;St. Peter walking on the Water,&rdquo;
+is a quaint piece of Renaissance work. Note the distant
+rocky landscape, and the oar of the existing gondola floating
+by St. Andrew&rsquo;s boat. The church is of the later Gothic
+period, much defaced, but still picturesque. The lateral windows
+are bluntly trefoiled, and good of their time.</p>
+
+<p class="i"><span class="sc">Angeli, Church Delgli</span>, at Murano. The sculpture of the
+&ldquo;Annunciation&rdquo; over the entrance-gate is graceful. In exploring
+Murano, it is worth while to row up the great canal
+thus far for the sake of the opening to the lagoon.</p>
+
+<p class="i"><span class="sc">Antonino, Church of St</span>. Of no importance.</p>
+
+<p><span class="pagenum"><a name="page290"></a>290</span></p>
+
+<p class="i"><span class="sc">Apollinare, Church of St</span>. Of no importance.</p>
+
+<p class="i"><span class="sc">Apostoli, Church of the</span>. The exterior is nothing. There
+is said to be a picture by Veronese in the interior, &ldquo;The
+Fall of the Manna.&rdquo; I have not seen it; but, if it be
+of importance, the traveller should compare it carefully with
+Tintoret&rsquo;s, in the Scuola di San Rocco, and San Giorgio Maggiore.</p>
+
+<p class="i"><span class="sc">Apostoli, Palace at</span>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page253">II. 253</a>, on the Grand Canal, near the
+Rialto, opposite the fruit-market. A most important transitional
+palace. Its sculpture in the first story is peculiarly rich
+and curious; I think Venetian, in imitation of Byzantine.
+The sea story and first floor are of the first half of the thirteenth
+century, the rest modern. Observe that only one wing
+of the sea story is left, the other half having been modernized.
+The traveller should land to look at the capital drawn
+in <a href="#plate_2">Plate II.</a> of Vol. III. fig. 7.</p>
+
+<p class="i"><span class="sc">Arsenal</span>. Its gateway is a curiously picturesque example of
+Renaissance workmanship, admirably sharp and expressive in
+its ornamental sculpture; it is in many parts like some of
+the best Byzantine work. The Greek lions in front of it
+appear to me to deserve more praise than they have received;
+though they are awkwardly balanced between conventional and
+imitative representation, having neither the severity proper to
+the one, nor the veracity necessary for the other.</p>
+
+
+<h5>B</h5>
+
+<p class="i"><span class="sc">Badoer, Palazzo</span>, in the Campo San Giovanni in Bragola. A
+magnificent example of the fourteenth century Gothic, circa
+1310-1320, anterior to the Ducal Palace, and showing beautiful
+ranges of the fifth order window, with fragments of the original
+balconies, and the usual lateral window larger than any of
+the rest. In the centre of its arcade on the first floor is the
+inlaid ornament drawn in <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_8">Plate VIII.</a> Vol. I. The fresco
+painting on the walls is of later date; and I believe the heads
+which form the finials have been inserted afterwards also, the
+original windows having been pure fifth order.</p>
+
+<p class="i1">The building is now a ruin, inhabited by the lowest orders;
+the first floor, when I was last in Venice, by a laundress.</p>
+
+<p class="i"><span class="sc">Baffo, Palazzo</span>, in the Campo St. Maurizio. The commonest
+<span class="pagenum"><a name="page291"></a>291</span>
+late Renaissance. A few olive leaves and vestiges of two
+figures still remain upon it, of the frescoes by Paul Veronese,
+with which it was once adorned.</p>
+
+<p class="i"><span class="sc">Balbi, Palazzo</span>, in Volta di Canal. Of no importance.</p>
+
+<p class="i"><span class="sc">Barbarigo, Palazzo</span>, on the Grand Canal, next the Casa Pisani.
+Late Renaissance; noticeable only as a house in which some of
+the best pictures of Titian were allowed to be ruined by damp,
+and out of which they were then sold to the Emperor of Russia.</p>
+
+<p class="i"><span class="sc">Barbaro, Palazzo</span>, on the Grand Canal, next the Palazzo
+Cavalli. These two buildings form the principal objects in
+the foreground of the view which almost every artist seizes
+on his first traverse of the Grand Canal, the Church of the
+Salute forming a most graceful distance. Neither is, however,
+of much value, except in general effect; but the Barbaro
+is the best, and the pointed arcade in its side wall, seen from
+the narrow canal between it and the Cavalli, is good Gothic,
+of the earliest fourteenth century type.</p>
+
+<p class="i"><span class="sc">Barnaba, Church of St</span>. Of no importance.</p>
+
+<p class="i"><span class="sc">Bartolomeo, Church of St</span>. I did not go to look at the
+works of Sebastian del Piombo which it contains, fully crediting
+M. Lazari&rsquo;s statement, that they have been &ldquo;Barbaramente
+sfigurati da mani imperite, che pretendevano ristaurarli.&rdquo; Otherwise
+the church is of no importance.</p>
+
+<p class="i"><span class="sc">Basso, Church of St</span>. Of no importance.</p>
+
+<p class="i"><span class="sc">Battagia, Palazzo</span>, on the Grand Canal. Of no importance.</p>
+
+<p class="i"><span class="sc">Beccherie</span>. See <span class="sc">Querini</span>.</p>
+
+<p class="i"><span class="sc">Bembo, Palazzo</span>, on the Grand Canal, next the Casa Manin. A
+noble Gothic pile, circa 1350-1380, which, before it was painted
+by the modern Venetians with the two most valuable colors of
+Tintoret, Bianco e Nero, by being whitewashed above, and
+turned into a coal warehouse below, must have been among the
+most noble in effect on the whole Grand Canal. It still forms
+a beautiful group with the Rialto, some large shipping being
+generally anchored at its quay. Its sea story and entresol are
+of earlier date, I believe, than the rest; the doors of the former
+are Byzantine (see above, Final Appendix, under head
+&ldquo;Jambs&rdquo;); and above the entresol is a beautiful Byzantine
+cornice, built into the wall, and harmonizing well with the
+Gothic work.</p>
+
+<p><span class="pagenum"><a name="page292"></a>292</span></p>
+
+<p class="i"><span class="sc">Bembo, Palazzo</span>, in the Calle Magno, at the Campo de&rsquo; due Pozzi,
+close to the Arsenal. Noticed by Lazari and Selvatico as having
+a very interesting staircase. It is early Gothic, circa 1330,
+but not a whit more interesting than many others of similar
+date and design. See &ldquo;Contarini Porta de Ferro,&rdquo; &ldquo;Morosini,&rdquo;
+&ldquo;Sanudo,&rdquo; and &ldquo;Minelli.&rdquo;</p>
+
+<p class="i"><span class="sc">Benedetto, Campo of St.</span> Do not fail to see the superb,
+though partially ruinous, Gothic palace fronting this little
+square. It is very late Gothic, just passing into Renaissance;
+unique in Venice, in masculine character, united with the delicacy
+of the incipient style. Observe especially the brackets
+of the balconies, the flower-work on the cornices, and the arabesques
+on the angles of the balconies themselves.</p>
+
+<p class="i"><span class="sc">Benedetto, Church of St.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Bernardo, Palazzo</span>, on the Grand Canal. A very noble pile of
+early fifteenth century Gothic, founded on the Ducal Palace.
+The traceries in its lateral windows are both rich and unusual.</p>
+
+<p class="i"><span class="sc">Bernardo, Palazzo</span>, at St. Polo. A glorious palace, on a narrow
+canal, in a part of Venice now inhabited by the lower
+orders only. It is rather late Central Gothic, circa 1380-1400,
+but of the finest kind, and superb in its effect of color when
+seen from the side. A capital in the interior court is much
+praised by Selvatico and Lazari, because its &ldquo;foglie d&rsquo;acanto&rdquo;
+(anything by the by, <i>but</i> acanthus), &ldquo;quasi agitate de vento si
+attorcigliano d&rsquo;intorno alla campana, <i>concetto non indegno
+della bell&rsquo;epoca greca</i>!&rdquo; Does this mean &ldquo;epoca Bisantina?&rdquo;
+The capital is simply a translation into Gothic sculpture of the
+Byzantine ones of St. Mark&rsquo;s and the Fondaco de&rsquo; Turchi
+(see <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#plate_8">Plate VIII.</a> Vol. I. fig. 14), and is far inferior to either.
+But, taken as a whole, I think that, after the Ducal Palace, this
+is the noblest in effect of all in Venice.</p>
+
+<p class="i"><span class="sc">Brenta</span>, Banks of the, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page354">I. 354</a>. Villas on the, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page354">I. 354</a>.</p>
+
+<p class="i"><span class="sc">Businello, Casa</span>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page391">II. 391</a>.</p>
+
+<p class="i"><span class="sc">Byzantine Palaces</span> generally, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page118">II. 118</a>.</p>
+
+
+<h5>C</h5>
+
+<p class="i"><span class="sc">Camerlenghi, Palace of the</span>, beside the Rialto. A graceful
+work of the early Renaissance (1525) passing into Roman
+Renaissance. Its details are inferior to most of the work of
+<span class="pagenum"><a name="page293"></a>293</span>
+the school. The &ldquo;Camerlenghi,&rdquo; properly &ldquo;Camerlenghi di
+Comune,&rdquo; were the three officers or ministers who had care of
+the administration of public expenses.</p>
+
+<p class="i"><span class="sc">Cancellaria</span>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page293">II. 293</a>.</p>
+
+<p class="i"><span class="sc">Canciano, Church of St.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Cappello, Palazzo</span>, at St. Aponal. Of no interest. Some say
+that Bianca Cappello fled from it; but the tradition seems to
+fluctuate between the various houses belonging to her family.</p>
+
+<p class="i"><span class="sc">Carità, Church of the</span>. Once an interesting Gothic church of
+the fourteenth century, lately defaced, and applied to some of
+the usual <span class="correction" title="changed from inportant">important</span> purposes of the modern Italians. The
+effect of its ancient façade may partly be guessed at from the
+pictures of Canaletto, but only guessed at; Canaletto being less
+to be trusted for renderings of details, than the rudest and
+most ignorant painter of the thirteenth century.</p>
+
+<p class="i"><span class="sc">Carmini, Church of the.</span> A most interesting church of late
+thirteenth century work, but much altered and defaced. Its
+nave, in which the early shafts and capitals of the pure truncate
+form are unaltered, is very fine in effect; its lateral porch
+is quaint and beautiful, decorated with Byzantine circular
+sculptures (of which the central one is given in Vol. II. <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_11">Plate
+XI.</a> fig. 5), and supported on two shafts whose capitals are
+the most archaic examples of the pure Rose form that I know
+in Venice.</p>
+
+<p class="i1">There is a glorious Tintoret over the first altar on the right
+in entering; the &ldquo;Circumcision of Christ.&rdquo; I do not know
+an aged head either more beautiful or more picturesque than
+that of the high priest. The cloister is full of notable tombs,
+nearly all dated; one, of the fifteenth century, to the left on
+entering, is interesting from the color still left on the leaves
+and flowers of its sculptured roses.</p>
+
+<p class="i"><span class="sc">Cassano, Church of St.</span> This church must on no account be
+missed, as it contains three Tintorets, of which one, the
+&ldquo;Crucifixion,&rdquo; is among the finest in Europe. There is nothing
+worth notice in the building itself, except the jamb of an
+ancient door (left in the Renaissance buildings, facing the
+canal), which has been given among the examples of Byzantine
+jambs; and the traveller may, therefore, devote his entire
+attention to the three pictures in the chancel.</p>
+
+<p><span class="pagenum"><a name="page294"></a>294</span></p>
+
+<p class="i1">1. <i>The Crucifixion.</i> (On the left of the high altar.) It is
+refreshing to find a picture taken care of, and in a bright
+though not a good light, so that such parts of it as are seen at
+all are seen well. It is also in a better state than most pictures
+in galleries, and most remarkable for its new and strange
+treatment of the subject. It seems to have been painted more
+for the artist&rsquo;s own delight, than with any labored attempt at
+composition; the horizon is so low that the spectator must
+fancy himself lying at full length on the grass, or rather among
+the brambles and luxuriant weeds, of which the foreground is
+entirely composed. Among these, the seamless robe of Christ
+has fallen at the foot of the cross; the rambling briars and wild
+grasses thrown here and there over its folds of rich, but pale,
+crimson. Behind them, and seen through them, the heads of
+a troop of Roman soldiers are raised against the sky; and,
+above them, their spears and halberds form a thin forest
+against the horizontal clouds. The three crosses are put on
+the extreme right of the picture, and its centre is occupied
+by the executioners, one of whom, standing on a ladder, receives
+from the other at once the sponge and the tablet with
+the letters INRI. The Madonna and St. John are on the extreme
+left, superbly painted, like all the rest, but quite subordinate.
+In fact, the whole mind of the painter seems to
+have been set upon making the principals accessary, and the
+accessaries principal. We look first at the grass, and then at
+the scarlet robe; and then at the clump of distant spears, and
+then at the sky, and last of all at the cross. As a piece of
+color, the picture is notable for its extreme modesty. There
+is not a single very full or bright tint in any part, and yet the
+color is delighted in throughout; not the slightest touch <span class="correction" title="corrected from os">of</span> it
+but is delicious. It is worth notice also, and especially, because
+this picture being in a fresh state we are sure of one fact, that,
+like nearly all other great colorists, Tintoret was afraid of
+light greens in his vegetation. He often uses dark blue greens
+in his shadowed trees, but here where the grass is in full light,
+it is all painted with various hues of sober brown, more especially
+where it crosses the crimson robe. The handling of the
+whole is in his noblest manner; and I consider the picture
+generally quite beyond all price. It was cleaned, I believe,
+<span class="pagenum"><a name="page295"></a>295</span>
+some years ago, but not injured, or at least as little injured as
+it is possible for a picture to be which has undergone any
+cleaning process whatsoever.</p>
+
+<p class="i1">2. <i>The Resurrection.</i> (Over the high altar.) The lower
+part of this picture is entirely concealed by a miniature temple,
+about five feet high, on the top of the altar; certainly an insult
+little expected by Tintoret, as, by getting on steps, and
+looking over the said temple, one may see that the lower figures
+of the picture are the most labored. It is strange that the
+painter never seemed able to conceive this subject with any
+power, and in the present work he is marvellously hampered
+by various types and conventionalities. It is not a painting of
+the Resurrection, but of Roman Catholic saints, <i>thinking</i>
+about the Resurrection. On one side of the tomb is a bishop
+in full robes, on the other a female saint, I know not who;
+beneath it, an angel playing on an organ, and a cherub blowing
+it; and other cherubs flying about the sky, with flowers; the
+whole conception being a mass of Renaissance absurdities. It
+is, moreover, heavily painted, over-done, and over-finished;
+and the forms of the cherubs utterly heavy and vulgar. I
+cannot help fancying the picture has been restored in some
+way or another, but there is still great power in parts of it.
+If it be a really untouched Tintoret, it is a highly curious example
+of failure from over-labor on a subject into which his
+mind was not thrown: the color is hot and harsh, and felt to
+be so more painfully, from its opposition to the grand coolness
+and chastity of the &ldquo;Crucifixion.&rdquo; The face of the angel
+playing the organ is highly elaborated; so, also, the flying
+cherubs.</p>
+
+<p class="i1">3. <i>The Descent into Hades.</i> (On the right-hand side of the
+high altar.) Much injured and little to be regretted. I never
+was more puzzled by any picture, the painting being throughout
+careless, and in some places utterly bad, and yet not like
+modern work; the principal figure, however, of Eve, has either
+been redone, or is scholar&rsquo;s work altogether, as, I suspect, most
+of the rest of the picture. It looks as if Tintoret had sketched
+it when he was ill, left it to a bad scholar to work on with, and
+then finished it in a hurry; but he has assuredly had something
+to do with it; it is not likely that anybody else would have refused
+<span class="pagenum"><a name="page296"></a>296</span>
+all aid from the usual spectral company with which common
+painters fill the scene. Bronzino, for instance, covers his
+canvas with every form of monster that his sluggish imagination
+could coin. Tintoret admits only a somewhat haggard Adam,
+a graceful Eve, two or three Venetians in court dress, seen
+amongst the smoke, and a Satan represented as a handsome
+youth, recognizable only by the claws on his feet. The picture
+is dark and spoiled, but I am pretty sure there are no demons
+or spectres in it. This is quite in accordance with the master&rsquo;s
+caprice, but it considerably diminishes the interest of a work
+in other ways unsatisfactory. There may once have been
+something impressive in the shooting in of the rays at the top
+of the cavern, as well as in the strange grass that grows in the
+bottom, whose infernal character is indicated by its all being
+knotted together; but so little of these parts can be seen, that
+it is not worth spending time on a work certainly unworthy of
+the master, and in great part probably never seen by him.</p>
+
+<p class="i"><span class="sc">Cattarina, Church of St.</span>, said to contain a <i>chef-d&rsquo;&oelig;uvre</i> of
+Paul Veronese, the &ldquo;Marriage of St. Catherine.&rdquo; I have not
+seen it.</p>
+
+<p class="i"><span class="sc">Cavalli, Palazzo</span>, opposite the Academy of Arts. An imposing
+pile, on the Grand Canal, of Renaissance Gothic, but of
+little merit in the details; and the effect of its traceries has
+been of late destroyed by the fittings of modern external blinds.
+Its balconies are good, of the later Gothic type. See &ldquo;<span class="sc">Barbaro.</span>&rdquo;</p>
+
+<p class="i"><span class="sc">Cavalli, Palazzo</span>, next the Casa Grimani (or Post-Office), but
+on the other side of the narrow canal. Good Gothic, founded
+on the Ducal Palace, circa 1380. The capitals of the first
+story are remarkably rich in the deep fillets at the necks. The
+crests, heads of sea-horses, inserted between the windows, appear
+to be later, but are very fine of their kind.</p>
+
+<p class="i"><span class="sc">Cicogna, Palazzo</span>, at San Sebastiano, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page265">II. 265</a>.</p>
+
+<p class="i"><span class="sc">Clemente, Church of St.</span> On an island to the south of
+Venice, from which the view of the city is peculiarly beautiful.
+See &ldquo;<span class="sc">Scalzi.</span>&rdquo;</p>
+
+<p class="i"><span class="sc">Contarini Porta di Ferro, Palazzo</span>, near the Church of St.
+John and Paul, so called from the beautiful ironwork on a
+door, which was some time ago taken down by the proprietor
+<span class="pagenum"><a name="page297"></a>297</span>
+and sold. Mr. Rawdon Brown rescued some of the ornaments
+from the hands of the blacksmith, who had bought them for
+old iron. The head of the door is a very interesting stone
+arch of the early thirteenth century, already drawn in my
+folio work. In the interior court is a beautiful remnant of
+staircase, with a piece of balcony at the top, circa 1350, and
+one of the most richly and carefully wrought in Venice. The
+palace, judging by these remnants (all that are now left of it,
+except a single traceried window of the same date at the turn
+of the stair), must once have been among the most magnificent
+in Venice.</p>
+
+<p class="i"><span class="sc">Contarini (delle Figure), Palazzo</span>, on the Grand Canal,
+III. 17.</p>
+
+<p class="i"><span class="sc">Contarini dai Scrigni, Palazzo</span>, on the Grand Canal. A
+Gothic building, founded on the Ducal Palace. Two Renaissance
+statues in niches at the sides give it its name.</p>
+
+<p class="i"><span class="sc">Contarini Fasan, Palazzo</span>, on the Grand Canal, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page244">II. 244</a>.
+The richest work of the fifteenth century domestic Gothic in
+Venice, but notable more for richness than excellence of design.
+In one respect, however, it deserves to be regarded with attention,
+as showing how much beauty and dignity may be
+bestowed on a very small and unimportant dwelling-house by
+Gothic sculpture. Foolish criticisms upon it have appeared
+in English accounts of foreign buildings, objecting to it on the
+ground of its being &ldquo;ill-proportioned;&rdquo; the simple fact being,
+that there was no room in this part of the canal for a wider
+house, and that its builder made its rooms as comfortable as
+he could, and its windows and balconies of a convenient size
+for those who were to see through them, and stand on them,
+and left the &ldquo;proportions&rdquo; outside to take care of themselves;
+which, indeed, they have very sufficiently done; for though
+the house thus honestly confesses its diminutiveness, it is
+nevertheless one of the principal ornaments of the very noblest
+reach of the Grand Canal, and would be nearly as great a loss,
+if it were destroyed, as the Church of La Salute itself.</p>
+
+<p class="i"><span class="sc">Contarini, Palazzo</span>, at St. Luca. Of no importance.</p>
+
+<p class="i"><span class="sc">Corner della Ca&rsquo; grande, Palazzo</span>, on the Grand Canal.
+One of the worst and coldest buildings of the central Renaissance,
+It is on a grand scale, and is a conspicuous object,
+<span class="pagenum"><a name="page298"></a>298</span>
+rising over the roofs of the neighboring houses in the various
+aspects of the entrance of the Grand Canal, and in the general
+view of Venice from San Clemente.</p>
+
+<p class="i"><span class="sc">Corner della Regina, Palazzo.</span> A late Renaissance building
+of no merit or interest.</p>
+
+<p class="i"><span class="sc">Corner Mocenigo, Palazzo</span>, at St. Polo. Of no interest.</p>
+
+<p class="i"><span class="sc">Corner Spinelli, Palazzo</span>, on the Grand Canal. A graceful
+and interesting example of the early Renaissance, remarkable
+for its pretty circular balconies.</p>
+
+<p class="i"><span class="sc">Corner, Raccolta.</span> I must refer the reader to M. Lazari&rsquo;s
+Guide for an account of this collection, which, however, ought
+only to be visited if the traveller is not pressed for time.</p>
+
+
+<h5>D</h5>
+
+<p class="i"><span class="sc">Dandolo, Palazzo</span>, on the Grand Canal. Between the Casa
+Loredan and Casa Bembo is a range of modern buildings,
+some of which occupy, I believe, the site of the palace once
+inhabited by the Doge Henry Dandolo. Fragments of early
+architecture of the Byzantine school may still be traced in
+many places among their foundations, and two doors in the
+foundation of the Casa Bembo itself belong to the same group.
+There is only one existing palace, however, of any value, on
+this spot, a very small but rich Gothic one of about 1300, with
+two groups of fourth order windows in its second and third
+stories, and some Byzantine circular mouldings built into it
+above. This is still reported to have belonged to the family
+of Dandolo, and ought to be carefully preserved, as it is one
+of the most interesting and ancient Gothic palaces which yet
+remain.</p>
+
+<p class="i"><span class="sc">Danieli, Albergo.</span> See <span class="sc">Nani</span>.</p>
+
+<p class="i"><span class="sc">Da Ponte, Palazzo.</span> Of no interest.</p>
+
+<p class="i"><span class="sc">Dario, Palazzo</span>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page370">I. 370</a>; <a href="#page211">III. 211</a>.</p>
+
+<p class="i"><span class="sc">Dogana di Mare</span>, at the separation of the Grand Canal from
+the Giudecca. A barbarous building of the time of the Grotesque
+Renaissance (1676), rendered interesting only by its
+position. The statue of Fortune, forming the weathercock,
+standing on the world, is alike characteristic of the conceits of
+the time, and of the hopes and principles of the last days of
+Venice.</p>
+
+<p class="i"><span class="pagenum"><a name="page299"></a>299</span></p>
+
+<p class="i"><span class="sc">Donato, Church of St.</span>, at Murano, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page031">II. 31</a>.</p>
+
+<p class="i"><span class="sc">Dona&rsquo;, Palazzo</span>, on the Grand Canal. I believe the palace
+described under this name as of the twelfth century, by M.
+Lazari, is that which I have called the Braided House, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page132">II. 132</a>,
+<a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page392">392</a>.</p>
+
+<p class="i"><span class="sc">D&rsquo;Oro Casa.</span> A noble pile of very quaint Gothic, once superb
+in general effect, but now destroyed by restorations. I saw the
+beautiful slabs of red marble, which formed the bases of its
+balconies, and were carved into noble spiral mouldings of
+strange sections, half a foot deep, dashed to pieces when I was
+last in Venice; its glorious interior staircase, by far the most
+interesting Gothic monument of the kind in Venice, had been
+carried away, piece by piece, and sold for waste marble, two
+years before. Of what remains, the most beautiful portions
+are, or were, when I last saw them, the capitals of the windows
+in the upper story, most glorious sculpture of the fourteenth
+century. The fantastic window traceries are, I think, later;
+but the rest of the architecture of this palace is anomalous, and
+I cannot venture to give any decided opinion respecting it.
+Parts of its mouldings are quite Byzantine in character, but
+look somewhat like imitations.</p>
+
+<p class="i"><span class="sc">Ducal Palace</span>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page029">I. 29</a>; history of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page282">II. 282</a>, etc.; <a href="#page199">III. 199</a>; plan
+and section of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page282">II. 282</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page283">283</a>; description of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page304">II. 304</a>, etc.; series
+of its capitals, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page332">II. 332</a>, etc.; spandrils of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page299">I. 299</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page415">415</a>; shafts
+of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page413">I. 413</a>; traceries of, derived from those of the Frari, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page234">II.
+234</a>; angles of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page239">II. 239</a>; main balcony of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page245">II. 245</a>; base of, III.
+212; Rio Façade of, <a href="#page025">III. 25</a>; paintings in, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page372">II. 372</a>. The multitude
+of works by various masters, which cover the walls of
+this palace is so great, that the traveller is in general merely
+wearied and confused by them. He had better refuse all attention
+except to the following works:</p>
+
+<p class="i1">1. <i>Paradise</i>, by Tintoret; at the extremity of the Great
+Council chamber. I found it impossible to count the number
+of figures in this picture, of which the grouping is so intricate,
+that at the upper part it is not easy to distinguish one figure
+from another; but I counted 150 important figures in one half
+of it alone; so that, as there are nearly as many in subordinate
+position, the total number cannot be under 500. I believe this
+is, on the whole, Tintoret&rsquo;s <i>chef-d&rsquo;&oelig;uvre</i>; though it is so vast
+<span class="pagenum"><a name="page300"></a>300</span>
+that no one takes the trouble to read it, and therefore less
+wonderful pictures are preferred to it. I have not myself been
+able to study except a few fragments of it, all executed in his
+finest manner; but it may assist a hurried observer to point
+out to him that the whole composition is divided into concentric
+zones, represented one above another like the stories of a
+cupola, round the figures of Christ and the Madonna, at the
+central and highest point: both these figures are exceedingly
+dignified and beautiful. Between each zone or belt of the
+nearer figures, the white distances of heaven are seen filled
+with floating spirits. The picture is, on the whole, wonderfully
+preserved, and the most precious thing that Venice possesses.
+She will not possess it long; for the Venetian academicians,
+finding it exceedingly unlike their own works, declare
+it to want harmony, and are going to retouch it to their own
+ideas of perfection.</p>
+
+<p class="i1">2. <i>Siege of Zara</i>; the first picture on the right on entering
+the Sala del Scrutinio. It is a mere battle piece, in which the
+figures, like the arrows, are put in by the score. There are
+high merits in the thing, and so much invention that it is
+possible Tintoret may have made the sketch for it; but, if executed
+by him at all, he has done it merely in the temper in
+which a sign-painter meets the wishes of an ambitious landlord.
+He seems to have been ordered to represent all the
+events of the battle at once; and to have felt that, provided
+he gave men, arrows, and ships enough, his employers would
+be perfectly satisfied. The picture is a vast one, some thirty
+feet by fifteen.</p>
+
+<p class="i1">Various other pictures will be pointed out by the custode,
+in these two rooms, as worthy of attention, but they are only
+historically, not artistically, interesting. The works of Paul
+Veronese on the ceiling have been repainted; and the rest of
+the pictures on the walls are by second-rate men. The traveller
+must, once for all, be warned against mistaking the works
+of Domenico Robusti (Domenico Tintoretto), a very miserable
+painter, for those of his illustrious father, Jacopo.</p>
+
+<p class="i1">3. <i>The Doge Grimani kneeling before Faith</i>, by Titian; in
+the Sala delle quattro Porte. To be observed with care, as
+one of the most striking examples of Titian&rsquo;s want of feeling
+<span class="pagenum"><a name="page301"></a>301</span>
+and coarseness of conception. (See above, Vol. <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page012">I. p. 12</a>.) As
+a work of mere art, it is, however, of great value. The traveller
+who has been accustomed to deride Turner&rsquo;s indistinctness
+of touch, ought to examine carefully the mode of painting
+the Venice in the distance at the bottom of this picture.</p>
+
+<p class="i1">4. <i>Frescoes on the Roof of the Sala delle quattro Porte</i>, by
+Tintoret. Once magnificent beyond description, now mere
+wrecks (the plaster crumbling away in large flakes), but yet
+deserving of the most earnest study.</p>
+
+<p class="i1">5. <i>Christ taken down from the Cross</i>, by Tintoret; at the
+upper end of the Sala dei Pregadi. One of the most interesting
+mythic pictures of Venice, two doges being represented beside
+the body of Christ, and a most noble painting; executed,
+however, for distant effect, and seen best from the end of the
+room.</p>
+
+<p class="i1">6. <i>Venice, Queen of the Sea</i>, by Tintoret. Central compartment
+of the ceiling, in the Sala dei Pregadi. Notable for the
+sweep of its vast green surges, and for the daring character of
+its entire conception, though it is wild and careless, and in
+many respects unworthy of the master. Note the way in which
+he has used the fantastic forms of the sea weeds, with respect
+to what was above stated (III. 158), as to his love of the grotesque.</p>
+
+<p class="i1">7. <i>The Doge Loredano in Prayer to the Virgin</i>, by Tintoret;
+in the same room. Sickly and pale in color, yet a grand work;
+to be studied, however, more for the sake of seeing what a
+great man does &ldquo;to order,&rdquo; when he is wearied of what is required
+from him, than for its own merit.</p>
+
+<p class="i1">8. <i>St. George and the Princess.</i> There are, besides the
+&ldquo;Paradise,&rdquo; only six pictures in the Ducal Palace, as far as I
+know, which Tintoret painted carefully, and those are all exceedingly
+fine: the most finished of these are in the Anti-Collegio;
+but those that are most majestic and characteristic of
+the master are two oblong ones, made to fill the panels of the
+walls in the Anti-Chiesetta; these two, each, I suppose, about
+eight feet by six, are in his most quiet and noble manner.
+There is excessively little color in them, their prevalent tone
+being a greyish brown opposed with grey, black, and a very warm
+russet. They are thinly painted, perfect in tone, and quite
+<span class="pagenum"><a name="page302"></a>302</span>
+untouched. The first of them is &ldquo;St. George and the Dragon,&rdquo;
+the subject being treated in a new and curious way. The principal
+figure is the princess, who sits astride on the dragon&rsquo;s
+neck, holding him by a bridle of silken riband; St. George
+stands above and behind her, holding his hands over her head
+as if to bless her, or to keep the dragon quiet by heavenly
+power; and a monk stands by on the right, looking gravely
+on. There is no expression or life in the dragon, though the
+white flashes in its eye are very ghastly: but the whole thing
+is entirely typical; and the princess is not so much represented
+riding on the dragon, as supposed to be placed by St. George
+in an attitude of perfect victory over her chief enemy. She
+has a full rich dress of dull red, but her figure is somewhat
+ungraceful. St. George is in grey armor and grey drapery,
+and has a beautiful face; his figure entirely dark against the
+distant sky. There is a study for this picture in the Manfrini
+Palace.</p>
+
+<p class="i1">9. <i>St. Andrew and St. Jerome.</i> This, the companion picture,
+has even less color than its opposite. It is nearly all
+brown and grey; the fig-leaves and olive-leaves brown, the
+faces brown, the dresses brown, and St. Andrew holding a
+great brown cross. There is nothing that can be called color,
+except the grey of the sky, which approaches in some places a
+little to blue, and a single piece of dirty brick-red in St.
+Jerome&rsquo;s dress; and yet Tintoret&rsquo;s greatness hardly ever shows
+more than in the management of such sober tints. I would
+rather have these two small brown pictures, and two others in
+the Academy perfectly brown also in their general tone&mdash;the
+&ldquo;Cain and Abel&rdquo; and the &ldquo;Adam and Eve,&rdquo;&mdash;than all the
+other small pictures in Venice put together, which he painted
+in bright colors, for altar pieces; but I never saw two pictures
+which so nearly approached grisailles as these, and yet were
+delicious pieces of color. I do not know if I am right in calling
+one of the saints St. Andrew. He stands holding a great
+upright wooden cross against the sky. St. Jerome reclines at
+his feet, against a rock, over which some glorious fig leaves and
+olive branches are shooting; every line of them studied with
+the most exquisite care, and yet cast with perfect freedom.</p>
+
+<p class="i1">10. <i>Bacchus and Ariadne.</i> The most beautiful of the four
+<span class="pagenum"><a name="page303"></a>303</span>
+careful pictures by Tintoret, which occupy the angles of the
+Anti-Collegio. Once one of the noblest pictures in the world,
+but now miserably faded, the sun being allowed to fall on it
+all day long. The design of the forms of the leafage round
+the head of the Bacchus, and the floating grace of the female
+figure above, will, however, always give interest to this picture,
+unless it be repainted.</p>
+
+<p class="i1">The other three Tintorets in this room are careful and fine,
+but far inferior to the &ldquo;Bacchus;&rdquo; and the &ldquo;Vulcan and the
+Cyclops&rdquo; is a singularly meagre and vulgar study of common
+models.</p>
+
+<p class="i1">11. <i>Europa</i>, by Paul Veronese: in the same room. One of
+the very few pictures which both possess and deserve a high
+reputation.</p>
+
+<p class="i1">12. <i>Venice enthroned</i>, by Paul Veronese; on the roof of the
+same room. One of the grandest pieces of frank color in the
+Ducal Palace.</p>
+
+<p class="i1">13. <i>Venice, and the Doge Sebastian Venier</i>; at the upper
+end of the Sala del Collegio. An unrivalled Paul Veronese,
+far finer even than the &ldquo;Europa.&rdquo;</p>
+
+<p class="i1">14. <i>Marriage of St. Catherine</i>, by Tintoret; in the same
+room. An inferior picture, but the figure of St. Catherine is
+quite exquisite. Note how her veil falls over her form, showing
+the sky through it, as an alpine cascade falls over a marble
+rock.</p>
+
+<p class="i1">There are three other Tintorets on the walls of this room,
+but all inferior, though full of power. Note especially the
+painting of the lion&rsquo;s wings, and of the colored carpet, in the
+one nearest the throne, the Doge Alvise Mocenigo adoring the
+Redeemer.</p>
+
+<p class="i1">The roof is entirely by Paul Veronese, and the traveller who
+really loves painting, ought to get leave to come to this room
+whenever he chooses; and should pass the sunny summer
+mornings there again and again, wandering now and then into
+the Anti-Collegio and Sala dei Pregadi, and coming back to
+rest under the wings of the couched lion at the feet of the
+&ldquo;Mocenigo.&rdquo; He will no otherwise enter so deeply into the
+heart of Venice.</p>
+
+
+<p><span class="pagenum"><a name="page304"></a>304</span></p>
+
+<h5>E</h5>
+
+<p class="i"><span class="sc">Emo, Palazzo</span>, on the Grand Canal. Of no interest.</p>
+
+<p class="i"><span class="sc">Erizzo, Palazzo</span>, near the Arsenal, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page262">II. 262</a>.</p>
+
+<p class="i"><span class="sc">Erizzo, Palazzo</span>, on the Grand Canal, nearly opposite the Fondaco
+de&rsquo; Turchi. A Gothic palace, with a single range of
+windows founded on the Ducal traceries, and bold capitals.
+It has been above referred to in the notice of tracery bars.</p>
+
+<p class="i"><span class="sc">Eufemia, Church of St.</span> A small and defaced, but very curious,
+early Gothic church on the Giudecca. Not worth visiting,
+unless the traveller is seriously interested in architecture.</p>
+
+<p class="i"><span class="sc">Europa, Albergo, all&rsquo;.</span> Once a Giustiniani Palace. Good
+Gothic, circa 1400, but much altered.</p>
+
+<p class="i"><span class="sc">Evangelisti, Casa degli</span>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page265">II. 265</a>.</p>
+
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="caption1">XII.</td>
+</tr>
+<tr>
+  <td class="figcenter">
+    <a name="plate_12"><img src="images/img304.jpg" width="422" height="650" alt="CAPITALS OF FONDACO DE' TURCHI." title="CAPITALS OF FONDACO DE' TURCHI." /></a></td>
+</tr>
+<tr>
+  <td class="caption">CAPITALS OF FONDACO DE&rsquo; TURCHI.</td>
+</tr>
+</table>
+
+<h5>F</h5>
+
+<p class="i"><span class="sc">Facanon, Palazzo (alla Fava).</span> A fair example of the fifteenth
+century Gothic, founded on Ducal Palace.</p>
+
+<p class="i"><span class="sc">Falier, Palazzo</span>, at the Apostoli. Above, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page253">II. 253</a>.</p>
+
+<p class="i"><span class="sc">Fantino, Church of St.</span> Said to contain a John Bellini,
+otherwise of no importance.</p>
+
+<p class="i"><span class="sc">Farsetti, Palazzo</span>, on the Grand Canal, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page124">II. 124</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page393">393</a>.</p>
+
+<p class="i"><span class="sc">Fava, Church of St.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Felice, Church of St.</span> Said to contain a Tintoret, which, if
+untouched, I should conjecture, from Lazari&rsquo;s statement of its
+subject, St. Demetrius armed, with one of the Ghisi family in
+prayer, must be very fine. Otherwise the church is of no importance.</p>
+
+<p class="i"><span class="sc">Ferro, Palazzo</span>, on the Grand Canal. Fifteenth century
+Gothic, very hard and bad.</p>
+
+<p class="i"><span class="sc">Flangini, Palazzo</span>, on the Grand Canal. Of no importance.</p>
+
+<p class="i"><span class="sc">Fondaco de&rsquo; Turchi</span>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page328">I. 328</a>; <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page120">II. 120</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page121">121</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page236">236</a>. The opposite
+plate, representing three of its capitals, has been several times
+referred to.</p>
+
+<p class="i"><span class="sc">Fondaco de&rsquo; Tedeschi.</span> A huge and ugly building near the
+Rialto, rendered, however, peculiarly interesting by remnants
+of the frescoes by Giorgione with which it was once covered.
+See Vol. <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page080">II. 80</a>, and <a href="#page023">III. 23</a>.</p>
+
+<p class="i"><span class="sc">Formosa, Church of Santa Maria</span>, <a href="#page113">III. 113</a>, <a href="#page122">122</a>,</p>
+
+<p><span class="pagenum"><a name="page305"></a>305</span></p>
+
+<p class="i"><span class="sc">Fosca, Church of St.</span> Notable for its exceedingly picturesque
+campanile, of late Gothic, but uninjured by restorations, and
+peculiarly Venetian in being crowned by the cupola instead of
+the pyramid, which would have been employed at the same
+period in any other Italian city.</p>
+
+<p class="i"><span class="sc">Foscari, Palazzo</span>, on the Grand Canal. The noblest example
+in Venice of the fifteenth century Gothic, founded on the
+Ducal Palace, but lately restored and spoiled, all but the stone-work
+of the main windows. The restoration was necessary,
+however: for, when I was in Venice in 1845, this palace was a
+foul ruin; its great hall a mass of mud, used as a back receptacle
+of a stone-mason&rsquo;s yard; and its rooms whitewashed, and
+scribbled over with indecent caricatures. It has since been
+partially strengthened and put in order; but as the Venetian
+municipality have now given it to the Austrians to be used as
+barracks, it will probably soon be reduced to its former condition.
+The lower palaces at the side of this building are said
+by some to have belonged to the younger Foscari. See
+&ldquo;<span class="sc">Giustiniani.</span>&rdquo;</p>
+
+<p class="i"><span class="sc">Francesco della Vigna, Church of St.</span> Base Renaissance,
+but must be visited in order to see the John Bellini in the
+Cappella Santa. The late sculpture, in the Cappella Giustiniani,
+appears from Lazari&rsquo;s statement to be deserving of careful
+study. This church is said also to contain two pictures by
+Paul Veronese.</p>
+
+<p class="i"><span class="sc">Frari, Church of the.</span> Founded in 1250, and continued at
+various subsequent periods. The apse and adjoining chapels
+are the earliest portions, and their traceries have been above
+noticed (II. 234) as the origin of those of the Ducal Palace.
+The best view of the apse, which is a very noble example of
+Italian Gothic, is from the door of the Scuola di San Rocco.
+The doors of the church are all later than any other portion of
+it, very elaborate Renaissance Gothic. The interior is good
+Gothic, but not interesting, except in its monuments. Of
+these, the following are noticed in the text of this volume:</p>
+
+<p class="i1">That of Duccio degli Alberti, at pages 74, 80; of the
+unknown Knight, opposite that of Duccio, <a href="#page074">III. 74</a>; of Francesco
+Foscari, <a href="#page084">III. 84</a>; of Giovanni Pesaro, 91; of Jacopo
+Pesaro, 92.</p>
+
+<p><span class="pagenum"><a name="page306"></a>306</span></p>
+
+<p class="i1">Besides these tombs, the traveller ought to notice carefully
+that of Pietro Bernardo, a first-rate example of Renaissance
+work; nothing can be more detestable or mindless in general
+design, or more beautiful in execution. Examine especially
+the griffins, fixed in admiration of bouquets, at the bottom.
+The fruit and flowers which arrest the attention of the griffins
+may well arrest the traveller&rsquo;s also; nothing can be finer of
+their kind. The tomb of Canova, <i>by</i> Canova, cannot be
+missed; consummate in science, intolerable in affectation, ridiculous
+in conception, null and void to the uttermost in invention
+and feeling. The equestrian statue of Paolo Savelli is
+spirited; the monument of the Beato Pacifico, a curious example
+of Renaissance Gothic with wild crockets (all in terra
+cotta). There are several good Vivarini&rsquo;s in the church, but
+its chief pictorial treasure is the John Bellini in the sacristy,
+the most finished and delicate example of the master in Venice.</p>
+
+
+<h5>G</h5>
+
+<p class="i"><span class="sc">Geremia, Church of St.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Gesuati, Church of The.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Giacomo de Lorio, Church of St.</span>, a most interesting church,
+of the early thirteenth century, but grievously restored. Its
+capitals have been already noticed as characteristic of the
+earliest Gothic; and it is said to contain four works of Paul
+Veronese, but I have not examined them. The pulpit is admired
+by the Italians, but is utterly worthless. The verdantique
+pillar, in the south transept, is a very noble example
+of the &ldquo;Jewel Shaft.&rdquo; See the note at p. 83, Vol. II.</p>
+
+<p class="i"><span class="sc">Giacomo di Rialto, Church of St.</span> A picturesque little
+church, on the Piazza di Rialto. It has been grievously restored,
+but the pillars and capitals of its nave are certainly of
+the eleventh century; those of its portico are of good central
+Gothic; and it will surely not be left unvisited, on this ground,
+if on no other, that it stands on the site, and still retains the
+name, of the first church ever built on that Rialto which
+formed the nucleus of future Venice, and became afterwards
+the mart of her merchants.</p>
+
+<p class="i"><span class="sc">Giobbe, Church of St.</span>, near the Cana Reggio. Its principal
+entrance is a very fine example of early Renaissance sculpture.
+<span class="pagenum"><a name="page307"></a>307</span>
+Note in it, especially, its beautiful use of the flower of
+the convolvulus. There are said to be still more beautiful
+examples of the same period, in the interior. The cloister,
+though much defaced, is of the Gothic period, and worth a
+glance.</p>
+
+<p class="i"><span class="sc">Giorgio de&rsquo; Greci, Church of St.</span> The Greek Church. It
+contains no valuable objects of art, but its service is worth
+attending by those who have never seen the Greek ritual.</p>
+
+<p class="i"><span class="sc">Giorgio de&rsquo; Schiavoni, Church of St.</span> Said to contain a
+very precious series of paintings by Victor Carpaccio. Otherwise
+of no interest.</p>
+
+<p class="i"><span class="sc">Giorgio in Aliga</span> (St. George in the seaweed), <span class="sc">Church of St.</span>
+Unimportant in itself, but the most beautiful view of Venice
+at sunset is from a point at about two thirds of the distance
+from the city to the island.</p>
+
+<p class="i"><span class="sc">Giorgio Maggiore, Church of St.</span> A building which owes
+its interesting effect chiefly to its isolated position, being seen
+over a great space of lagoon. The traveller should especially
+notice in its façade the manner in which the central Renaissance
+architects (of whose style this church is a renowned
+example) endeavored to fit the laws they had established to
+the requirements of their age. Churches were required with
+aisles and clerestories, that is to say, with a high central nave
+and lower wings; and the question was, how to face this form
+with pillars of one proportion. The noble Romanesque architects
+built story above story, as at Pisa and Lucca; but the
+base Palladian architects dared not do this. They must needs
+retain some image of the Greek temple; but the Greek temple
+was all of one height, a low gable roof being borne on ranges
+of equal pillars. So the Palladian builders raised first a Greek
+temple with pilasters for shafts; and, <i>through the middle of
+its roof, or horizontal beam</i>, that is to say, of the cornice
+which externally represented this beam, they lifted another
+temple on pedestals, adding these barbarous appendages to the
+shafts, which otherwise would not have been high enough;
+fragments of the divided cornice or tie-beam being left between
+the shafts, and the great door of the church thrust in
+between the pedestals. It is impossible to conceive a design
+more gross, more barbarous, more childish in conception, more
+<span class="pagenum"><a name="page308"></a>308</span>
+servile in plagiarism, more insipid in result, more contemptible
+under every point of rational regard.</p>
+
+<p class="i1">Observe, also, that when Palladio had got his pediment at
+the top of the church, he did not know what to do with it;
+he had no idea of decorating it except by a round hole in the
+middle. (The traveller should compare, both in construction
+and decoration, the Church of the Redentore with this of San
+Giorgio.) Now, a dark penetration is often a most precious
+assistance to a building dependent upon color for its effect;
+for a cavity is the only means in the architect&rsquo;s power of obtaining
+certain and vigorous shadow; and for this purpose, a
+circular penetration, surrounded by a deep russet marble
+moulding, is beautifully used in the centre of the white field
+on the side of the portico of St. Mark&rsquo;s. But Palladio had
+given up color, and pierced his pediment with a circular cavity,
+merely because he had not wit enough to fill it with sculpture.
+The interior of the church is like a large assembly room, and
+would have been undeserving of a moment&rsquo;s attention, but
+that it contains some most precious pictures, namely:</p>
+
+<p class="i1">1. <i>Gathering the Manna.</i> (On the left hand of the high
+altar.) One of Tintoret&rsquo;s most remarkable landscapes. A
+brook flowing through a mountainous country, studded with
+thickets and palm trees; the congregation have been long in
+the Wilderness, and are employed in various manufactures
+much more than in gathering the manna. One group is
+forging, another grinding manna in a mill, another making
+shoes, one woman making a piece of dress, some washing; the
+main purpose of Tintoret being evidently to indicate the <i>continuity</i>
+of the supply of heavenly food.  Another painter
+would have made the congregation hurrying to gather it, and
+wondering at it; Tintoret at once makes us remember that
+they have been fed with it &ldquo;by the space of forty years.&rdquo; It
+is a large picture, full of interest and power, but scattered in
+effect, and not striking except from its elaborate landscape.</p>
+
+<p class="i1">2. <i>The Last Supper.</i> (Opposite the former.) These two
+pictures have been painted for their places, the subjects being
+illustrative of the sacrifice of the mass. This latter is remarkable
+for its entire homeliness in the general treatment of the
+subject; the entertainment being represented like any large
+<span class="pagenum"><a name="page309"></a>309</span>
+supper in a second-rate Italian inn, the figures being all comparatively
+uninteresting; but we are reminded that the subject
+is a sacred one, not only by the strong light shining from
+the head of Christ, but because the smoke of the lamp which
+hangs over the table turns, as it rises, into a multitude of
+angels, all painted in grey, the color of the smoke; and so
+writhed and twisted together that the eye hardly at first distinguishes
+them from the vapor out of which they are formed,
+ghosts of countenances and filmy wings filling up the intervals
+between the completed heads. The idea is highly characteristic
+of the master. The picture has been grievously
+injured, but still shows miracles of skill in the expression
+of candle-light mixed with twilight; variously reflected
+rays, and half tones of the dimly lighted chamber, mingled
+with the beams of the lantern and those from the head of
+Christ, flashing along the metal and glass upon the table, and
+under it along the floor, and dying away into the recesses of
+the room.</p>
+
+<p class="i1">3. <i>Martyrdom of various Saints.</i> (Altar piece of the third
+altar in the South aisle.) A moderately sized picture, and
+now a very disagreeable one, owing to the violent red into
+which the color that formed the glory of the angel at the top
+is changed. It has been hastily painted, and only shows the
+artist&rsquo;s power in the energy of the figure of an executioner
+drawing a bow, and in the magnificent ease with which the
+other figures are thrown together in all manner of wild groups
+and defiances of probability. Stones and arrows are flying
+about in the air at random.</p>
+
+<p class="i1">4. <i>Coronation of the Virgin.</i> (Fourth altar in the same
+aisle.) Painted more for the sake of the portraits at the
+bottom, than of the Virgin at the top. A good picture, but
+somewhat tame for Tintoret, and much injured. The principal
+figure, in black, is still, however, very fine.</p>
+
+<p class="i1">5. <i>Resurrection of Christ.</i> (At the end of the north aisle,
+in the chapel beside the choir.) Another picture painted
+chiefly for the sake of the included portraits, and remarkably
+cold in general conception; its color has, however, been gay
+and delicate, lilac, yellow, and blue being largely used in it.
+The flag which our Saviour bears in his hand, has been once
+<span class="pagenum"><a name="page310"></a>310</span>
+as bright as the sail of a Venetian fishing-boat, but the colors
+are now all chilled, and the picture is rather crude than brilliant;
+a mere wreck of what it was, and all covered with
+droppings of wax at the bottom.</p>
+
+<p class="i1">6. <i>Martyrdom of St. Stephen.</i> (Altar piece in the north
+transept.) The Saint is in a rich prelate&rsquo;s dress, looking as if
+he had just been saying mass, kneeling in the foreground, and
+perfectly serene. The stones are flying about him like hail,
+and the ground is covered with them as thickly as if it were a
+river bed. But in the midst of them, at the saint&rsquo;s right
+hand, there is a book lying, crushed but open, two or three
+stones which have torn one of its leaves lying upon it. The
+freedom and ease with which the leaf is crumpled is just as
+characteristic of the master as any of the grander features;
+no one but Tintoret could have so crushed a leaf; but the
+idea is still more characteristic of him, for the book is evidently
+meant for the Mosaic History which Stephen had just
+been expounding, and its being crushed by the stones shows
+how the blind rage of the Jews was violating their own law in
+the murder of Stephen. In the upper part of the picture are
+three figures,&mdash;Christ, the Father, and St. Michael. Christ
+of course at the right hand of the Father, as Stephen saw him
+standing; but there is little dignity in this part of the conception.
+In the middle of the picture, which is also the middle
+distance, are three or four men throwing stones, with Tintoret&rsquo;s
+usual vigor of gesture, and behind them an immense
+and confused crowd; so that, at first, we wonder where St.
+Paul is; but presently we observe that, in the front of this
+crowd, and <i>almost exactly in the centre of the picture</i>, there
+is a figure seated on the ground, very noble and quiet, and with
+some loose garments thrown across its knees. It is dressed
+in vigorous black and red. The figure of the Father in the
+sky above is dressed in black and red also, and these two
+figures are the centres of color to the whole design. It is
+almost impossible to praise too highly the refinement of conception
+which withdrew the unconverted St. Paul into the
+distance, so as entirely to separate him from the immediate
+interest of the scene, and yet marked the dignity to which he
+was afterward to be raised, by investing him with the colors
+<span class="pagenum"><a name="page311"></a>311</span>
+which occurred nowhere else in the picture except in the
+dress which veils the form of the Godhead. It is also to be
+noted as an interesting example of the value which the painter
+put upon color only; another composer would have thought it
+necessary to exalt the future apostle by some peculiar dignity
+of action or expression. The posture of the figure is indeed
+grand, but inconspicuous; Tintoret does not depend upon it,
+and thinks that the figure is quite ennobled enough by being
+made a key-note of color.</p>
+
+<p class="i1">It is also worth observing how boldly imaginative is the
+treatment which covers the ground with piles of stones, and
+yet leaves the martyr apparently unwounded. Another
+painter would have covered him with blood, and elaborated
+the expression of pain upon his countenance. Tintoret leaves
+us under no doubt as to what manner of death he is dying; he
+makes the air hurtle with the stones, but he does not choose
+to make his picture disgusting, or even painful. The face of
+the martyr is serene, and exulting; and we leave the picture,
+remembering only how &ldquo;he fell asleep.&rdquo;</p>
+
+<p class="i"><span class="sc">Giovanelli, Palazzo</span>, at the Ponte di Noale. A fine example
+of fifteenth century Gothic, founded on the Ducal Palace.</p>
+
+<p class="i"><span class="sc">Giovanni e Paolo, Church of St.</span><a name="FnAnchor_72" href="#Footnote_72"><span class="sp">72</span></a> Foundation of, <a href="#page069">III. 69</a>.
+An impressive church, though none of its Gothic is comparable
+with that of the North, or with that of Verona. The
+Western door is interesting as one of the last conditions of
+Gothic design passing into Renaissance, very rich and beautiful
+of its kind, especially the wreath of fruit and flowers
+which forms its principal molding. The statue of Bartolomeo
+Colleone, in the little square beside the church, is certainly
+one of the noblest works in Italy. I have never seen anything
+approaching it in animation, in vigor of portraiture, or nobleness
+of line. The reader will need Lazari&rsquo;s Guide in making
+the circuit of the church, which is full of interesting monuments:
+but I wish especially to direct his attention to two
+pictures, besides the celebrated Peter Martyr: namely,</p>
+
+<p><span class="pagenum"><a name="page312"></a>312</span></p>
+
+<p class="i1">1. <i>The Crucifixion</i>, by Tintoret; on the wall of the left-hand
+aisle, just before turning into the transept. A picture
+fifteen feet long by eleven or twelve high. I do not believe
+that either the &ldquo;Miracle of St. Mark,&rdquo; or the great
+&ldquo;Crucifixion&rdquo; in the Scuola di San Rocco, cost Tintoret more
+pains than this comparatively small work, which is now utterly
+neglected, covered with filth and cobwebs, and fearfully injured.
+As a piece of color, and light and shade, it is altogether
+marvellous. Of all the fifty figures which the picture
+contains, there is not one which in any way injures or contends
+with another; nay, there is not a single fold of garment
+or touch of the pencil which could be spared; every virtue of
+Tintoret, as a painter, is there in its highest degree,&mdash;color at
+once the most intense and the most delicate, the utmost
+decision in the arrangement of masses of light, and yet half
+tones and modulations of endless variety; and all executed
+with a magnificence of handling which no words are energetic
+enough to describe. I have hardly ever seen a picture
+in which there was so much decision, and so little impetuosity,
+and in which so little was conceded to haste, to accident, or
+to weakness. It is too infinite a work to be describable; but
+among its minor passages of extreme beauty, should especially
+be noticed the manner in which the accumulated forms of the
+human body, which fill the picture from end to end, are prevented
+from being felt heavy, by the grace and elasticity of
+two or three sprays of leafage which spring from a broken
+root in the foreground, and rise conspicuous in shadow against
+an interstice filled by the pale blue, grey, and golden light in
+which the distant crowd is invested, the office of this foliage
+being, in an artistical point of view, correspondent to that of
+the trees set by the sculptors of the Ducal Palace on its
+angles. But they have a far more important meaning in the
+picture than any artistical one. If the spectator will look
+carefully at the root which I have called broken, he will find that
+in reality, it is not broken, but cut; the other branches of the
+young tree having <i>lately been cut away</i>. When we remember
+that one of the principal incidents in great San Rocco Crucifixion
+is the ass feeding on withered palm leaves, we shall be
+at no loss to understand the great painter&rsquo;s purpose in lifting
+<span class="pagenum"><a name="page313"></a>313</span>
+the branch of this mutilated olive against the dim light of the
+distant sky; while, close beside it, St. Joseph of Arimathea
+drags along the dust a white garment&mdash;observe, the principal
+light of the picture,&mdash;stained with the blood of that King
+before whom, five days before, his crucifiers had strewn their
+own garments in the way.</p>
+
+<p class="i1">2. <i>Our Lady with the Camerlenghi.</i> (In the centre chapel
+of the three on the right of the choir.) A remarkable instance
+of the theoretical manner of representing Scriptural facts,
+which, at this time, as noted in the second chapter of this
+volume, was undermining the belief of the facts themselves.
+Three Venetian chamberlains desired to have their portraits
+painted, and at the same time to express their devotion to the
+Madonna; to that end they are painted kneeling before her,
+and in order to account for their all three being together, and
+to give a thread or clue to the story of the picture, they are
+represented as the Three Magi; but lest the spectator should
+think it strange that the Magi should be in the dress of Venetian
+chamberlains, the scene is marked as a mere ideality, by
+surrounding the person of the Virgin with saints who lived
+five hundred years after her. She has for attendants St.
+Theodore, St. Sebastian, and St. Carlo (query St. Joseph).
+One hardly knows whether most to regret the spirit which
+was losing sight of the verities of religious history in imaginative
+abstractions, or to praise the modesty and piety which
+desired rather to be represented as kneeling before the Virgin
+than in the discharge or among the insignia of important
+offices of state.</p>
+
+<p class="i1">As an &ldquo;Adoration of the Magi,&rdquo; the picture is, of course,
+sufficiently absurd: the St. Sebastian leans back in the corner
+to be out of the way; the three Magi kneel, without the
+slightest appearance of emotion, to a Madonna seated in a
+Venetian loggia of the fifteenth century, and three Venetian
+servants behind bear their offerings in a very homely sack,
+tied up at the mouth. As a piece of portraiture and artistical
+composition, the work is altogether perfect, perhaps the best
+piece of Tintoret&rsquo;s portrait-painting in existence. It is very
+carefully and steadily wrought, and arranged with consummate
+skill on a difficult plan. The canvas is a long oblong, I
+<span class="pagenum"><a name="page314"></a>314</span>
+think about eighteen or twenty feet long, by about seven high;
+one might almost fancy the painter had been puzzled to bring
+the piece into use, the figures being all thrown into positions
+which a little diminish their height. The nearest chamberlain
+is kneeling, the two behind him bowing themselves
+slightly, the attendants behind bowing lower, the Madonna
+sitting, the St. Theodore sitting still lower on the steps at her
+feet, and the St. Sebastian leaning back, so that all the lines
+of the picture incline more or less from right to left as they
+ascend. This slope, which gives unity to the detached groups,
+is carefully exhibited by what a mathematician would call coordinates,&mdash;the
+upright pillars of the loggia and the horizontal
+clouds of the beautiful sky. The color is very quiet, but rich
+and deep, the local tones being brought out with intense force,
+and the cast shadows subdued, the manner being much more
+that of Titian than of Tintoret. The sky appears full of light,
+though it is as dark as the flesh of the faces; and the forms of
+its floating clouds, as well as of the hills over which they rise,
+are drawn with a deep remembrance of reality. There are
+hundreds of pictures of Tintoret&rsquo;s more amazing than this,
+but I hardly know one that I more love.</p>
+
+<p class="i1">The reader ought especially to study the sculpture round
+the altar of the Capella del Rosario, as an example of the
+abuse of the sculptor&rsquo;s art; every accessory being labored out
+with as much ingenuity and intense effort to turn sculpture
+into painting, the grass, trees, and landscape being as far
+realized as possible, and in alto-relievo. These bas-reliefs are
+by various artists, and therefore exhibit the folly of the age,
+not the error of an individual.</p>
+
+<p class="i1">The following alphabetical list of the tombs in this church
+which are alluded to as described in the text, with references
+to the pages where they are mentioned, will save some trouble:</p>
+
+<table class="nobctr" style="margin-left: 1em;" summary="data">
+<tr><td>
+<p>Cavalli, Jacopo, <a href="#page082">III. 82</a>.</p>
+<p>Cornaro, Marco, <a href="#page011">III. 11</a>.</p>
+<p>Dolfin, Giovanni, <a href="#page078">III. 78</a>.</p>
+<p>Giustiniani, Marco, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page315">I. 315</a>.</p>
+<p>Mocenigo, Giovanni, <a href="#page089">III. 89</a>.</p></td>
+
+<td style="border-left: 1px solid black; padding-left: 1em;">
+<p>Mocenigo, Pietro, <a href="#page089">III. 89</a>.</p>
+<p>Mocenigo, Tomaso, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page008">I. 8</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page026">26</a>, <a href="#page084">III. 84</a>.</p>
+<p>Morosini, Michele, <a href="#page080">III. 80</a>.</p>
+<p>Steno, Michele, <a href="#page083">III. 83</a>.</p>
+<p>Vendramin, Andrea, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page027">I. 27</a>, <a href="#page088">III. 88</a>.</p></td></tr></table>
+
+<p><span class="pagenum"><a name="page315"></a>315</span></p>
+
+<p class="i"><span class="sc">Giovanni Grisostomo, Church of St.</span> One of the most
+important in Venice. It is early Renaissance, containing some
+good sculpture, but chiefly notable as containing a noble
+Sebastian del Piombo, and a John Bellini, which a few years
+hence, unless it be &ldquo;restored,&rdquo; will be esteemed one of the
+most precious pictures in Italy, and among the most perfect
+in the world. John Bellini is the only artist who appears to
+me to have united, in equal and magnificent measures, justness
+of drawing, nobleness of coloring, and perfect manliness of
+treatment, with the purest religious feeling. He did, as far as
+it is possible to do it, instinctively and unaffectedly, what the
+Caracci only pretended to do. Titian colors better, but has
+not his piety. Leonardo draws better, but has not his color.
+Angelico is more heavenly, but has not his manliness, far less
+his powers of art.</p>
+
+<p class="i"><span class="sc">Giovanni Elemosinario, Church of St.</span> Said to contain a
+Titian and a Bonifazio. Of no other interest.</p>
+
+<p class="i"><span class="sc">Giovanni in Bragola, Church of St.</span> A Gothic church of
+the fourteenth century, small, but interesting, and said to
+contain some precious works by Cima da Conegliano, and one
+by John Bellini.</p>
+
+<p class="i"><span class="sc">Giovanni Novo, Church of St.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Giovanni, S., Scuola di</span>. A fine example of the Byzantine
+Renaissance, mixed with remnants of good late Gothic. The
+little exterior cortile is sweet in feeling, and Lazari praises
+highly the work of the interior staircase.</p>
+
+<p class="i"><span class="sc">Giudecca</span>. The crescent-shaped island (or series of islands),
+which forms the most northern extremity of the city of
+Venice, though separated by a broad channel from the main
+city. Commonly said to derive its name from the number of
+Jews who lived upon it; but Lazari derives it from the word
+&ldquo;Judicato,&rdquo; in Venetian dialect &ldquo;Zudegà,&rdquo; it having been in
+old time &ldquo;adjudged&rdquo; as a kind of prison territory to the more
+dangerous and turbulent citizens. It is now inhabited only by
+the poor, and covered by desolate groups of miserable dwellings,
+divided by stagnant canals.</p>
+
+<p class="i1">Its two principal churches, the Redentore and St. Eufemia,
+are named in their alphabetical order.</p>
+
+<p class="i"><span class="sc">Giuliano, Church of St.</span> Of no importance.</p>
+
+<p class="i"><span class="pagenum"><a name="page316"></a>316</span></p>
+
+<p class="i"><span class="sc">Giuseppe di Castello, Church of St.</span> Said to contain a
+Paul Veronese: otherwise of no importance.</p>
+
+<p class="i"><span class="sc">Giustina, Church of St.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Giustiniani Palazzo</span>, on the Grand Canal, now Albergo all&rsquo;
+Europa. Good late fourteenth century Gothic, but much
+altered.</p>
+
+<p class="i"><span class="sc">Giustiniani, Palazzo</span>, next the Casa Foscari, on the Grand
+Canal. Lazari, I know not on what authority, says that this
+palace was built by the Giustiniani family before 1428. It is
+one of those founded directly on the Ducal Palace, together
+with the Casa Foscari at its side: and there could have been
+no doubt of their date on this ground; but it would be interesting,
+after what we have seen of the progress of the Ducal
+Palace, to ascertain the exact year of the erection of any of
+these imitations.</p>
+
+<p class="i1">full of tracery, of which the profiles are given in the Appendix,
+under the title of the Palace of the Younger Foscari, it
+being popularly reported to have belonged to the son of the
+Doge.</p>
+
+<p class="i"><span class="sc">Giustinian Lolin, Palazzo</span>, on the Grand Canal. Of no importance.</p>
+
+<p class="i"><span class="sc">Grassi Palazzo</span>, on the Grand Canal, now Albergo all&rsquo; Imperator
+d&rsquo; Austria. Of no importance.</p>
+
+<p class="i"><span class="sc">Gregorio, Church of St.</span>, on the Grand Canal. An important
+church of the fourteenth century, now desecrated, but
+still interesting. Its apse is on the little canal crossing from
+the Grand Canal to the Giudecca, beside the Church of the
+Salute, and is very characteristic of the rude ecclesiastical
+Gothic contemporary with the Ducal Palace. The entrance to
+its cloisters, from the Grand Canal, is somewhat later; a noble
+square door, with two windows on each side of it, the grandest
+examples in Venice of the late window of the fourth order.</p>
+
+<p class="i1">The cloister, to which this door gives entrance, is exactly
+contemporary with the finest work of the Ducal Palace, circa
+1350. It is the loveliest cortile I know in Venice; its capitals
+consummate in design and execution; and the low wall on
+which they stand showing remnants of sculpture unique, as
+far as I know, in such application.</p>
+
+<p><span class="pagenum"><a name="page317"></a>317</span></p>
+
+<p class="i"><span class="sc">Grimani, Palazzo</span>, on the Grand Canal, <a href="#page032">III. 32</a>.</p>
+
+<p class="i1">There are several other palaces in Venice belonging to this
+family, but none of any architectural interest.</p>
+
+
+<h5>J</h5>
+
+<p class="i"><span class="sc">Jesuiti, Church of the</span>. The basest Renaissance; but worth
+a visit in order to examine the imitations of curtains in white
+marble inlaid with green.</p>
+
+<p class="i1">It contains a Tintoret, &ldquo;The Assumption,&rdquo; which I have
+not examined; and a Titian, &ldquo;The Martyrdom of St. Lawrence,&rdquo;
+originally, it seems to me, of little value, and now,
+having been restored, of none.</p>
+
+
+<h5>L</h5>
+
+<p class="i"><span class="sc">Labia Palazzo</span>, on the Canna Reggio. Of no importance.</p>
+
+<p class="i"><span class="sc">Lazzaro de&rsquo; Mendicanti, Church of St.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Libreria Vecchia</span>. A graceful building of the central Renaissance,
+designed by Sansovino, 1536, and much admired by all
+architects of the school. It was continued by Scamozzi, down
+the whole side of St. Mark&rsquo;s Place, adding another story above
+it, which modern critics blame as destroying the &ldquo;eurithmia;&rdquo;
+never considering that had the two low stories of the Library
+been continued along the entire length of the Piazza, they
+would have looked so low that the entire dignity of the square
+would have been lost. As it is, the Library is left in its
+originally good proportions, and the larger mass of the Procuratie
+Nuove forms a more majestic, though less graceful,
+side for the great square.</p>
+
+<p class="i1">But the real faults of the building are not in its number of
+stories, but in the design of the parts. It is one of the grossest
+examples of the base Renaissance habit of turning <i>keystones</i>
+into <i>brackets</i>, throwing them out in bold projection (not less
+than a foot and a half) beyond the mouldings of the arch; a
+practice utterly barbarous, inasmuch as it evidently tends to
+dislocate the entire arch, if any real weight were laid on the
+extremity of the keystone; and it is also a very characteristic
+example of the vulgar and painful mode of filling spandrils
+by naked figures in alto-relievo, leaning against the arch on
+<span class="pagenum"><a name="page318"></a>318</span>
+each side, and appearing as if they were continually in danger
+of slipping off. Many of these figures have, however, some
+merit in themselves; and the whole building is graceful and
+effective of its kind. The continuation of the Procuratie
+Nuove, at the western extremity of St. Mark&rsquo;s Place (together
+with various apartments in the great line of the Procuratie
+Nuove) forms the &ldquo;Royal Palace,&rdquo; the residence of the
+Emperor when at Venice. This building is entirely modern,
+built in 1810, in imitation of the Procuratie Nuove, and on
+the site of Sansovino&rsquo;s Church of San Geminiano.</p>
+
+<p class="i1">In this range of buildings, including the Royal Palace, the
+Procuratie Nuove, the old Library, and the &ldquo;Zecca&rdquo; which is
+connected with them (the latter being an ugly building of very
+modern date, not worth notice architecturally), there are many
+most valuable pictures, among which I would especially direct
+attention, first to those in the Zecca, namely, a beautiful and
+strange Madonna, by Benedetto Diana; two noble Bonifazios;
+and two groups, by Tintoret, of the Provveditori della Zecca,
+by no means to be missed, whatever may be sacrificed to see
+them, on account of the quietness and veracity of their unaffected
+portraiture, and the absolute freedom from all vanity
+either in the painter or in his subjects.</p>
+
+<p class="i1">Next, in the &ldquo;Antisala&rdquo; of the old Library, observe the
+&ldquo;Sapienza&rdquo; of Titian, in the centre of the ceiling; a most
+interesting work in the light brilliancy of its color, and the
+resemblance to Paul Veronese. Then, in the great hall of the
+old Library, examine the two large <span class="correction" title="corrected from tintorets">Tintorets</span>, &ldquo;St. Mark saving
+a Saracen from Drowning,&rdquo; and the &ldquo;Stealing of his
+Body from Constantinople,&rdquo; both rude, but great (note in the
+latter the dashing of the rain on the pavement, and running
+of the water about the feet of the figures): then in the narrow
+spaces between the windows, there are some magnificent single
+figures by Tintoret, among the finest things of the kind in
+Italy, or in Europe. Finally, in the gallery of pictures in
+the Palazzo Reale, among other good works of various kinds,
+are two of the most interesting Bonifazios in Venice, the
+&ldquo;Children of Israel in their journeyings,&rdquo; in one of which, if
+I recollect right, the quails are coming in flight across a sunset
+sky, forming one of the earliest instances I know of a
+<span class="pagenum"><a name="page319"></a>319</span>
+thoroughly natural and Turneresque effect being felt and rendered
+by the old masters. The picture struck me chiefly from
+this circumstance; but, the note-book in which I had described
+it and its companion having been lost on my way home, I cannot
+now give a more special account of them, except that they
+are long, full of crowded figures, and peculiarly light in color
+and handling as compared with Bonifazio&rsquo;s work in general.</p>
+
+<p class="i"><span class="sc">Lio, Church of St.</span> Of no importance, but said to contain a
+spoiled Titian.</p>
+
+<p class="i"><span class="sc">Lio, Salizzada di St.</span>, windows in, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page252">II. 252</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page257">257</a>.</p>
+
+<p class="i"><span class="sc">Loredan, Palazzo</span>, on the Grand Canal, near the Rialto, II.
+123, 393. Another palace of this name, on the Campo St.
+Stefano, is of no importance.</p>
+
+<p class="i"><span class="sc">Lorenzo, Church of St.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Luca, Church of St.</span> Its campanile is of very interesting
+and quaint early Gothic, and it is said to contain a Paul
+Veronese, &ldquo;St Luke and the Virgin.&rdquo; In the little Campiello
+St. Luca, close by, is a very precious Gothic door, rich in
+brickwork, of the thirteenth century; and in the foundations
+of the houses on the same side of the square, but at the other
+end of it, are traceable some shafts and arches closely resembling
+the work of the Cathedral of Murano, and evidently having
+once belonged to some most interesting building.</p>
+
+<p class="i"><span class="sc">Lucia, Church of St.</span> Of no importance.</p>
+
+
+<h5>M</h5>
+
+<p class="i"><span class="sc">Maddalena, Church of Sta. Maria</span>. Of no importance.</p>
+
+<p class="i"><span class="sc"><span class="correction" title="corrected from Mlaipiero">Malipiero</span>, Palazzo</span>, on the Campo St. M. Formosa, facing
+the canal at its extremity. A very beautiful example of the
+Byzantine Renaissance. Note the management of color in its
+inlaid balconies.</p>
+
+<p class="i"><span class="sc">Manfrini, Palazzo</span>. The architecture is of no interest; and
+as it is in contemplation to allow the collection of pictures to
+be sold, I shall take no note of them. But even if they should
+remain, there are few of the churches in Venice where the
+traveller had not better spend his time than in this gallery; as,
+with the exception of Titian&rsquo;s &ldquo;Entombment,&rdquo; one or two
+Giorgiones, and the little John Bellini (St. Jerome), the pictures
+are all of a kind which may be seen elsewhere.</p>
+
+<p class="i"><span class="pagenum"><a name="page320"></a>320</span></p>
+
+<p class="i"><span class="sc">Mangili Valmarana, Palazzo</span>, on the Grand Canal. Of no
+importance.</p>
+
+<p class="i"><span class="sc">Manin, Palazzo</span>, on the Grand Canal. Of no importance.</p>
+
+<p class="i"><span class="sc">Manzoni, Palazzo</span>, on the Grand Canal, near the Church of
+the Carità. A perfect and very rich example of Byzantine
+Renaissance: its warm yellow marbles are magnificent.</p>
+
+<p class="i"><span class="sc">Marcilian, Church of St.</span> Said to contain a Titian, &ldquo;Tobit
+and the Angel:&rdquo; otherwise of no importance.</p>
+
+<p class="i"><span class="sc">Maria, Churches of Sta.</span> See <span class="sc">Formosa, Mater Domini,
+Miracoli, Orto, Salute</span>, and <span class="sc">Zobenigo</span>.</p>
+
+<p class="i"><span class="sc">Marco, Scuola di San</span>, <a href="#page016">III. 16</a>.</p>
+
+<p class="i"><span class="sc">Mark, Church of St.</span>, history of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page057">II. 57</a>; approach to, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page071">II. 71</a>;
+general teaching of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page112">II. 112</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page116">116</a>; measures of façade of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page126">II.
+126</a>; balustrades <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page244">II. 244</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page247">247</a>; cornices of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page311">I. 311</a>; horseshoe
+arches of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page249">II. 249</a>; entrances of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page271">II. 271</a>, <a href="#page245">III. 245</a>; shafts of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page384">II.
+384</a>; base in baptistery of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page290">I. 290</a>; mosaics in atrium of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page112">II. 112</a>;
+mosaics in cupola of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page114">II. 114</a>, <a href="#page192">III. 192</a>; lily capitals of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page137">II. 137</a>;
+Plates illustrative of (Vol. II.), <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_6">VI.</a> <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_7">VII.</a> figs. 9, 10, 11, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_8">VIII.</a>
+figs. 8, 9, 12, 13, 15, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_9">IX.</a> <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_11">XI.</a> fig. 1, and <a href="#plate_3">Plate III.</a> Vol. III.</p>
+
+<p class="i"><span class="sc">Mark, Square of St.</span> (Piazza di San Marco), anciently a
+garden, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page058">II. 58</a>; general effect of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page066">II. 66</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page116">116</a>; plan of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page282">II.
+282</a>.</p>
+
+<p class="i"><span class="sc">Martino, Church of St.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Mater Domini, Church of St. Maria</span>. It contains two important
+pictures: one over the second altar on the right, &ldquo;St.
+Christina,&rdquo; by Vincenzo Catena, a very lovely example of the
+Venetian religious school; and, over the north transept door,
+the &ldquo;Finding of the Cross,&rdquo; by Tintoret, a carefully painted
+and attractive picture, but by no means a good specimen of
+the master, as far as regards power of conception. He does
+not seem to have entered into his subject. There is no wonder,
+no rapture, no entire devotion in any of the figures. They
+are only interested and pleased in a mild way; and the kneeling
+woman who hands the nails to a man stooping forward to
+receive them on the right hand, does so with the air of a person
+saying, &ldquo;You had better take care of them; they may be
+wanted another time.&rdquo; This general coldness in expression is
+much increased by the presence of several figures on the right
+and left, introduced for the sake of portraiture merely; and
+<span class="pagenum"><a name="page321"></a>321</span>
+the reality, as well as the feeling, of the scene is destroyed by
+our seeing one of the youngest and weakest of the women with
+a huge cross lying across her knees, the whole weight of it
+resting upon her. As might have been expected, where the
+conception is so languid, the execution is little delighted in;
+it is throughout steady and powerful, but in no place affectionate,
+and in no place impetuous. If Tintoret had always
+painted in this way, he would have sunk into a mere mechanist.
+It is, however, a genuine and tolerably well preserved
+specimen, and its female figures are exceedingly graceful;
+that of St. Helena very queenly, though by no means
+agreeable in feature. Among the male portraits on the left
+there is one different from the usual types which occur either
+in Venetian paintings or Venetian populace; it is carefully
+painted, and more like a Scotch Presbyterian minister, than a
+Greek. The background is chiefly composed of architecture,
+white, remarkably uninteresting in color, and still more so in
+form. This is to be noticed as one of the unfortunate results
+of the Renaissance teaching at this period. Had Tintoret
+backed his Empress Helena with Byzantine architecture, the
+picture might have been one of the most gorgeous he ever
+painted.</p>
+
+<p class="i"><span class="sc">Mater Domini, Campo di Sta. Maria</span>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page261">II. 261</a>. A most interesting
+little piazza, surrounded by early Gothic houses, once
+of singular beauty; the arcade at its extremity, of fourth order
+windows, drawn in my folio work, is one of the earliest and
+loveliest of its kind in Venice; and in the houses at the side is
+a group of second order windows with their intermediate
+crosses, all complete, and well worth careful examination.</p>
+
+<p class="i"><span class="sc">Michele in Isola, Church of St.</span> On the island between
+Venice and Murano. The little Cappella Emiliana at the side
+of it has been much admired, but it would be difficult to find
+a building more feelingless or ridiculous. It is more like a
+German summer-house, or angle turret, than a chapel, and
+may be briefly described as a bee-hive set on a low hexagonal
+tower, with dashes of stone-work about its windows like the
+flourishes of an idle penman.</p>
+
+<p class="i">The cloister of this church is pretty; and the attached
+cemetery is worth entering, for the sake of feeling the
+<span class="pagenum"><a name="page322"></a>322</span>
+strangeness of the quiet sleeping ground in the midst of
+the sea.</p>
+
+<p class="i"><span class="sc">Michiel dalle Colonne, Palazzo</span>. Of no importance.</p>
+
+<p class="i"><span class="sc">Minelli, Palazzo</span>. In the Corte del Maltese, at St. Paternian.
+It has a spiral external staircase, very picturesque, but of the
+fifteenth century and without merit.</p>
+
+<p class="i"><span class="sc">Miracoli, Church of Sta. Maria dei</span>. The most interesting
+and finished example in Venice of the Byzantine Renaissance,
+and one of the most important in Italy of the cinque-cento
+style. All its sculptures should be examined with great care,
+as the best possible examples of a bad style. Observe, for
+instance, that in spite of the beautiful work on the square
+pillars which support the gallery at the west end, they have
+no more architectural effect than two wooden posts. The
+same kind of failure in boldness of purpose exists throughout;
+and the building is, in fact, rather a small museum of
+unmeaning, though refined sculpture, than a piece of architecture.</p>
+
+<p class="i1">Its grotesques are admirable examples of the base Raphaelesque
+design examined above, <a href="#page136">III. 136</a>. Note especially the
+children&rsquo;s heads tied up by the hair, in the lateral sculptures
+at the top of the altar steps. A rude workman, who could
+hardly have carved the head at all, might have allowed this or
+any other mode of expressing discontent with his own doings;
+but the man who could carve a child&rsquo;s head so perfectly must
+have been wanting in all human feeling, to cut it off, and tie
+it by the hair to a vine leaf. Observe, in the Ducal Palace,
+though far ruder in skill, the heads always <i>emerge</i> from the
+leaves, they are never <i>tied</i> to them.</p>
+
+<p class="i"><span class="sc">Misericordia, Church of</span>. The church itself is nothing, and
+contains nothing worth the traveller&rsquo;s time; but the Albergo
+de&rsquo; Confratelli della Misericordia at its side is a very interesting
+and beautiful relic of the Gothic Renaissance. Lazari says,
+&ldquo;del secolo xiv.;&rdquo; but I believe it to be later. Its traceries
+are very curious and rich, and the sculpture of its capitals very
+fine for the late time. Close to it, on the right-hand side of
+the canal which is crossed by the wooden bridge, is one of the
+richest Gothic doors in Venice, remarkable for the appearance
+of antiquity in the general design and stiffness of its figures,
+<span class="pagenum"><a name="page323"></a>323</span>
+though it bears its date 1505. Its extravagant crockets are
+almost the only features which, but for this written date,
+would at first have confessed its lateness; but, on examination,
+the figures will be found as bad and spiritless as they are apparently
+archaic, and completely exhibiting the Renaissance
+palsy of imagination.</p>
+
+<p class="i1">The general effect is, however, excellent, the whole arrangement
+having been borrowed from earlier work.</p>
+
+<p class="i1">The action of the statue of the Madonna, who extends her
+robe to shelter a group of diminutive figures, representative of
+the Society for whose house the sculpture was executed, may
+be also seen in most of the later Venetian figures of the Virgin
+which occupy similar situations. The image of Christ is
+placed in a medallion on her breast, thus fully, though conventionally,
+expressing the idea of self-support which is so
+often partially indicated by the great religious painters in their
+representations of the infant Jesus.</p>
+
+<p class="i"><span class="sc">Moisè, Church of St.</span>, <a href="#page124">III. 124</a>. Notable as one of the basest
+examples of the basest school of the Renaissance. It contains
+one important picture, namely &ldquo;Christ washing the Disciples&rsquo;
+Feet,&rdquo; by Tintoret; on the left side of the chapel, north of the
+choir. This picture has been originally dark, is now much
+faded&mdash;in parts, I believe, altogether destroyed&mdash;and is hung
+in the worst light of a chapel, where, on a sunny day at noon,
+one could not easily read without a candle. I cannot, therefore,
+give much information respecting it; but it is certainly
+one of the least successful of the painter&rsquo;s works, and both
+careless and unsatisfactory in its composition as well as its
+color. One circumstance is noticeable, as in a considerable
+degree detracting from the interest of most of Tintoret&rsquo;s representations
+of our Saviour with his disciples. He never
+loses sight of the fact that all were poor, and the latter ignorant;
+and while he never paints a senator, or a saint once
+thoroughly canonized, except as a gentleman, he is very careful
+to paint the Apostles, in their living intercourse with the
+Saviour, in such a manner that the spectator may see in an
+instant, as the Pharisee did of old, that they were unlearned
+and ignorant men; and, whenever we find them in a room, it
+is always such a one as would be inhabited by the lower classes.
+<span class="pagenum"><a name="page324"></a>324</span>
+There seems some violation of this practice in the dais, or
+flight of steps, at the top of which the Saviour is placed in the
+present picture; but we are quickly reminded that the guests&rsquo;
+chamber or upper room ready prepared was not likely to have
+been in a palace, by the humble furniture upon the floor, consisting
+of a tub with a copper saucepan in it, a coffee-pot, and
+a pair of bellows, curiously associated with a symbolic cup with
+a wafer, which, however, is in an injured part of the canvas,
+and may have been added by the priests. I am totally unable
+to state what the background of the picture is or has been;
+and the only point farther to be noted about it is the solemnity,
+which, in spite of the familiar and homely circumstances above
+noticed, the painter has given to the scene, by placing the
+Saviour, in the act of washing the feet of Peter, at the top of
+a circle of steps, on which the other Apostles kneel in adoration
+and astonishment.</p>
+
+<p class="i"><span class="sc">Moro, Palazzo</span>. See <span class="sc">Othello</span>.</p>
+
+<p class="i"><span class="sc">Morosini, Palazzo</span>, near the Ponte dell&rsquo; Ospedaletto, at San
+Giovannie Paolo. Outside it is not interesting, though the
+gateway shows remains of brickwork of the thirteenth century.
+Its interior court is singularly beautiful; the staircase of early
+fourteenth century Gothic has originally been superb, and the
+window in the angle above is the most perfect that I know in
+Venice of the kind; the lightly sculptured coronet is exquisitely
+introduced at the top of its spiral shaft.</p>
+
+<p class="i1">This palace still belongs to the Morosini family, to whose
+present representative, the Count Carlo Morosini, the reader
+is indebted for the note on the character of his ancestors,
+above, <a href="#page213">III. 213</a>.</p>
+
+<p class="i"><span class="sc">Morosini, Palazzo</span>, at St. Stefano. Of no importance.</p>
+
+
+<h5>N</h5>
+
+<p class="i"><span class="sc">Nani-Mocenigo, palazzo</span>. (Now Hotel Danieli.) A glorious
+example of the central Gothic, nearly contemporary with the
+finest part of the Ducal Palace. Though less impressive in
+effect than the Casa Foscari or Casa Bernardo, it is of purer
+architecture than either: and quite unique in the delicacy of
+the form of the cusps in the central group of windows, which
+are shaped like broad scimitars, the upper foil of the windows
+<span class="pagenum"><a name="page325"></a>325</span>
+being very small. If the traveller will compare these windows
+with the neighboring traceries of the Ducal Palace, he will
+easily perceive the peculiarity.</p>
+
+<p class="i"><span class="sc">Nicolo del Lido, Church of St.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Nome di Gesu, Church of the.</span> Of no importance.</p>
+
+
+<h5>O</h5>
+
+<p class="i"><span class="sc">Orfani, Church of the.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Orto, Church of Sta. Maria, dell&rsquo;.</span> An interesting example
+of Renaissance Gothic, the traceries of the windows being very
+rich and quaint.</p>
+
+<p class="i1">It contains four most important Tintorets: &ldquo;The Last
+Judgment,&rdquo; &ldquo;The Worship of the Golden Calf,&rdquo; &ldquo;The Presentation
+of the Virgin,&rdquo; and &ldquo;Martyrdom of St. Agnes.&rdquo;
+The first two are among his largest and mightiest works, but
+grievously injured by damp and neglect; and unless the traveller
+is accustomed to decipher the thoughts in a picture patiently,
+he need not hope to derive any pleasure from them. But
+no pictures will better reward a resolute study. The following
+account of the &ldquo;Last Judgment,&rdquo; given in the second volume
+of &ldquo;Modern Painters,&rdquo; will be useful in enabling the traveller
+to enter into the meaning of the picture, but its real power is
+only to be felt by patient examination of it.</p>
+
+<p class="i1">&ldquo;By Tintoret only has this unimaginable event (the Last
+Judgment) been grappled with in its Verity; not typically nor
+symbolically, but as they may see it who shall not sleep, but be
+changed. Only one traditional circumstance he has received,
+with Dante and Michael Angelo, the Boat of the Condemned;
+but the impetuosity of his mind bursts out even in the adoption
+of this image; he has not stopped at the scowling ferryman
+of the one, nor at the sweeping blow and demon dragging
+of the other, but, seized Hylas like by the limbs, and tearing
+up the earth in his agony, the victim is dashed into his
+destruction; nor is it the sluggish Lethe, nor the fiery lake,
+that bears the cursed vessel, but the oceans of the earth and
+the waters of the firmament gathered into one white, ghastly
+cataract; the river of the wrath of God, roaring down into the
+gulf where the world has melted with its fervent heat, choked
+with the ruins of nations, and the limbs of its corpses tossed
+<span class="pagenum"><a name="page326"></a>326</span>
+out of its whirling, like water-wheels. Bat-like, out of the
+holes and caverns and shadows of the earth, the bones gather,
+and the clay heaps heave, rattling and adhering into half-kneaded
+anatomies, that crawl, and startle, and struggle up
+among the putrid weeds, with the clay clinging to their clotted
+hair, and their heavy eyes sealed by the earth darkness yet,
+like his of old who went his way unseeing to the Siloam Pool;
+shaking off one by one the dreams of the prison-house, hardly
+hearing the clangor of the trumpets of the armies of God,
+blinded yet more, as they awake, by the white light of the new
+Heaven, until the great vortex of the four winds bears up their
+bodies to the judgment seat; the Firmament is all full of them,
+a very dust of human souls, that drifts, and floats, and falls
+into the interminable, inevitable light; the bright clouds are
+darkened with them as with thick snow, currents of atom life
+in the arteries of heaven, now soaring up slowly, and higher
+and higher still, till the eye and the thought can follow no
+farther, borne up, wingless, by their inward faith and by the
+angel powers invisible, now hurled in countless drifts of horror
+before the breath of their condemnation.&rdquo;</p>
+
+<p class="i1">Note in the opposite picture the way the clouds are wrapped
+about in the distant Sinai.</p>
+
+<p class="i1">The figure of the little Madonna in the &ldquo;Presentation&rdquo;
+should be compared with Titian&rsquo;s in his picture of the same
+subject in the Academy. I prefer Tintoret&rsquo;s infinitely: and
+note how much finer is the feeling with which Tintoret has
+relieved the glory round her head against the pure sky, than
+that which influenced Titian in encumbering his distance with
+architecture.</p>
+
+<p class="i1">The &ldquo;Martyrdom of St. Agnes&rdquo; <i>was</i> a lovely picture. It
+has been &ldquo;restored&rdquo; since I saw it.</p>
+
+<p class="i"><span class="sc">Ospedaletto, Church of the</span>. The most monstrous example
+of the Grotesque Renaissance which there is in Venice; the
+sculptures on its façade representing masses of diseased figures
+and swollen fruit.</p>
+
+<p class="i1">It is almost worth devoting an hour to the successive examination
+of five buildings, as illustrative of the last degradation
+of the Renaissance. San Moisè is the most clumsy, Santa
+Maria Zobenigo the most impious, St. Eustachio the most
+<span class="pagenum"><a name="page327"></a>327</span>
+ridiculous, the Ospedaletto the most monstrous, and the head
+at Santa Maria Formosa the most foul.</p>
+
+<p class="i"><span class="sc">Othello, House of,</span> at the Carmini. The researches of Mr.
+Brown into the origin of the play of &ldquo;Othello&rdquo; have, I think,
+determined that Shakspeare wrote on definite historical
+grounds; and that Othello may be in many points identified
+with Christopher Moro, the lieutenant of the republic at
+Cyprus, in 1508. See &ldquo;Ragguagli su Maria Sanuto,&rdquo; i.
+252.</p>
+
+<p class="i1">His palace was standing till very lately, a Gothic building
+of the fourteenth century, of which Mr. Brown possesses a
+drawing. It is now destroyed, and a modern square-windowed
+house built on its site. A statue, said to be a portrait of Moro,
+but a most paltry work, is set in a niche in the modern wall.</p>
+
+
+<h5>P</h5>
+
+<p class="i"><span class="sc">Pantaleone, Church of St.</span> Said to contain a Paul Veronese;
+otherwise of no importance.</p>
+
+<p class="i"><span class="sc">Paternian, Church of St.</span> Its little leaning tower forms an
+interesting object as the traveller sees it from the narrow canal
+which passes beneath the Porte San Paternian. The two
+arched lights of the belfry appear of very early workmanship,
+probably of the beginning of the thirteenth century.</p>
+
+<p class="i"><span class="sc">Pesaro Palazzo,</span> on the Grand Canal. The most powerful and
+impressive in effect of all the palaces of the Grotesque Renaissance.
+The heads upon its foundation are very characteristic
+of the period, but there is more genius in them than usual.
+Some of the mingled expressions of faces and grinning casques
+are very clever.</p>
+
+<p class="i"><span class="sc">Piazzetta,</span> pillars of, see Final Appendix under head &ldquo;Capital.&rdquo;
+The two magnificent blocks of marble brought from St. Jean
+d&rsquo;Acre, which form one of the principal ornaments of the
+Piazzetta, are Greek sculpture of the sixth century, and will
+be described in my folio work.</p>
+
+<p class="i"><span class="sc">Pieta, Church of the.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Pietro, Church of St.,</span> at Murano. Its pictures, once valuable,
+are now hardly worth examination, having been spoiled
+by neglect.</p>
+
+<p class="i"><span class="sc">Pietro, Di Castello, Church of St.,</span> <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page007">I. 7</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page361">361</a>. It is said to
+<span class="pagenum"><a name="page328"></a>328</span>
+contain a Paul Veronese, and I suppose the so-called &ldquo;Chair
+of St. Peter&rdquo; must be worth examining.</p>
+
+<p class="i"><span class="sc">Pisani, Palazzo</span>, on the Grand Canal. The latest Venetian
+Gothic, just passing into Renaissance. The capitals of the
+first floor windows are, however, singularly spirited and graceful,
+very daringly under-cut, and worth careful examination.
+The Paul Veronese, once the glory of this palace, is, I believe,
+not likely to remain in Venice. The other picture in the same
+room, the &ldquo;Death of Darius,&rdquo; is of no value.</p>
+
+<p class="i"><span class="sc">Pisani, Palazzo</span>, at St. Stefano. Late Renaissance, and of no
+merit, but grand in its colossal proportions, especially when
+seen from the narrow canal at its side, which terminated by
+the apse of the Church of San Stefano, is one of the most
+picturesque and impressive little pieces of water scenery in
+Venice.</p>
+
+<p class="i"><span class="sc">Polo, Church of St</span>. Of no importance, except as an example
+of the advantages accruing from restoration. M. Lazari says
+of it, &ldquo;Before this church was modernized, its principal
+chapel was adorned with Mosaics, and possessed a pala of
+silver gilt, of Byzantine workmanship, which is now lost.&rdquo;</p>
+
+<p class="i"><span class="sc">Polo, Square of St</span>. (Campo San Polo.) A large and important
+square, rendered interesting chiefly by three palaces
+on the side of it opposite the church, of central Gothic (1360),
+and fine of their time, though small. One of their capitals
+has been given in <a href="#plate_2">Plate II.</a> of this volume, fig. 12. They are
+remarkable as being decorated with sculptures of the Gothic
+time, in imitation of Byzantine ones; the period being marked
+by the dog-tooth and cable being used instead of the dentil
+round the circles.</p>
+
+<p class="i"><span class="sc">Polo, Palazzo</span>, at San G. Grisostomo (the house of Marco Polo),
+II. 139. Its interior court is full of interest, showing fragments
+of the old building in every direction, cornices, windows, and
+doors, of almost every period, mingled among modern rebuilding
+and restoration of all degrees of dignity.</p>
+
+<p class="i"><span class="sc">Porta Della Carta</span>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page302">II. 302</a>.</p>
+
+<p class="i"><span class="sc">Priuli, Palazzo</span>. A most important and beautiful early Gothic
+Palace, at San Severo; the main entrance is from the Fundamento
+San Severo, but the principal façade is on the other
+side, towards the canal. The entrance has been grievously
+<span class="pagenum"><a name="page329"></a>329</span>
+defaced, having had winged lions filling the spandrils of its
+pointed arch, of which only feeble traces are now left, the
+façade has very early fourth order windows in the lower story,
+and above, the beautiful range of fifth order windows drawn
+at the bottom of <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#plate_18">Plate XVIII.</a> Vol. II., where the heads of the
+fourth order range are also seen (note their inequality, the
+larger one at the flank). This Palace has two most interesting
+traceried angle windows also, which, however, I believe are
+later than those on the façade; and finally, a rich and bold
+interior staircase.</p>
+
+<p class="i"><span class="sc">Procuratie Nuove</span>, see &ldquo;<span class="sc">Libreria</span>&rdquo; <span class="sc">Vecchia</span>: A graceful
+series buildings, of late fifteenth century design, forming the
+northern side of St. Mark&rsquo;s Place, but of no particular interest.</p>
+
+
+<h5>Q</h5>
+
+<p class="i"><span class="sc">Querini, Palazzo</span>, now the Beccherie, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page255">II. 255</a>, <a href="#page234">III. 234</a>.</p>
+
+
+<h5>R</h5>
+
+<p class="i"><span class="sc">Raffaelle, Chiesa dell&rsquo;Angelo</span>. Said to contain a Bonifazio,
+otherwise of no importance.</p>
+
+<p class="i"><span class="sc">Redentore, Church of the</span>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page378">II. 378</a>. It contains three interesting
+John Bellinis, and also, in the sacristy, a most beautiful
+Paul Veronese.</p>
+
+<p class="i"><span class="sc">Remer, Corte del</span>, house in. <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page251">II. 251</a>.</p>
+
+<p class="i"><span class="sc">Rezzonico, Palazzo</span>, on the Grand Canal. Of the Grotesque
+Renaissance time, but less extravagant than usual.</p>
+
+<p class="i"><span class="sc">Rialto, Bridge of the</span>. The best building raised in the time
+of the Grotesque Renaissance; very noble in its simplicity, in
+its proportions, and in its masonry. Note especially the
+grand way in which the oblique archstones rest on the butments
+of the bridge, safe, palpably both to the sense and eye:
+note also the sculpture of the Annunciation on the southern
+side of it; how beautifully arranged, so as to give more lightness
+and a grace to the arch&mdash;<i>the dove, flying towards the
+Madonna, forming the keystone</i>,&mdash;and thus the whole action
+of the figures being parallel to the curve of the arch, while all
+the masonry is at right angles to it. Note, finally, one circumstance
+which gives peculiar firmness to the figure of the angel,
+and associates itself with the general expression of strength in
+<span class="pagenum"><a name="page330"></a>330</span>
+the whole building; namely that the sole of the advanced foot
+is set perfectly level, as if placed on the ground, instead of
+being thrown back behind like a heron&rsquo;s, as in most modern
+figures of this kind.</p>
+
+<p class="i1">The sculptures themselves are not good; but these pieces of
+feeling in them are very admirable. The two figures on the
+other side, St. Mark and St. Theodore, are inferior, though all
+by the same sculptor, Girolamo Campagna.</p>
+
+<p class="i1">The bridge was built by Antonio da Ponte, in 1588. It was
+anciently of wood, with a drawbridge in the centre, a representation
+of which may be seen in one of Carpaccio&rsquo;s pictures
+at the Accademia delle Belle Arti: and the traveller should
+observe that the interesting effect, both of this and the Bridge
+of Sighs, depends in great part on their both being <i>more</i> than
+bridges; the one a covered passage, the other a row of shops,
+sustained on an arch. No such effect can be produced merely
+by the masonry of the roadway itself.</p>
+
+<p class="i"><span class="sc">Rio del Palazzo</span>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page282">II. 282</a>.</p>
+
+<p class="i"><span class="sc">Rocco, Campiello di San</span>, windows in, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page258">II. 258</a>.</p>
+
+<p class="i"><span class="sc">Rocco, Church of St.</span> Notable only for the most interesting
+pictures by Tintoret which it contains, namely:</p>
+
+<p class="i1">1. <i>San Rocco before the Pope.</i> (On the left of the door as
+we enter.) A delightful picture in his best manner, but not
+much labored; and, like several other pictures in this church,
+it seems to me to have been executed at some period of the
+painter&rsquo;s life when he was either in ill health, or else had got
+into a mechanical way of painting, from having made too little
+reference to nature for a long time. There is something stiff
+and forced in the white draperies on both sides, and a general
+character about the whole which I can feel better than I can
+describe; but which, if I had been the painter&rsquo;s physician,
+would have immediately caused me to order him to shut up
+his painting-room, and take a voyage to the Levant, and back
+again. The figure of the Pope is, however, extremely beautiful,
+and is not unworthy, in its jewelled magnificence, here
+dark against the sky, of comparison with the figure of the high
+priest in the &ldquo;Presentation,&rdquo; in the Scuola di San Rocco.</p>
+
+<p class="i1">2. <i>Annunciation.</i> (On the other side of the door, on entering.)
+A most disagreeable and dead picture, having all the
+<span class="pagenum"><a name="page331"></a>331</span>
+faults of the age, and none of the merits of the painter. It
+must be a matter of future investigation to me, what could
+cause the fall of his mind from a conception so great and so
+fiery as that of the &ldquo;Annunciation&rdquo; in the Scuola di San
+Rocco, to this miserable reprint of an idea worn out centuries
+before. One of the most inconceivable things in it, considered
+as the work of Tintoret, is that where the angel&rsquo;s robe drifts
+away behind his limb, one cannot tell by the character of the
+outline, or by the tones of the color, whether the cloud comes
+in before the robe, or whether the robe cuts upon the cloud.
+The Virgin is uglier than that of the Scuola, and not half so
+real; and the draperies are crumpled in the most commonplace
+and ignoble folds. It is a picture well worth study, as an example
+of the extent to which the greatest mind may be betrayed
+by the abuse of its powers, and the neglect of its proper
+food in the study of nature.</p>
+
+<p class="i1">3. <i>Pool of Bethesda.</i> (On the right side of the church, in its
+centre, the lowest of the two pictures which occupy the wall.)
+A noble work, but eminently disagreeable, as must be all
+pictures of this subject; and with the same character in it of
+undefinable want, which I have noticed in the two preceding
+works. The main figure in it is the cripple, who has taken
+up his bed; but the whole effect of this action is lost by his
+not turning to Christ, but flinging it on his shoulder like a
+triumphant porter with a huge load; and the corrupt Renaissance
+architecture, among which the figures are crowded, is
+both ugly in itself, and much too small for them. It is worth
+noticing, for the benefit of persons who find fault with the
+perspective of the Pre-Raphaelites, that the perspective of the
+brackets beneath these pillars is utterly absurd; and that, in
+fine, the presence or absence of perspective has nothing to do
+with the merits of a great picture: not that the perspective of
+the Pre-Raphaelites <i>is</i> false in any case that I have examined,
+the objection being just as untenable as it is ridiculous.</p>
+
+<p class="i1">4. <i>San Rocco in the Desert.</i> (Above the last-named picture.)
+A single recumbent figure in a not very interesting landscape,
+deserving less attention than a picture of St. Martin just opposite
+to it,&mdash;a noble and knightly figure on horseback by
+Pordenone, to which I cannot pay a greater compliment than
+<span class="pagenum"><a name="page332"></a>332</span>
+by saying that I was a considerable time in doubt whether or
+not it was another Tintoret.</p>
+
+<p class="i1">5. <i>San Rocco in the Hospital.</i> (On the right-hand side of
+the altar.) There are four vast pictures by Tintoret in the
+dark choir of this church, not only important by their size
+(each being some twenty-five feet long by ten feet high), but
+also elaborate compositions; and remarkable, one for its extraordinary
+landscape, and the other as the most studied picture
+in which the painter has introduced horses in violent action.
+In order to show what waste of human mind there is in these
+dark churches of Venice, it is worth recording that, as I was
+examining these pictures, there came in a party of eighteen
+German tourists, not hurried, nor jesting among themselves
+as large parties often do, but patiently submitting to their
+cicerone, and evidently desirous of doing their duty as intelligent
+travellers. They sat down for a long time on the benches
+of the nave, looked a little at the &ldquo;Pool of Bethesda,&rdquo; walked
+up into the choir and there heard a lecture of considerable
+length from their <i>valet-de-place</i> upon some subject connected
+with the altar itself, which, being in German, I did not understand;
+they then turned and went slowly out of the church,
+not one of the whole eighteen ever giving a single glance to
+any of the four Tintorets, and only one of them, as far as I
+saw, even raising his eyes to the walls on which they hung,
+and immediately withdrawing them, with a jaded and <i>nonchalant</i>
+expression easily interpretable into &ldquo;Nothing but old
+black pictures.&rdquo; The two Tintorets above noticed, at the end
+of the church, were passed also without a glance; and this
+neglect is not because the pictures have nothing in them capable
+of arresting the popular mind, but simply because they
+are totally in the dark, or confused among easier and more
+prominent objects of attention. This picture, which I have
+called &ldquo;St. Rocco in the Hospital,&rdquo; shows him, I suppose, in
+his general ministrations at such places, and is one of the
+usual representations of a disgusting subject from which
+neither Orcagna nor Tintoret seems ever to have shrunk. It
+is a very noble picture, carefully composed and highly wrought;
+but to me gives no pleasure, first, on account of its subject,
+secondly, on account of its dull brown tone all over,&mdash;it being
+<span class="pagenum"><a name="page333"></a>333</span>
+impossible, or nearly so, in such a scene, and at all events inconsistent
+with its feeling, to introduce vivid color of any kind.
+So it is a brown study of diseased limbs in a close room.</p>
+
+<p class="i1">6. <i>Cattle Piece.</i> (Above the picture last described.) I can
+give no other name to this picture, whose subject I can neither
+guess nor discover, the picture being in the dark, and the
+guide-books leaving me in the same position. All I can make
+out of it is, that there is a noble landscape with cattle and
+figures. It seems to me the best landscape of Tintoret&rsquo;s in
+Venice, except the &ldquo;Flight into Egypt;&rdquo; and is even still more
+interesting from its savage character, the principal trees being
+pines, something like Titian&rsquo;s in his &ldquo;St. Francis receiving
+the Stigmata,&rdquo; and chestnuts on the slopes and in the hollows
+of the hills; the animals also seem first-rate. But it is too
+high, too much faded, and too much in the dark to be made
+out. It seems never to have been rich in color, rather cool
+and grey, and very full of light.</p>
+
+<p class="i1">7. <i>Finding of Body of San Rocco.</i> (On the left-hand side
+of the altar.) An elaborate, but somewhat confused picture,
+with a flying angel in a blue drapery; but it seemed to me altogether
+uninteresting, or perhaps requiring more study than I
+was able to give it.</p>
+
+<p class="i1">8. <i>San Rocco in Campo d&rsquo; Armata.</i> So this picture is called
+by the sacristan. I could see no San Rocco in it; nothing
+but a wild group of horses and warriors in the most magnificent
+confusion of fall and flight ever painted by man. They
+seem all dashed different ways as if by a whirlwind; and a
+whirlwind there must be, or a thunderbolt, behind them, for a
+huge tree is torn up and hurled into the air beyond the central
+figure, as if it were a shivered lance. Two of the horses meet
+in the midst, as if in a tournament; but in madness of fear,
+not in hostility; on the horse to the right is a standard-bearer,
+who stoops as from some foe behind him, with the lance
+laid across his saddle-bow, level, and the flag stretched out behind
+him as he flies, like the sail of a ship drifting from its
+mast; the central horseman, who meets the shock, of storm, or
+enemy, whatever it be, is hurled backwards from his seat, like
+a stone from a sling; and this figure with the shattered tree
+trunk behind it, is the most noble part of the picture. There
+<span class="pagenum"><a name="page334"></a>334</span>
+is another grand horse on the right, however, also in full action.
+Two gigantic figures on foot, on the left, meant to be
+nearer than the others, would, it seems to me, have injured the
+picture, had they been clearly visible; but time has reduced
+them to perfect subordination.</p>
+
+<p class="i"><span class="sc">Rocco, Scuola di San</span>, bases of, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page291">I. 291</a>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page431">431</a>; soffit ornaments of,
+I. 337. An interesting building of the early Renaissance
+(1517), passing into Roman Renaissance. The wreaths of leafage
+about its shafts are wonderfully delicate and fine, though
+misplaced.</p>
+
+<p class="i1">As regards the pictures which it contains, it is one of the three
+most precious buildings in Italy; buildings, I mean, consistently
+decorated with a series of paintings at the time of their
+erection, and still exhibiting that series in its original order. I
+suppose there can be little question, but that the three most
+important edifices of this kind in Italy are the Sistine Chapel,
+the Campo Santo of Pisa, and the Scuola di San Rocco at
+Venice: the first is painted by Michael Angelo; the second by
+Orcagna, Benozzo Gozzoli, Pietro Laurati, and several other
+men whose works are as rare as they are precious; and the
+third by Tintoret.</p>
+
+<p class="i1">Whatever the traveller may miss in Venice, he should therefore
+give unembarrassed attention and unbroken time to the
+Scuola di San Rocco; and I shall, accordingly, number the pictures,
+and note in them, one by one, what seemed to me most
+worthy of observation.</p>
+
+<p class="i1">There are sixty-two in all, but eight of these are merely of
+children or children&rsquo;s heads, and two of unimportant figures.
+The number of valuable pictures is fifty-two; arranged on the
+walls and ceilings of three rooms, so badly lighted, in consequence
+of the admirable arrangements of the Renaissance architect,
+that it is only in the early morning that some of the pictures
+can be seen at all, nor can they ever be seen but imperfectly.
+They were all painted, however, for their places in the dark, and,
+as compared with Tintoret&rsquo;s other works, are therefore, for the
+most part, nothing more than vast sketches, made to produce,
+under a certain degree of shadow, the effect of finished pictures.
+Their treatment is thus to be considered as a kind of
+scene-painting; differing from ordinary scene-painting only in
+<span class="pagenum"><a name="page335"></a>335</span>
+this, that the effect aimed at is not <i>that of a natural scene</i> but
+<i>a perfect picture</i>. They differ in this respect from all other
+existing works; for there is not, as far as I know, any other
+instance in which a great master has consented to work for
+a room plunged into almost total obscurity. It is probable
+that none but Tintoret would have undertaken the task, and
+most fortunate that he was forced to it. For in this magnificent
+scene-painting we have, of course, more wonderful examples,
+both of his handling, and knowledge of effect, than could
+ever have been exhibited in finished pictures; while the necessity
+of doing much with few strokes keeps his mind so completely
+on the stretch throughout the work (while yet the
+velocity of production prevented his being wearied), that no
+other series of his works exhibits powers so exalted. On the
+other hand, owing to the velocity and coarseness of the painting,
+it is more liable to injury through drought or damp; and,
+as the walls have been for years continually running down with
+rain, and what little sun gets into the place contrives to fall all
+day right on one or other of the pictures, they are nothing but
+wrecks of what they were; and the ruins of paintings originally
+coarse are not likely ever to be attractive to the public mind.
+Twenty or thirty years ago they were taken down to be retouched;
+but the man to whom the task was committed providentially
+died, and only one of them was spoiled. I have
+found traces of his work upon another, but not to an extent
+very seriously destructive. The rest of the sixty-two, or, at
+any rate, all that are in the upper room, appear entirely intact.</p>
+
+<p class="i1">Although, as compared with his other works, they are all
+very scenic in execution, there are great differences in their degrees
+of finish; and, curiously enough, some on the ceilings and
+others in the darkest places in the lower room are very nearly
+finished pictures, while the &ldquo;Agony in the Garden,&rdquo; which is in
+one of the best lights in the upper room, appears to have been
+painted in a couple of hours with a broom for a brush.</p>
+
+<p class="i1">For the traveller&rsquo;s greater convenience, I shall give a rude
+plan of the arrangement, and list of the subjects, of each group
+of pictures before examining them in detail.</p>
+
+<p><span class="pagenum"><a name="page336"></a>336</span></p>
+
+<p class="center">First Group. On the walls of the room on the ground floor.</p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="figcenter">
+    <img src="images/img336.jpg" width="600" height="328" alt="Walls of the room." title="Walls of the room." /></td>
+</tr>
+</table>
+
+<table class="nobctr" summary="data">
+<tr><td>
+<p>1. Annunciation.</p>
+<p>2. Adoration of Magi.</p>
+<p>3. Flight into Egypt.</p>
+<p>4. Massacre of Innocents.</p></td>
+
+<td><p>5. The Magdalen.</p>
+<p>6. St. Mary of Egypt.</p>
+<p>7. Circumcision.</p>
+<p>8. Assumption of Virgin.</p></td></tr>
+
+<tr><td class="center" colspan="2">At the turn of the stairs leading to the upper room:</td></tr>
+
+<tr><td class="center" colspan="2">9. Visitation.</td></tr></table>
+
+<p class="i1">1. <i>The Annunciation.</i> This, which first strikes the eye, is a
+very just representative of the whole group, the execution being
+carried to the utmost limits of boldness consistent with completion.
+It is a well-known picture, and need not therefore be
+specially described, but one or two points in it require notice.
+The face of the Virgin is very disagreeable to the spectator from
+below, giving the idea of a woman about thirty, who had never
+been handsome. If the face is untouched, it is the only instance
+I have ever seen of Tintoret&rsquo;s failing in an intended
+effect, for, when seen near, the face is comely and youthful, and
+expresses only surprise, instead of the pain and fear of which
+it bears the aspect in the distance. I could not get near enough
+to see whether it had been retouched. It looks like Tintoret&rsquo;s
+work, though rather hard; but, as there are unquestionable
+marks in the retouching of this picture, it is possible that some
+slight restoration of lines supposed to be faded, entirely alter
+<span class="pagenum"><a name="page337"></a>337</span>
+the distant expression of the face. One of the evident pieces
+of repainting is the scarlet of the Madonna&rsquo;s lap, which is
+heavy and lifeless. A far more injurious one is the strip of sky
+seen through the doorway by which the angel enters, which has
+originally been of the deep golden color of the distance on the
+left, and which the blundering restorer has daubed over with
+whitish blue, so that it looks like a bit of the wall; luckily
+he has not touched the outlines of the angel&rsquo;s black wings, on
+which the whole expression of the picture depends. This
+angel and the group of small cherubs above form a great swinging
+chain, of which the dove representing the Holy Spirit
+forms the bend. The angels in their flight seem to be attached
+to this as the train of fire is to a rocket; all of them appearing
+to have swooped down with the swiftness of a falling star.</p>
+
+<p class="i1">2. <i>Adoration of the Magi.</i> The most finished picture in the
+Scuola, except the &ldquo;Crucifixion,&rdquo; and perhaps the most delightful
+of the whole. It unites every source of pleasure that a
+picture can possess: the highest elevation of principal subject,
+mixed with the lowest detail of picturesque incident; the dignity
+of the highest ranks of men, opposed to the simplicity of
+the lowest; the quietness and serenity of an incident in cottage
+life, contrasted with the turbulence of troops of horsemen
+and the spiritual power of angels. The placing of the two
+doves as principal points of light in the front of the picture,
+in order to remind the spectator of the poverty of the mother
+whose child is receiving the offerings and adoration of three
+monarchs, is one of Tintoret&rsquo;s master touches; the whole
+scene, indeed, is conceived in his happiest manner. Nothing
+can be at once more humble or more dignified than the bearing
+of the kings; and there is a sweet reality given to the whole
+incident by the Madonna&rsquo;s stooping forward and lifting her
+hand in admiration of the vase of gold which has been set
+before the Christ, though she does so with such gentleness and
+quietness that her dignity is not in the least injured by the
+simplicity of the action. As if to illustrate the means by which
+the Wise men were brought from the East, the whole picture
+is nothing but a large star, of which Christ is the centre; all
+the figures, even the timbers of the roof, radiate from the small
+bright figure on which the countenances of the flying angels
+<span class="pagenum"><a name="page338"></a>338</span>
+are bent, the star itself, gleaming through the timbers above,
+being quite subordinate. The composition would almost be
+too artificial were it not broken by the luminous distance where
+the troop of horsemen are waiting for the kings. These, with
+a dog running at full speed, at once interrupt the symmetry of
+the lines, and form a point of relief from the over concentration
+of all the rest of the action.</p>
+
+<p class="i1">3. <i>Flight into Egypt.</i> One of the principal figures here is
+the donkey. I have never seen any of the nobler animals&mdash;lion,
+or leopard, or horse, or dragon&mdash;made so sublime as this
+quiet head of the domestic ass, chiefly owing to the grand
+motion in the nostril and writhing in the ears. The space of
+the picture is chiefly occupied by lovely landscape, and the
+Madonna and St. Joseph are pacing their way along a shady
+path upon the banks of a river at the side of the picture. I
+had not any conception, until I got near, how much pains had
+been taken with the Virgin&rsquo;s head; its expression is as sweet
+and as intense as that of any of Raffaelle&rsquo;s, its reality far
+greater. The painter seems to have intended that everything
+should be subordinate to the beauty of this single head; and
+the work is a wonderful proof of the way in which a vast field
+of canvas may be made conducive to the interest of a single
+figure. This is partly accomplished by slightness of painting,
+so that on close examination, while there is everything to astonish
+in the masterly handling and purpose, there is not much
+perfect or very delightful painting; in fact, the two figures are
+treated like the living figures in a scene at the theatre, and
+finished to perfection, while the landscape is painted as hastily
+as the scenes, and with the same kind of opaque size color. It
+has, however, suffered as much as any of the series, and it is
+hardly fair to judge of its tones and colors in its present state.</p>
+
+<p class="i1">4. <i>Massacre of the Innocents.</i> The following account of this
+picture, given in &ldquo;Modern Painters,&rdquo; may be useful to the
+traveller, and is therefore here repeated. &ldquo;I have before
+alluded to the painfulness of Raffaelle&rsquo;s treatment of the Massacre
+of the Innocents. Fuseli affirms of it, that, &lsquo;in dramatic
+gradation he disclosed all the mother through every image of
+pity and terror.&rsquo; If this be so, I think the philosophical spirit
+has prevailed over the imaginative. The imagination never
+<span class="pagenum"><a name="page339"></a>339</span>
+errs; it sees all that is, and all the relations and bearings of it;
+but it would not have confused the mortal frenzy of maternal
+terror, with various development of maternal character. Fear,
+rage, and agony, at their utmost pitch, sweep away all character:
+humanity itself would be lost in maternity, the woman
+would become the mere personification of animal fury or fear.
+For this reason all the ordinary representations of this subject
+are, I think, false and cold: the artist has not heard the
+shrieks, nor mingled with the fugitives; he has sat down in his
+study to convulse features methodically, and philosophize over
+insanity. Not so Tintoret. Knowing, or feeling, that the
+expression of the human face was, in such circumstances, not
+to be rendered, and that the effort could only end in an
+ugly falsehood, he denies himself all aid from the features, he
+feels that if he is to place himself or us in the midst of that
+maddened multitude, there can be no time allowed for watching
+expression. Still less does he depend on details of murder
+or ghastliness of death; there is no blood, no stabbing or cutting,
+but there is an awful substitute for these in the chiaroscuro.
+The scene is the outer vestibule of a palace, the slippery
+marble floor is fearfully barred across by sanguine shadows,
+so that our eyes seem to become bloodshot and strained with
+strange horror and deadly vision; a lake of life before them,
+like the burning seen of the doomed Moabite on the water
+that came by the way of Edom: a huge flight of stairs, without
+parapet, descends on the left; down this rush a crowd of
+women mixed with the murderers; the child in the arms of
+one has been seized by the limbs, <i>she hurls herself over the
+edge, and falls head downmost, dragging the child out of the
+grasp by her weight</i>;&mdash;she will be dashed dead in a second:&mdash;close
+to us is the great struggle; a heap of the mothers, entangled
+in one mortal writhe with each other and the swords;
+one of the murderers dashed down and crushed beneath them,
+the sword of another caught by the blade and dragged at by a
+woman&rsquo;s naked hand; the youngest and fairest of the women,
+her child just torn away from a death grasp, and clasped to
+her breast with the grip of a steel vice, falls backwards, helpless
+over the heap, right on the sword points; all knit together
+and hurled down in one hopeless, frenzied, furious abandonment
+<span class="pagenum"><a name="page340"></a>340</span>
+of body and soul in the effort to save. Far back, at the
+bottom of the stairs, there is something in the shadow like a
+heap of clothes. It is a woman, sitting quiet,&mdash;quite quiet,&mdash;still
+as any stone; she looks down steadfastly on her dead
+child, laid along on the floor before her, and her hand is
+pressed softly upon her brow.&rdquo;</p>
+
+<p class="i1">I have nothing to add to the above description of this picture,
+except that I believe there may have been some change
+in the color of the shadow that crosses the pavement. The
+chequers of the pavements are, in the light, golden white and
+pale grey; in the shadow, red and dark grey, the white in the
+sunshine becoming red in the shadow. I formerly supposed
+that this was meant to give greater horror to the scene, and it
+is very like Tintoret if it be so; but there is a strangeness and
+discordance in it which makes me suspect the colors may have
+changed.</p>
+
+<p class="i1">5. <i>The Magdalen.</i> This and the picture opposite to it, &ldquo;St.
+Mary of Egypt,&rdquo; have been painted to fill up narrow spaces between
+the windows which were not large enough to receive
+compositions, and yet in which single figures would have looked
+awkwardly thrust into the corner. Tintoret has made these
+spaces as large as possible by filling them with landscapes,
+which are rendered interesting by the introduction of single
+figures of very small size. He has not, however, considered
+his task, of making a small piece of wainscot look like a large
+one, worth the stretch of his powers, and has painted these two
+landscapes just as carelessly and as fast as an upholsterer&rsquo;s journeyman
+finishing a room at a railroad hotel. The color is for
+the most part opaque, and dashed or scrawled on in the manner
+of a scene-painter; and as during the whole morning the
+sun shines upon the one picture, and during the afternoon
+upon the other, hues, which were originally thin and imperfect,
+are now dried in many places into mere dirt upon the
+canvas. With all these drawbacks the pictures are of very
+high interest, for although, as I said, hastily and carelessly,
+they are not languidly painted; on the contrary, he has been
+in his hottest and grandest temper; and in this first one
+(&ldquo;Magdalen&rdquo;) the laurel tree, with its leaves driven hither
+and thither among flakes of fiery cloud, has been probably one
+<span class="pagenum"><a name="page341"></a>341</span>
+of the greatest achievements that his hand performed in landscape:
+its roots are entangled in underwood; of which every
+leaf seems to be articulated, yet all is as wild as if it had grown
+there instead of having been painted; there has been a mountain
+distance, too, and a sky of stormy light, of which I infinitely
+regret the loss, for though its masses of light are still
+discernible, its variety of hue is all sunk into a withered brown.
+There is a curious piece of execution in the striking of the
+light upon a brook which runs under the roots of the laurel in
+the foreground: these roots are traced in shadow against the
+bright surface of the water; another painter would have drawn
+the light first, and drawn the dark roots over it. Tintoret has
+laid in a brown ground which he has left for the roots, and
+painted the water through their interstices with a few mighty
+rolls of his brush laden with white.</p>
+
+<p class="i1">6. <i>St. Mary of Egypt.</i> This picture differs but little in the
+plan, from the one opposite, except that St. Mary has her back
+towards us, and the Magdalen her face, and that the tree on
+the other side of the brook is a palm instead of a laurel. The
+brook (Jordan?) is, however, here much more important; and
+the water painting is exceedingly fine. Of all painters that I
+know, in old times, Tintoret is the fondest of running water;
+there was a sort of sympathy between it and his own impetuous
+spirit. The rest of the landscape is not of much interest,
+except so far as it is pleasant to see trunks of trees drawn by
+single strokes of the brush.</p>
+
+<p class="i1">7. <i>The Circumcision of Christ.</i> The custode has some story
+about this picture having been painted in imitation of Paul
+Veronese. I much doubt if Tintoret ever imitated any body;
+but this picture is the expression of his perception of what
+Veronese delighted in, the nobility that there may be in mere
+golden tissue and colored drapery. It is, in fact, a picture of
+the moral power of gold and color; and the chief use of the
+attendant priest is to support upon his shoulders the crimson
+robe, with its square tablets of black and gold; and yet nothing
+is withdrawn from the interest or dignity of the scene.
+Tintoret has taken immense pains with the head of the high-priest.
+I know not any existing old man&rsquo;s head so exquisitely
+tender, or so noble in its lines. He receives the Infant Christ
+<span class="pagenum"><a name="page342"></a>342</span>
+in his arms kneeling, and looking down upon the Child with
+infinite veneration and love; and the flashing of golden rays
+from its head is made the centre of light, and all interest.
+The whole picture is like a golden charger to receive the
+Child; the priest&rsquo;s dress is held up behind him, that it may
+occupy larger space; the tables and floor are covered with
+chequer-work; the shadows of the temple are filled with brazen
+lamps; and above all are hung masses of curtains, whose crimson
+folds are strewn over with golden flakes. Next to the
+&ldquo;Adoration of the Magi&rdquo; this picture is the most laboriously
+finished of the Scuola di San Rocco, and it is unquestionably
+the highest existing type of the sublimity which may be thrown
+into the treatment of accessaries of dress and decoration.</p>
+
+<p class="i1">8. <i>Assumption of the Virgin.</i> On the tablet or panel of
+stone which forms the side of the tomb out of which the Madonna
+rises, is this inscription, in large letters, REST. ANTONIUS
+FLORIAN, 1834.  Exactly in proportion to a
+man&rsquo;s idiocy, is always the size of the letters in which he
+writes his name on the picture that he spoils. The old mosaicists
+in St. Mark&rsquo;s have not, in a single instance, as far as I
+know, signed their names; but the spectator who wishes to
+know who destroyed the effect of the nave, may see his name
+inscribed, twice over, in letters half a foot high, <span class="sc">Bartolomeo
+Bozza</span>. I have never seen Tintoret&rsquo;s name signed, except in
+the great &ldquo;Crucifixion;&rdquo; but this Antony Florian, I have no
+doubt, repainted the whole side of the tomb that he might put
+his name on it. The picture is, of course, ruined wherever he
+touched it; that is to say, half over; the circle of cherubs in
+the sky is still pure; and the design of the great painter is
+palpable enough yet in the grand flight of the horizontal angel,
+on whom the Madonna half leans as she ascends. It has been
+a noble picture, and is a grievous loss; but, happily, there are
+so many pure ones, that we need not spend time in gleaning
+treasures out of the ruins of this.</p>
+
+<p class="i1">9. <i>Visitation.</i> A small picture, painted in his very best
+manner; exquisite in its simplicity, unrivalled in vigor, well
+preserved, and, as a piece of painting, certainly one of the
+most precious in Venice. Of course it does not show any of
+his high inventive powers; nor can a picture of four middle-sized
+<span class="pagenum"><a name="page343"></a>343</span>
+figures be made a proper subject of comparison with large
+canvases containing forty or fifty; but it is, for this very
+reason, painted with such perfect ease, and yet with no slackness
+either of affection or power, that there is no picture that
+I covet so much. It is, besides, altogether free from the
+Renaissance taint of dramatic effect. The gestures are as simple
+and natural as Giotto&rsquo;s, only expressed by grander lines,
+such as none but Tintoret ever reached. The draperies are
+dark, relieved against a light sky, the horizon being excessively
+low, and the outlines of the drapery so severe, that the
+intervals between the figures look like ravines between great
+rocks, and have all the sublimity of an Alpine valley at twilight.
+This precious picture is hung about thirty feet above
+the eye, but by looking at it in a strong light, it is discoverable
+that the Saint Elizabeth is dressed in green and crimson,
+the Virgin in the peculiar red which all great colorists delight
+in&mdash;a sort of glowing brick-color or brownish scarlet, opposed
+to rich golden brownish black; and both have white
+kerchiefs, or drapery, thrown over their shoulders. Zacharias
+leans on his staff behind them in a black dress with white
+sleeves. The stroke of brilliant white light, which outlines
+the knee of Saint Elizabeth, is a curious instance of the habit
+of the painter to relieve his dark forms by a sort of halo of
+more vivid light, which, until lately, one would have been apt
+to suppose a somewhat artificial and unjustifiable means of
+effect. The daguerreotype has shown, what the naked eye
+never could, that the instinct of the great painter was true,
+and that there is actually such a sudden and sharp line of light
+round the edges of dark objects relieved by luminous space.</p>
+
+<p class="i1">Opposite this picture is a most precious Titian, the &ldquo;Annunciation,&rdquo;
+full of grace and beauty. I think the Madonna
+one of the sweetest figures he ever painted. But if the traveller
+has entered at all into the spirit of Tintoret, he will immediately
+feel the comparative feebleness and conventionality of
+the Titian. Note especially the mean and petty folds of the
+angel&rsquo;s drapery, and compare them with the draperies of the
+opposite picture. The larger pictures at the sides of the stairs
+by Zanchi and Negri, are utterly worthless.</p>
+
+<p><span class="pagenum"><a name="page344"></a>344</span></p>
+
+<p class="center">Second Group. On the walls of the upper room.</p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="figcenter">
+    <img src="images/img344.jpg" width="600" height="273" alt="The walls of the upper room." title="The walls of the upper room." /></td>
+</tr>
+</table>
+
+<table class="nobctr" summary="data">
+<tr><td>
+<p>10. Adoration of Shepherds.</p>
+<p>11. Baptism.</p>
+<p>12. Resurrection.</p>
+<p>13. Agony in Garden.</p>
+<p>14. Last Supper.</p>
+<p>15. Altar Piece: St. Rocco.</p>
+<p>16. Miracle of Loaves.</p></td>
+
+<td style="vertical-align: top;"><p>17. Resurrection of Lazarus.</p>
+<p>18. Ascension.</p>
+<p>19. Pool of Bethesda.</p>
+<p>20. Temptation.</p>
+<p>21. St. Rocco.</p>
+<p>22. St. Sebastian.</p></td></tr></table>
+
+
+<p class="i1">10. <i>The Adoration of the Shepherds.</i> This picture commences
+the series of the upper room, which, as already noticed,
+is painted with far less care than that of the lower. It
+is one of the painter&rsquo;s inconceivable caprices that the only
+canvases that are in good light should be covered in this hasty
+manner, while those in the dungeon below, and on the ceiling
+above, are all highly labored. It is, however, just possible that
+the covering of these walls may have been an after-thought,
+when he had got tired of his work. They are also, for the most
+part, illustrative of a principle of which I am more and more
+convinced every day, that historical and figure pieces ought
+not to be made vehicles for effects of light. The light which
+is fit for a historical picture is that tempered semi-sunshine
+of which, in general, the works of Titian are the best examples,
+and of which the picture we have just passed, &ldquo;The Visitation,&rdquo;
+is a perfect example from the hand of one greater
+than Titian; so also the three &ldquo;Crucifixions&rdquo; of San Rocco,
+San Cassano, and St. John and Paul; the &ldquo;Adoration of the
+<span class="pagenum"><a name="page345"></a>345</span>
+Magi&rdquo; here; and, in general, the finest works of the master;
+but Tintoret was not a man to work in any formal or systematic
+manner; and, exactly like Turner, we find him recording
+every effect which Nature herself displays. Still he seems to
+regard the pictures which deviate from the great general principle
+of colorists rather as &ldquo;tours de force&rdquo; than as sources
+of pleasure; and I do not think there is any instance of his
+having worked out one of these tricky pictures with thorough
+affection, except only in the case of the &ldquo;Marriage of Cana.&rdquo;
+By tricky pictures, I mean those which display light entering
+in different directions, and attract the eye to the effects rather
+than to the figure which displays them. Of this treatment,
+we have already had a marvellous instance in the candle-light
+picture of the &ldquo;Last Supper&rdquo; in San Giorgio Maggiore.
+This &ldquo;Adoration of the Shepherds&rdquo; has probably been nearly
+as wonderful when first painted: the Madonna is seated on a
+kind of hammock floor made of rope netting, covered with
+straw; it divides the picture into two stories, of which the
+uppermost contains the Virgin, with two women who are
+adoring Christ, and shows light entering from above through
+the loose timbers of the roof of the stable, as well as through
+the bars of a square window; the lower division shows this
+light falling behind the netting upon the stable floor, occupied
+by a cock and a cow, and against this light are relieved
+the figures of the shepherds, for the most part in
+demi-tint, but with flakes of more vigorous sunshine falling
+here and there upon them from above. The optical illusion
+has originally been as perfect as one of Hunt&rsquo;s best interiors;
+but it is most curious that no part of the work seems to have
+been taken any pleasure in by the painter; it is all by his hand,
+but it looks as if he had been bent only on getting over the
+ground. It is literally a piece of scene-painting, and is exactly
+what we might fancy Tintoret to have done, had he been
+forced to paint scenes at a small theatre at a shilling a day.
+I cannot think that the whole canvas, though fourteen feet
+high and ten wide, or thereabouts, could have taken him more
+than a couple of days to finish: and it is very noticeable that
+exactly in proportion to the brilliant effects of light is the
+coarseness of the execution, for the figures of the Madonna
+and of the women above, which are not in any strong effect,
+<span class="pagenum"><a name="page346"></a>346</span>
+are painted with some care, while the shepherds and the cow
+are alike slovenly; and the latter, which is in full sunshine, is
+recognizable for a cow more by its size and that of its horns,
+than by any care given to its form. It is interesting to contrast
+this slovenly and mean sketch with the ass&rsquo;s head in the
+&ldquo;Flight into Egypt,&rdquo; on which the painter exerted his full
+power; as an effect of light, however, the work is, of course,
+most interesting. One point in the treatment is especially
+noticeable: there is a peacock in the rack beyond the cow; and
+under other circumstances, one cannot doubt that Tintoret
+would have liked a peacock in full color, and would have
+painted it green and blue with great satisfaction. It is sacrificed
+to the light, however, and is painted in warm grey, with
+a dim eye or two in the tail: this process is exactly analogous
+to Turner&rsquo;s taking the colors out of the flags of his ships in
+the &ldquo;Gosport.&rdquo; Another striking point is the litter with
+which the whole picture is filled in order more to confuse the
+eye: there is straw sticking from the roof, straw all over the
+hammock floor, and straw struggling hither and thither all
+over the floor itself; and, to add to the confusion, the glory
+around the head of the infant, instead of being united and
+serene, is broken into little bits, and is like a glory of chopped
+straw. But the most curious thing, after all, is the want of
+delight in any of the principal figures, and the comparative
+meanness and commonplaceness of even the folds of the drapery.
+It seems as if Tintoret had determined to make the
+shepherds as uninteresting as possible; but one does not see
+why their very clothes should be ill painted, and their disposition
+unpicturesque. I believe, however, though it never struck
+me until I had examined this picture, that this is one of the
+painter&rsquo;s fixed principles: he does not, with German sentimentality,
+make shepherds and peasants graceful or sublime, but
+he purposely vulgarizes them, not by making their actions or
+their faces boorish or disagreeable, but rather by painting them
+ill, and composing their draperies tamely. As far as I recollect
+at present, the principle is universal with him; exactly in
+proportion to the dignity of character is the beauty of the
+painting. He will not put out his strength upon any man
+belonging to the lower classes; and, in order to know what the
+<span class="pagenum"><a name="page347"></a>347</span>
+painter is, one must see him at work on a king, a senator, or a
+saint. The curious connexion of this with the aristocratic
+tendencies of the Venetian nation, when we remember that
+Tintoret was the greatest man whom that nation produced, may
+become very interesting, if followed out. I forgot to note that,
+though the peacock is painted with great regardlessness of
+color, there is a feature in it which no common painter would
+have observed,&mdash;the peculiar flatness of the back, and undulation
+of the shoulders: the bird&rsquo;s body is all there, though its
+feathers are a good deal neglected; and the same thing is
+noticeable in a cock who is pecking among the straw near the
+spectator, though in other respects a shabby cock enough.
+The fact is, I believe, he had made his shepherds so commonplace
+that he dare not paint his animals well, otherwise one
+would have looked at nothing in the picture but the peacock,
+cock, and cow. I cannot tell what the shepherds are offering;
+they look like milk bowls, but they are awkwardly held up,
+with such twistings of body as would have certainly spilt the
+milk. A woman in front has a basket of eggs; but this I
+imagine to be merely to keep up the rustic character of the
+scene, and not part of the shepherd&rsquo;s offerings.</p>
+
+<p class="i1">11. <i>Baptism.</i> There is more of the true picture quality in
+this work than in the former one, but still very little appearance
+of enjoyment or care. The color is for the most part
+grey and uninteresting, and the figures are thin and meagre
+in form, and slightly painted; so much so, that of the nineteen
+figures in the distance, about a dozen are hardly worth
+calling figures, and the rest are so sketched and flourished in
+that one can hardly tell which is which. There is one point
+about it very interesting to a landscape painter: the river is
+seen far into the distance, with a piece of copse bordering it;
+the sky beyond is dark, but the water nevertheless receives a
+brilliant reflection from some unseen rent in the clouds, so
+brilliant, that when I was first at Venice, not being accustomed
+to Tintoret&rsquo;s slight execution, or to see pictures so much
+injured, I took this piece of water for a piece of sky. The
+effect as Tintoret has arranged it, is indeed somewhat unnatural,
+but it is valuable as showing his recognition of a
+principle unknown to half the historical painters of the present
+<span class="pagenum"><a name="page348"></a>348</span>
+day,&mdash;that the reflection seen in the water is totally different
+from the object seen above it, and that it is very possible to
+have a bright light in reflection where there appears nothing
+but darkness to be reflected. The clouds in the sky itself are
+round, heavy, and lightless, and in a great degree spoil what
+would otherwise be a fine landscape distance. Behind the
+rocks on the right, a single head is seen, with a collar on the
+shoulders: it seems to be intended for a portrait of some person
+connected with the picture.</p>
+
+<p class="i1">12. <i>Resurrection.</i> Another of the &ldquo;effect of light&rdquo; pictures,
+and not a very striking one, the best part of it being the two
+distant figures of the Maries seen in the dawn of the morning.
+The conception of the Resurrection itself is characteristic of
+the worst points of Tintoret.  His impetuosity is here in
+the wrong place; Christ bursts out of the rock like a thunderbolt,
+and the angels themselves seem likely to be crushed
+under the rent stones of the tomb. Had the figure of Christ
+been sublime, this conception might have been accepted; but,
+on the contrary, it is weak, mean, and painful; and the whole
+picture is languidly or roughly painted, except only the fig-tree
+at the top of the rock, which, by a curious caprice, is not
+only drawn in the painter&rsquo;s best manner, but has golden ribs
+to all its leaves, making it look like one of the beautiful
+crossed or chequered patterns, of which he is so fond in his
+dresses; the leaves themselves being a dark olive brown.</p>
+
+<p class="i1">13. <i>The Agony in the Garden.</i> I cannot at present understand
+the order of these subjects; but they may have been misplaced.
+This, of all the San Rocco pictures, is the most
+hastily painted, but it is not, like those we have been passing,
+<i>clodly</i> painted; it seems to have been executed altogether with
+a hearth-broom, and in a few hours. It is another of the
+&ldquo;effects,&rdquo; and a very curious one; the Angel who bears the
+cup to Christ is surrounded by a red halo; yet the light which
+falls upon the shoulders of the sleeping disciples, and upon the
+leaves of the olive-trees, is cool and silvery, while the troop
+coming up to seize Christ are seen by torch-light. Judas, who
+is the second figure, points to Christ, but turns his head away
+as he does so, as unable to look at him. This is a noble touch;
+the foliage is also exceedingly fine, though what kind of olive-tree
+<span class="pagenum"><a name="page349"></a>349</span>
+bears such leaves I know not, each of them being about
+the size of a man&rsquo;s hand. If there be any which bear such
+foliage, their olives must be the size of cocoa-nuts. This,
+however, is true only of the underwood, which is, perhaps,
+not meant for olive. There are some taller trees at the top of
+the picture, whose leaves are of a more natural size. On
+closely examining the figures of the troops on the left, I find
+that the distant ones are concealed, all but the limbs, by a sort
+of arch of dark color, which is now so injured, that I cannot
+tell whether it was foliage or ground: I suppose it to have
+been a mass of close foliage, through which the troop is breaking
+its way; Judas rather showing them the path, than actually
+pointing to Christ, as it is written, &ldquo;Judas, who betrayed
+him, knew the place.&rdquo; St. Peter, as the most zealous of the
+three disciples, the only one who was to endeavor to defend
+his Master, is represented as awakening and turning his head
+toward the troop, while James and John are buried in profound
+slumber, laid in magnificent languor among the leaves.
+The picture is singularly impressive, when seen far enough off,
+as an image of thick forest gloom amidst the rich and tender
+foliage of the South; the leaves, however, tossing as in disturbed
+night air, and the flickering of the torches, and of the
+branches, contrasted with the steady flame which from the
+Angel&rsquo;s presence is spread over the robes of the disciples.
+The strangest feature in the whole is that the Christ also is
+represented as sleeping. The angel seems to appear to him
+in a dream.</p>
+
+<p class="i1">14. <i>The Last Supper.</i> A most unsatisfactory picture; I
+think about the worst I know of Tintoret&rsquo;s, where there is no
+appearance of retouching. He always makes the disciples in
+this scene too vulgar; they are here not only vulgar, but
+diminutive, and Christ is at the end of the table, the smallest
+figure of them all. The principal figures are two mendicants
+sitting on steps in front; a kind of supporters, but I suppose
+intended to be waiting for the fragments; a dog, in still more
+earnest expectation, is watching the movements of the disciples,
+who are talking together, Judas having just gone out.
+Christ is represented as giving what one at first supposes is the
+sop to Judas, but as the disciple who received it has a glory,
+<span class="pagenum"><a name="page350"></a>350</span>
+and there are only eleven at table, it is evidently the Sacramental
+bread. The room in which they are assembled is a
+sort of large kitchen, and the host is seen employed at a
+dresser in the background. This picture has not only been
+originally poor, but is one of those exposed all day to the sun,
+and is dried into mere dusty canvas: where there was once
+blue, there is now nothing.</p>
+
+<p class="i1">15. <i>Saint Rocco in Glory.</i> One of the worst order of Tintorets,
+with apparent smoothness and finish, yet languidly
+painted, as if in illness or fatigue; very dark and heavy in
+tone also; its figures, for the most part, of an awkward middle
+size, about five feet high, and very uninteresting. St. Rocco
+ascends to heaven, looking down upon a crowd of poor and
+sick persons who are blessing and adoring him. One of these,
+kneeling at the bottom, is very nearly a repetition, though a
+careless and indolent one, of that of St. Stephen, in St.
+Giorgio Maggiore, and of the central figure in the &ldquo;Paradise&rdquo;
+of the Ducal Palace. It is a kind of lay figure, of which he
+seems to have been fond; its clasped hands are here shockingly
+painted&mdash;I should think unfinished. It forms the only important
+light at the bottom, relieved on a dark ground; at the
+top of the picture, the figure of St. Rocco is seen in shadow
+against the light of the sky, and all the rest is in confused
+shadow. The commonplaceness of this composition is curiously
+connected with the languor of thought and touch throughout
+the work.</p>
+
+<p class="i1">16. <i>Miracle of the Loaves.</i>  Hardly anything but a fine
+piece of landscape is here left; it is more exposed to the sun
+than any other picture in the room, and its draperies having
+been, in great part, painted in blue, are now mere patches of
+the color of starch; the scene is also very imperfectly conceived.
+The twenty-one figures, including Christ and his
+Disciples, very ill represent a crowd of seven thousand; still
+less is the marvel of the miracle expressed by perfect ease and
+rest of the reclining figures in the foreground, who do not
+so much as look surprised; considered merely as reclining
+figures, and as pieces of effect in half light, they have once
+been fine. The landscape, which represents the slope of a
+woody hill, has a very grand and far-away look. Behind it is a
+<span class="pagenum"><a name="page351"></a>351</span>
+great space of streaky sky, almost prismatic in color, rosy and
+golden clouds covering up its blue, and some fine vigorous
+trees thrown against it; painted in about ten minutes each,
+however, by curly touches of the brush, and looking rather
+more like seaweed than foliage.</p>
+
+<p class="i1">17. <i>Resurrection of Lazarus.</i> Very strangely, and not impressively
+conceived. Christ is half reclining, half sitting, at
+the bottom of the picture, while Lazarus is disencumbered of
+his grave-clothes at the top of it; the scene being the side of a
+rocky hill, and the mouth of the tomb probably once visible
+in the shadow on the left; but all that is now discernible is a
+man having his limbs unbound, as if Christ were merely ordering
+a prisoner to be loosed. There appears neither awe nor
+agitation, nor even much astonishment, in any of the figures
+of the group; but the picture is more vigorous than any of the
+three last mentioned, and the upper part of it is quite worthy
+of the master, especially its noble fig-tree and laurel, which he
+has painted, in one of his usual fits of caprice, as carefully as
+that in the &ldquo;Resurrection of Christ,&rdquo; opposite. Perhaps he
+has some meaning in this; he may have been thinking of the
+verse, &ldquo;Behold the fig-tree, and all the trees; when they now
+shoot forth,&rdquo; &amp;c. In the present instance, the leaves are dark
+only, and have no golden veins. The uppermost figures also
+come dark against the sky, and would form a precipitous mass,
+like a piece of the rock itself, but that they are broken in upon
+by one of the limbs of Lazarus, bandaged and in full light,
+which, to my feeling, sadly injures the picture, both as a disagreeable
+object, and a light in the wrong place. The grass
+and weeds are, throughout, carefully painted, but the lower
+figures are of little interest, and the face of the Christ a grievous
+failure.</p>
+
+<p class="i1">18. <i>The Ascension.</i> I have always admired this picture,
+though it is very slight and thin in execution, and cold in
+color; but it is remarkable for its thorough effect of open air,
+and for the sense of motion and clashing in the wings of the
+Angels which sustain the Christ: they owe this effect a good
+deal to the manner in which they are set, edge on; all seem
+like sword-blades cutting the air. It is the most curious in
+conception of all the pictures in the Scuola, for it represents,
+<span class="pagenum"><a name="page352"></a>352</span>
+beneath the Ascension, a kind of epitome of what took place
+before the Ascension. In the distance are two Apostles walking,
+meant, I suppose, for the two going to Emmaus; nearer
+are a group round a table, to remind us of Christ appearing to
+them as they sat at meat; and in the foreground is a single
+reclining figure of, I suppose, St. Peter, because we are told
+that &ldquo;he was seen of Cephas, then of the twelve:&rdquo; but this interpretation
+is doubtful; for why should not the vision by the
+Lake of Tiberias be expressed also? And the strange thing
+of all is the scene, for Christ ascended from the Mount of
+Olives; but the Disciples are walking, and the table is set, in a
+little marshy and grassy valley, like some of the bits near
+Maison Neuve on the Jura, with a brook running through it,
+so capitally expressed, that I believe it is this which makes me
+so fond of the picture. The reflections are as scientific in the
+diminution, in the image, of large masses of bank above, as
+any of Turner&rsquo;s, and the marshy and reedy ground looks as if
+one would sink into it; but what all this has to do with the
+Ascension I cannot see. The figure of Christ is not undignified,
+but by no means either interesting or sublime.</p>
+
+<p class="i1">19. <i>Pool of Bethesda.</i> I have no doubt the principal figures
+have been repainted; but as the colors are faded, and the subject
+disgusting, I have not paid this picture sufficient attention
+to say how far the injury extends; nor need any one spend
+time upon it, unless after having first examined all the other
+Tintorets in Venice. All the great Italian painters appear insensible
+to the feeling of disgust at disease; but this study of
+the population of an hospital is without any points of contrast,
+and I wish Tintoret had not condescended to paint it. This
+and the six preceding paintings have all been uninteresting,&mdash;I
+believe chiefly owing to the observance in them of Sir Joshua&rsquo;s
+rule for the heroic, &ldquo;that drapery is to be mere drapery, and
+not silk, nor satin, nor brocade.&rdquo; However wise such a rule
+may be when applied to works of the purest religious art, it is
+anything but wise as respects works of color. Tintoret is never
+quite himself unless he has fur or velvet, or rich stuff of one
+sort or the other, or jewels, or armor, or something that he can
+put play of color into, among his figures, and not dead folds of
+linsey-woolsey; and I believe that even the best pictures of
+<span class="pagenum"><a name="page353"></a>353</span>
+Raffaelle and Angelico are not a little helped by their hems
+of robes, jewelled crowns, priests&rsquo; copes, and so on; and the
+pictures that have nothing of this kind in them, as for
+instance the &ldquo;Transfiguration,&rdquo; are to my mind not a little
+dull.</p>
+
+<p class="i1">20. <i>Temptation.</i> This picture singularly illustrates what
+has just been observed; it owes great part of its effect to the lustre
+of the jewels in the armlet of the evil angel, and to the beautiful
+colors of his wings. These are slight accessaries apparently,
+but they enhance the value of all the rest, and they have evidently
+been enjoyed by the painter. The armlet is seen by
+reflected light, its stones shining by inward lustre; this occult
+fire being the only hint given of the real character of the
+Tempter, who is otherways represented in the form of a beautiful
+angel, though the face is sensual: we can hardly tell how
+far it was intended to be therefore expressive of evil; for Tintoret&rsquo;s
+good angels have not always the purest features; but
+there is a peculiar subtlety in this telling of the story by so
+slight a circumstance as the glare of the jewels in the darkness.
+It is curious to compare this imagination with that of the
+mosaics in St. Mark&rsquo;s, in which Satan is a black monster, with
+horns, and head, and tail, complete. The whole of the picture
+is powerfully and carefully painted, though very broadly; it is
+a strong effect of light, and therefore, as usual, subdued in
+color. The painting of the stones in the foreground I have
+always thought, and still think, the best piece of rock drawing
+before Turner, and the most amazing instance of Tintoret&rsquo;s perceptiveness
+afforded by any of his pictures.</p>
+
+<p class="i1">21. <i>St. Rocco.</i> Three figures occupy the spandrils of the
+window above this and the following picture, painted merely in
+light and shade, two larger than life, one rather smaller. I
+believe these to be by Tintoret; but as they are quite in the
+dark, so that the execution cannot be seen, and very good designs
+of the kind have been furnished by other masters, I cannot
+answer for them. The figure of St. Rocco, as well as its
+companion, St. Sebastian, is colored; they occupy the narrow
+intervals between the windows, and are of course invisible under
+ordinary circumstances. By a great deal of straining of the
+eyes, and sheltering them with the hand from the light, some
+<span class="pagenum"><a name="page354"></a>354</span>
+little idea of the design may be obtained. The &ldquo;St. Rocco&rdquo;
+is a fine figure, though rather coarse, but, at all events, worth as
+much light as would enable us to see it.</p>
+
+<p class="i1">22. <i>St. Sebastian.</i> This, the companion figure, is one of the
+finest things in the whole room, and assuredly the most majestic
+Saint Sebastian in existence; as far as mere humanity can
+be majestic, for there is no effort at any expression of angelic
+or saintly resignation; the effort is simply to realize the fact of
+the martyrdom, and it seems to me that this is done to an extent
+not even attempted by any other painter. I never saw a
+man die a violent death, and therefore cannot say whether this
+figure be true or not, but it gives the grandest and most intense
+impression of truth. The figure is dead, and well it may be,
+for there is one arrow through the forehead and another
+through the heart; but the eyes are open, though glazed, and
+the body is rigid in the position in which it last stood, the left
+arm raised and the left limb advanced, something in the attitude
+of a soldier sustaining an attack under his shield, while
+the dead eyes are still turned in the direction from which the
+arrows came: but the most characteristic feature is the way these
+arrows are fixed. In the common martyrdoms of St. Sebastian
+they are stuck into him here and there like pins, as if they had
+been shot from a great distance and had come faltering down,
+entering the flesh but a little way, and rather bleeding the saint
+to death than mortally wounding him; but Tintoret had no such
+ideas about archery. He must have seen bows drawn in battle,
+like that of Jehu when he smote Jehoram between the harness:
+all the arrows in the saint&rsquo;s body lie straight in the same direction,
+broad-feathered and strong-shafted, and sent apparently
+with the force of thunderbolts; every one of them has gone
+through him like a lance, two through the limbs, one through
+the arm, one through the heart, and the last has crashed
+through the forehead, nailing the head to the tree behind as if
+it had been dashed in by a sledge-hammer. The face, in spite
+of its ghastliness, is beautiful, and has been serene; and the
+light which enters first and glistens on the plumes of the arrows,
+dies softly away upon the curling hair, and mixes with the glory
+upon the forehead. There is not a more remarkable picture in
+Venice, and yet I do not suppose that one in a thousand of the
+<span class="pagenum"><a name="page355"></a>355</span>
+travellers who pass through the Scuola so much as perceives
+there is a picture in the place which it occupies.</p>
+
+<p class="center">Third Group. On the roof of the upper room.</p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="figcenter">
+    <img src="images/img355.jpg" width="600" height="219" alt="On the roof of the upper room." title="On the roof of the upper room." /></td>
+</tr>
+</table>
+
+<table class="nobctr" summary="data">
+<tr><td style="vertical-align: top;">
+<p>23. Moses striking the Rock.</p>
+<p>24. Plague of Serpents.</p>
+<p>25. Fall of Manna.</p>
+<p>26. Jacob&rsquo;s Dream.</p>
+<p>27. Ezekiel&rsquo;s Vision.</p>
+<p>28. Fall of Man.</p>
+<p>29. Elijah.</p></td>
+
+<td style="vertical-align: top;">
+<p>30. Jonah.</p>
+<p>31. Joshua.</p>
+<p>32. Sacrifice of Isaac.</p>
+<p>33. Elijah at the Brook.</p>
+<p>34. Paschal Feast.</p>
+<p>35. Elisha feeding the People.</p></td></tr></table>
+
+<p class="i1">23. <i>Moses striking the Rock.</i> We now come to the series of
+pictures upon which the painter concentrated the strength he
+had reserved for the upper room; and in some sort wisely, for,
+though it is not pleasant to examine pictures on a ceiling, they
+are at least distinctly visible without straining the eyes against
+the light. They are carefully conceived and thoroughly well
+painted in proportion to their distance from the eye. This
+carefulness of thought is apparent at a glance: the &ldquo;Moses
+striking the Rock&rdquo; embraces the whole of the seventeenth chapter
+of Exodus, and even something more, for it is not from that
+chapter, but from parallel passages that we gather the facts of
+the impatience of Moses and the wrath of God at the waters of
+Meribah; both which facts are shown by the leaping of the
+stream out of the rock half-a-dozen ways at once, forming a
+great arch over the head of Moses, and by the partial veiling
+of the countenance of the Supreme Being. This latter is the
+most painful part of the whole picture, at least as it is seen from
+below; and I believe that in some repairs of the roof this head
+<span class="pagenum"><a name="page356"></a>356</span>
+must have been destroyed and repainted. It is one of Tintoret&rsquo;s
+usual fine thoughts that the lower part of the figure is
+veiled, not merely by clouds, but in a kind of watery sphere,
+showing the Deity coming to the Israelites at that particular
+moment as the Lord of the Rivers and of the Fountain of the
+Waters. The whole figure, as well as that of Moses and the
+greater number of those in the foreground, is at once dark and
+warm, black and red being the prevailing colors, while the
+distance is bright gold touched with blue, and seems to open
+into the picture like a break of blue sky after rain. How exquisite
+is this expression, by mere color, of the main force of the
+fact represented! that is to say, joy and refreshment after sorrow
+and scorching heat. But, when we examine of what this distance
+consists, we shall find still more cause for admiration.
+The blue in it is not the blue of sky, it is obtained by blue
+stripes upon white tents glowing in the sunshine; and in front
+of these tents is seen that great battle with Amalek of which
+the account is given in the remainder of the chapter, and for
+which the Israelites received strength in the streams which ran
+out of the rock in Horeb. Considered merely as a picture, the
+opposition of cool light to warm shadow is one of the most remarkable
+pieces of color in the Scuola, and the great mass of
+foliage which waves over the rocks on the left appears to have
+been elaborated with his highest power and his most sublime
+invention. But this noble passage is much injured, and now
+hardly visible.</p>
+
+<p class="i1">24. <i>Plague of Serpents.</i> The figures in the distance are
+remarkably important in this picture, Moses himself being
+among them; in fact, the whole scene is filled chiefly with
+middle-sized figures, in order to increase the impression of
+space. It is interesting to observe the difference in the treatment
+of this subject by the three great painters, Michael
+Angelo, Rubens, and Tintoret. The first two, equal to the
+latter in energy, had less love of liberty: they were fond of
+binding their compositions into knots, Tintoret of scattering
+his far and wide: they all alike preserve the unity of composition,
+but the unity in the first two is obtained by binding,
+and that of the last by springing from one source; and,
+together with this feeling, comes his love of space, which
+<span class="pagenum"><a name="page357"></a>357</span>
+makes him less regard the rounding and form of objects
+themselves, than their relations of light and shade and distance.
+Therefore Rubens and Michael Angelo made the fiery
+serpents huge boa constrictors, and knotted the sufferers
+together with them. Tintoret does not like to be so bound;
+so he makes the serpents little flying and fluttering monsters
+like lampreys with wings; and the children of Israel, instead
+of being thrown into convulsed and writhing groups, are scattered,
+fainting in the fields, far away in the distance. As usual,
+Tintoret&rsquo;s conception, while thoroughly characteristic of himself,
+is also truer to the words of Scripture. We are told that
+&ldquo;the Lord sent fiery serpents among the people, and they <i>bit</i>
+the people;&rdquo; we are not told that they crushed the people to
+death. And while thus the truest, it is also the most terrific
+conception. M. Angelo&rsquo;s would be terrific if one could believe
+in it: but our instinct tells us that boa constrictors do
+not come in armies; and we look upon the picture with as
+little emotion as upon the handle of a vase, or any other form
+worked out of serpents, where there is no probability of serpents
+actually occurring. But there is a probability in Tintoret&rsquo;s
+conception. We feel that it is not impossible that
+there should come up a swarm of these small winged reptiles:
+and their horror is not diminished by their smallness: not
+that they have any of the grotesque terribleness of German
+invention; they might have been made infinitely uglier with
+small pains, but it is their <i>veritableness</i> which makes them
+awful. They have triangular heads with sharp beaks or
+muzzle; and short, rather thick bodies, with bony processes
+down the back like those of sturgeons; and small wings
+spotted with orange and black; and round glaring eyes, not
+very large, but very ghastly, with an intense delight in biting
+expressed in them. (It is observable, that the Venetian
+painter has got his main idea of them from the sea-horses
+and small reptiles of the Lagoons.) These monsters are fluttering
+and writhing about everywhere, fixing on whatever
+they come near with their sharp venomous heads; and they
+are coiling about on the ground, and all the shadows and
+thickets are full of them, so that there is no escape anywhere:
+and, in order to give the idea of greater extent to the plague,
+<span class="pagenum"><a name="page358"></a>358</span>
+Tintoret has not been content with one horizon; I have before
+mentioned the excessive strangeness of this composition, in
+having a cavern open in the right of the foreground, through
+which is seen another sky and another horizon. At the top
+of the picture, the Divine Being is seen borne by angels,
+apparently passing over the congregation in wrath, involved
+in masses of dark clouds; while, behind, an Angel of mercy
+is descending toward Moses, surrounded by a globe of white
+light. This globe is hardly seen from below; it is not a common
+glory, but a transparent sphere, like a bubble, which not only
+envelopes the angel, but crosses the figure of Moses, throwing
+the upper part of it into a subdued pale color, as if it were
+crossed by a sunbeam. Tintoret is the only painter who plays
+these tricks with transparent light, the only man who seems
+to have perceived the effects of sunbeams, mists, and clouds,
+in the far away atmosphere; and to have used what he saw on
+towers, clouds, or mountains, to enhance the sublimity of his
+figures. The whole upper part of this picture is magnificent,
+less with respect to individual figures, than for the drift of its
+clouds, and <span class="correction" title="changed from originalty">originality</span> and complication of its light and shade;
+it is something like Raffaelle&rsquo;s &ldquo;Vision of Ezekiel,&rdquo; but far
+finer. It is difficult to understand how any painter, who could
+represent floating clouds so nobly as he has done here, could
+ever paint the odd, round, pillowy masses which so often occur
+in his more carelessly designed sacred subjects. The lower
+figures are not so interesting, and the whole is painted with a
+view to effect from below, and gains little by close examination.</p>
+
+<p class="i1">25. <i>Fall of Manna.</i> In none of these three large compositions
+has the painter made the slightest effort at expression in
+the human countenance; everything is done by gesture, and
+the faces of the people who are drinking from the rock, dying
+from the serpent-bites, and eating the manna, are all alike as
+calm as if nothing was happening; in addition to this, as they
+are painted for distant effect, the heads are unsatisfactory
+and coarse when seen near, and perhaps in this last picture
+the more so, and yet the story is exquisitely told. We have
+seen in the Church of San Giorgio Maggiore another example
+of his treatment of it, where, however, the gathering of
+<span class="pagenum"><a name="page359"></a>359</span>
+manna is a subordinate employment, but here it is principal.
+Now, observe, we are told of the manna, that it was
+found in the morning; that then there lay round about the
+camp a small round thing like the hoar-frost, and that &ldquo;when
+the sun waxed hot it melted.&rdquo; Tintoret has endeavored,
+therefore, first of all, to give the idea of coolness; the congregation
+are reposing in a soft green meadow, surrounded by
+blue hills, and there are rich trees above them, to the branches
+of one of which is attached a great grey drapery to catch the
+manna as it comes down. In any other picture such a mass
+of drapery would assuredly have had some vivid color, but here
+it is grey; the fields are cool frosty green, the mountains cold
+blue, and, to complete the expression and meaning of all this,
+there is a most important point to be noted in the form of the
+Deity, seen above, through an opening in the clouds. There
+are at least ten or twelve other pictures in which the form of
+the Supreme Being occurs, to be found in the Scuola di San
+Rocco alone; and in every one of these instances it is richly
+colored, the garments being generally red and blue, but in
+this picture of the manna the figure is <i>snow white</i>. Thus the
+painter endeavors to show the Deity as the giver of bread,
+just as in the &ldquo;Striking of the Rock&rdquo; we saw that he represented
+Him as the Lord of the rivers, the fountains, and the
+waters. There is one other very sweet incident at the bottom
+of the picture; four or five sheep, instead of pasturing, turn
+their heads aside to catch the manna as it comes down,
+or seem to be licking it off each other&rsquo;s fleeces. The tree
+above, to which the drapery is tied, is the most delicate and
+delightful piece of leafage in all the Scuola; it has a large
+sharp leaf, something like that of a willow, but five times the
+size.</p>
+
+<p class="i1">26. <i>Jacob&rsquo;s Dream.</i> A picture which has good effect from
+below, but gains little when seen near. It is an embarrassing
+one for any painter, because angels always look awkward going
+up and down stairs; one does not see the use of their wings.
+Tintoret has thrown them into buoyant and various attitudes,
+but has evidently not treated the subject with delight; and it
+is seen to all the more disadvantage because just above the
+painting of the &ldquo;Ascension,&rdquo; in which the full fresh power
+<span class="pagenum"><a name="page360"></a>360</span>
+of the painter is developed. One would think this latter picture
+had been done just after a walk among hills, for it is
+full of the most delicate effects of transparent cloud, more or
+less veiling the faces and forms of the angels, and covering
+with white light the silvery sprays of the palms, while the
+clouds in the &ldquo;Jacob&rsquo;s Dream&rdquo; are the ordinary rotundities of
+the studio.</p>
+
+<p class="i1">27. <i>Ezekiel&rsquo;s Vision.</i> I suspect this has been repainted, it
+is so heavy and dead in color; a fault, however, observable in
+many of the small pictures on the ceiling, and perhaps the
+natural result of the fatigue of such a mind as Tintoret&rsquo;s. A
+painter who threw such intense energy into some of his works
+can hardly but have been languid in others in a degree never
+experienced by the more tranquil minds of less powerful workmen;
+and when this languor overtook him whilst he was at
+work on pictures where a certain space had to be covered by
+mere force of arm, this heaviness of color could hardly but
+have been the consequence: it shows itself chiefly in reds and
+other hot hues, many of the pictures in the Ducal Palace also
+displaying it in a painful degree. This &ldquo;Ezekiel&rsquo;s Vision&rdquo; is,
+however, in some measure worthy of the master, in the wild
+and horrible energy with which the skeletons are leaping up
+about the prophet; but it might have been less horrible and
+more sublime, no attempt being made to represent the space
+of the Valley of Dry Bones, and the whole canvas being occupied
+only by eight figures, of which five are half skeletons. It
+it is strange that, in such a subject, the prevailing hues should
+be red and brown.</p>
+
+<p class="i1">28. <i>Fall of Man.</i> The two canvases last named are the
+most considerable in size upon the roof, after the centre
+pieces. We now come to the smaller subjects which surround
+the &ldquo;Striking the Rock;&rdquo; of these this &ldquo;Fall of Man&rdquo;
+is the best, and I should think it very fine anywhere but in
+the Scuola di San Rocco; there is a grand light on the body of
+Eve, and the vegetation is remarkably rich, but the faces are
+coarse, and the composition uninteresting. I could not get
+near enough to see what the grey object is upon which Eve
+appears to be sitting, nor could I see any serpent.  It is
+made prominent in the picture of the Academy of this same
+<span class="pagenum"><a name="page361"></a>361</span>
+subject, so that I suppose it is hidden in the darkness, together
+with much detail which it would be necessary to discover in
+order to judge the work justly.</p>
+
+<p class="i1">29. <i>Elijah (?).</i> A prophet holding down his face, which is
+covered with his hand. God is talking with him, apparently
+in rebuke. The clothes on his breast are rent, and the action
+of the figures might suggest the idea of the scene between the
+Deity and Elijah at Horeb: but there is no suggestion of the
+past magnificent scenery,&mdash;of the wind, the earthquake, or
+the fire; so that the conjecture is good for very little. The
+painting is of small interest; the faces are vulgar, and the
+draperies have too much vapid historical dignity to be delightful.</p>
+
+<p class="i1">30. <i>Jonah.</i> The whale here occupies fully one-half of the
+canvas; being correspondent in value with a landscape background.
+His mouth is as large as a cavern, and yet, unless
+the mass of red color in the foreground be a piece of drapery,
+his tongue is too large for it. He seems to have lifted Jonah
+out upon it, and not yet drawn it back, so that it forms a kind
+of crimson cushion for him to kneel upon in his submission to
+the Deity. The head to which this vast tongue belongs is
+sketched in somewhat loosely, and there is little remarkable
+about it except its size, nor much in the figures, though the
+submissiveness of Jonah is well given. The great thought of
+Michael Angelo renders one little charitable to any less imaginative
+treatment of this subject.</p>
+
+<p class="i1">31. <i>Joshua (?).</i> This is a most interesting picture, and it
+is a shame that its subject is not made out, for it is not a common
+one. The figure has a sword in its hand, and looks up to
+a sky full of fire, out of which the form of the Deity is stooping,
+represented as white and colorless. On the other side of
+the picture there is seen among the clouds a pillar apparently
+falling, and there is a crowd at the feet of the principal figure,
+carrying spears. Unless this be Joshua at the fall of Jericho,
+I cannot tell what it means; it is painted with great vigor,
+and worthy of a better place.</p>
+
+<p class="i1">32. <i>Sacrifice of Isaac.</i> In conception, it is one of the least
+worthy of the master in the whole room, the three figures being
+thrown into violent attitudes, as inexpressive as they are
+<span class="pagenum"><a name="page362"></a>362</span>
+strained and artificial. It appears to have been vigorously
+painted, but vulgarly; that is to say, the light is concentrated
+upon the white beard and upturned countenance of
+Abraham, as it would have been in one of the dramatic effects
+of the French school, the result being that the head is very
+bright and very conspicuous, and perhaps, in some of the late
+operations upon the roof, recently washed and touched. In
+consequence, every one who comes into the room, is first invited
+to observe the &ldquo;bella testa di Abramo.&rdquo; The only thing
+characteristic of Tintoret is the way in which the pieces of
+ragged wood are tossed hither and thither in the pile upon
+which Isaac is bound, although this scattering of the wood is
+inconsistent with the Scriptural account of Abraham&rsquo;s deliberate
+procedure, for we are told of him that &ldquo;he set the wood
+in order.&rdquo; But Tintoret had probably not noticed this, and
+thought the tossing of the timber into the disordered heap
+more like the act of the father in his agony.</p>
+
+<p class="i1">33. <i>Elijah at the Brook Cherith (?).</i> I cannot tell if I have
+rightly interpreted the meaning of this picture, which merely
+represents a noble figure couched upon the ground, and an
+angel appearing to him; but I think that between the dark
+tree on the left, and the recumbent figure, there is some appearance
+of a running stream, at all events there is of a
+mountainous and stony place. The longer I study this master,
+the more I feel the strange likeness between him and
+Turner, in our never knowing what subject it is that will stir
+him to exertion. We have lately had him treating Jacob&rsquo;s
+Dream, Ezekiel&rsquo;s Vision, Abraham&rsquo;s Sacrifice, and Jonah&rsquo;s
+Prayer, (all of them subjects on which the greatest painters
+have delighted to expend their strength,) with coldness, carelessness,
+and evident absence of delight; and here, on a sudden,
+in a subject so indistinct that one cannot be sure of its
+meaning, and embracing only two figures, a man and an angel,
+forth he starts in his full strength. I believe he must somewhere
+or another, the day before, have seen a kingfisher; for
+this picture seems entirely painted for the sake of the glorious
+downy wings of the angel,&mdash;white clouded with blue, as the
+bird&rsquo;s head and wings are with green,&mdash;the softest and most
+elaborate in plumage that I have seen in any of his works:
+<span class="pagenum"><a name="page363"></a>363</span>
+but observe also the general sublimity obtained by the mountainous
+lines of the drapery of the recumbent figure, dependent
+for its dignity upon these forms alone, as the face is more than
+half hidden, and what is seen of it expressionless.</p>
+
+<p class="i1">34. <i>The Paschal Feast.</i> I name this picture by the title given
+in the guide-books; it represents merely five persons watching
+the increase of a small fire lighted on a table or altar in the
+midst of them. It is only because they have all staves in their
+hands that one may conjecture this fire to be that kindled to
+consume the Paschal offering. The effect is of course a fire
+light; and, like all mere fire lights that I have ever seen,
+totally devoid of interest.</p>
+
+<p class="i1">35. <i>Elisha feeding the People.</i> I again guess at the subject:
+the picture only represents a figure casting down a number of
+loaves before a multitude; but, as Elisha has not elsewhere
+occurred, I suppose that these must be the barley loaves brought
+from Baalshalisha. In conception and manner of painting,
+this picture and the last, together with the others above-mentioned,
+in comparison with the &ldquo;Elijah at Cherith,&rdquo; may
+be generally described as &ldquo;dregs of Tintoret:&rdquo; they are tired,
+dead, dragged out upon the canvas apparently in the heavy-hearted
+state which a man falls into when he is both jaded
+with toil and sick of the work he is employed upon. They
+are not hastily painted; on the contrary, finished with considerably
+more care than several of the works upon the walls;
+but those, as, for instance, the &ldquo;Agony in the Garden,&rdquo; are
+hurried sketches with the man&rsquo;s whole heart in them, while
+these pictures are exhausted fulfilments of an appointed task.
+Whether they were really amongst the last painted, or whether
+the painter had fallen ill at some intermediate time, I cannot
+say; but we shall find him again in his utmost strength in the
+room which we last enter.</p>
+
+<p><span class="pagenum"><a name="page364"></a>364</span></p>
+
+<p class="center">Fourth Group. Inner room on the upper floor.</p>
+
+<table class="nobctr" style="clear: both; " summary="Illustration">
+<tr>
+  <td class="figcenter">
+    <img src="images/img364.jpg" width="550" height="439" alt="Inner room on the upper floor." title="Inner room on the upper floor." /></td>
+</tr>
+</table>
+
+<table class="nobctr" summary="data">
+<tr><td class="center" colspan="2">On the Roof.</td></tr>
+
+<tr><td style="vertical-align: top;">
+<p>36 to 39. Children&rsquo;s Heads.</p>
+<p>40. St. Rocco in Heaven.</p></td>
+
+<td style="vertical-align: top;">
+<p>41 to 44. Children.</p>
+<p>45 to 56. Allegorical Figures.</p></td></tr>
+
+
+<tr><td class="center" colspan="2">On the Walls.</td></tr>
+
+<tr><td style="vertical-align: top;">
+<p>57. Figure in Niche.</p>
+<p>58. Figure in Niche.</p>
+<p>59. Christ before Pilate.</p></td>
+
+<td style="vertical-align: top;">
+<p>60. Ecce Homo.</p>
+<p>61. Christ bearing his Cross.</p>
+<p>62. <span class="sc">Crucifixion.</span></p></td></tr></table>
+
+
+<p class="i1">36 to 39. <i>Four Children&rsquo;s Heads</i>, which it is much to be regretted
+should be thus lost in filling small vacuities of the ceiling.</p>
+
+<p class="i1">40. <i>St. Rocco in Heaven.</i> The central picture of the roof,
+in the inner room. From the well-known anecdote respecting
+the production of this picture, whether in all its details true or
+not, we may at least gather that having been painted in competition
+with Paul Veronese and other powerful painters of the
+day, it was probably Tintoret&rsquo;s endeavor to make it as popular
+and showy as possible. It is quite different from his common
+works; bright in all its tints and tones; the faces carefully
+<span class="pagenum"><a name="page365"></a>365</span>
+drawn, and of an agreeable type; the outlines firm, and the
+shadows few; the whole resembling Correggio more than any
+Venetian painter. It is, however, an example of the danger,
+even to the greatest artist, of leaving his own style; for it lacks
+all the great virtues of Tintoret, without obtaining the lusciousness
+of Correggio. One thing, at all events, is remarkable in it,&mdash;that,
+though painted while the competitors were making their
+sketches, it shows no sign of haste or inattention.</p>
+
+<p class="i1">41 to 44. <i>Figures of Children</i>, merely decorative.</p>
+
+<p class="i1">45 to 56. <i>Allegorical Figures on the Roof.</i> If these were not
+in the same room with the &ldquo;Crucifixion,&rdquo; they would attract
+more public attention than any works in the Scuola, as there are
+here no black shadows, nor extravagances of invention, but very
+beautiful figures richly and delicately colored, a good deal resembling
+some of the best works of Andrea del Sarto. There is
+nothing in them, however, requiring detailed examination. The
+two figures between the windows are very slovenly, if they are
+his at all; and there are bits of marbling and fruit filling the
+cornices, which may or may not be his: if they are, they are
+tired work, and of small importance.</p>
+
+<p class="i1">59. <i>Christ before Pilate.</i> A most interesting picture, but,
+which is unusual, best seen on a dark day, when the white figure
+of Christ alone draws the eye, looking almost like a spirit; the
+painting of the rest of the picture being both somewhat thin and
+imperfect. There is a certain meagreness about all the minor
+figures, less grandeur and largeness in the limbs and draperies,
+and less solidity, it seems, even in the color, although its arrangements
+are richer than in many of the compositions above
+described. I hardly know whether it is owing to this thinness
+of color, or on purpose, that the horizontal clouds shine through
+the crimson flag in the distance; though I should think the latter,
+for the effect is most beautiful. The passionate action of
+the Scribe in lifting his hand to dip the pen into the ink-horn
+is, however, affected and overstrained, and the Pilate is very
+mean; perhaps intentionally, that no reverence might be withdrawn
+from the person of Christ. In work of the thirteenth
+and fourteenth centuries, the figures of Pilate and Herod are
+always intentionally made contemptible.</p>
+
+<p class="i1"><i>Ecce Homo.</i> As usual, Tintoret&rsquo;s own peculiar view of the
+<span class="pagenum"><a name="page366"></a>366</span>
+subject. Christ is laid fainting on the ground, with a soldier
+standing on one side of him; while Pilate, on the other, withdraws
+the robe from the scourged and wounded body, and points
+it out to the Jews. Both this and the picture last mentioned
+resemble Titian more than Tintoret in the style of their treatment.</p>
+
+<p class="i1">61. <i>Christ bearing his Cross.</i> Tintoret is here recognizable
+again in undiminished strength. He has represented the troops
+and attendants climbing Calvary by a winding path, of which
+two turns are seen, the figures on the uppermost ledge, and
+Christ in the centre of them, being relieved against the sky;
+but, instead of the usual simple expedient of the bright horizon
+to relieve the dark masses, there is here introduced, on the left,
+the head of a white horse, which blends itself with the sky in
+one broad mass of light. The power of the picture is chiefly in
+effect, the figure of Christ being too far off to be very interesting,
+and only the malefactors being seen on the nearer path;
+but for this very reason it seems to me more impressive, as if
+one had been truly present at the scene, though not exactly in
+the right place for seeing it.</p>
+
+<p class="i1">62. <i>The Crucifixion.</i> I must leave this picture to work its
+will on the spectator; for it is beyond all analysis, and above all
+praise.</p>
+
+
+<h5>S</h5>
+
+<p class="i"><span class="sc">Sagredo, Palazzo</span>, on the Grand Canal, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page256">II. 256</a>. Much defaced,
+but full of interest. Its sea story is restored; its first
+floor has a most interesting arcade of the early thirteenth
+century third order windows; its upper windows are the finest
+fourth and fifth orders of early fourteenth century; the group
+of fourth orders in the centre being brought into some resemblance
+to the late Gothic traceries by the subsequent introduction
+of the quatrefoils above them.</p>
+
+
+<p class="i"><span class="sc">Salute, Church of Sta. Maria della</span>, on the Grand Canal,
+II. 378. One of the earliest buildings of the Grotesque Renaissance,
+rendered impressive by its position, size, and general
+proportions. These latter are exceedingly good; the grace
+of the whole building being chiefly dependent on the inequality
+of size in its cupolas, and pretty grouping of the two
+campaniles behind them. It is to be generally observed that
+<span class="pagenum"><a name="page367"></a>367</span>
+the proportions of buildings have nothing whatever to do with
+the style or general merits of their architecture. An architect
+trained in the worst schools, and utterly devoid of all meaning
+or purpose in his work, may yet have such a natural gift of
+massing and grouping as will render all his structures effective
+when seen from a distance: such a gift is very general
+with the late Italian builders, so that many of the most contemptible
+edifices in the country have good stage effect so long
+as we do not approach them. The Church of the Salute is
+farther assisted by the beautiful flight of steps in front of it
+down to the canal; and its façade is rich and beautiful of its
+kind, and was chosen by Turner for the principal object in his
+well-known view of the Grand Canal. The principal faults of
+the building are the meagre windows in the sides of the cupola,
+and the ridiculous disguise of the buttresses under the form of
+colossal scrolls; the buttresses themselves being originally a
+hypocrisy, for the cupola is stated by Lazari to be of timber, and
+therefore needs none. The sacristy contains several precious
+pictures: the three on its roof by Titian, much vaunted, are
+indeed as feeble as they are monstrous; but the small Titian,
+&ldquo;St. Mark, with Sts. Cosmo and Damian,&rdquo; was, when I first
+saw it, to my judgment, by far the first work of Titian&rsquo;s in
+Venice. It has since been restored by the Academy, and it
+seemed to me entirely destroyed, but I had not time to examine
+it carefully.</p>
+
+<p class="i1">At the end of the larger sacristy is the lunette which once
+decorated the tomb of the Doge Francesco Dandolo (see above,
+page 74); and, at the side of it, one of the most highly finished
+Tintorets in Venice, namely:</p>
+
+<p class="i1"><i>The Marriage in Cana.</i> An immense picture, some twenty-five
+feet long by fifteen high, and said by Lazari to be one of
+the few which Tintoret signed with his name. I am not surprised
+at his having done so in this case. Evidently the work
+has been a favorite with him, and he has taken as much pains
+as it was ever necessary for his colossal strength to take with
+anything. The subject is not one which admits of much singularity
+or energy in composition. It was always a favorite
+one with Veronese, because it gave dramatic interest to figures
+in gay costumes and of cheerful countenances; but one is surprised
+<span class="pagenum"><a name="page368"></a>368</span>
+to find Tintoret, whose tone of mind was always grave,
+and who did not like to make a picture out of brocades and
+diadems, throwing his whole strength into the conception of a
+marriage feast; but so it is, and there are assuredly no female
+heads in any of his pictures in Venice elaborated so far as those
+which here form the central light. Neither is it often that the
+works of this mighty master conform themselves to any of the
+rules acted upon by ordinary painters; but in this instance the
+popular laws have been observed, and an academy student
+would be delighted to see with what severity the principal light
+is arranged in a central mass, which is divided and made more
+brilliant by a vigorous piece of shadow thrust into the midst of
+it, and which dies away in lesser fragments and sparkling towards
+the extremities of the picture. This mass of light is as
+interesting by its composition as by its intensity. The cicerone
+who escorts the stranger round the sacristy in the course
+of five minutes, and allows him some forty seconds for the
+contemplation of a picture which the study of six months
+would not entirely fathom, directs his attention very carefully
+to the &ldquo;bell&rsquo; effetto di prospettivo,&rdquo; the whole merit of the
+picture being, in the eyes of the intelligent public, that there
+is a long table in it, one end of which looks farther off than
+the other; but there is more in the &ldquo;bell&rsquo; effetto di prospettivo&rdquo;
+than the observance of the common laws of optics. The
+table is set in a spacious chamber, of which the windows at the
+end let in the light from the horizon, and those in the side
+wall the intense blue of an Eastern sky. The spectator looks
+all along the table, at the farther end of which are seated
+Christ and the Madonna, the marriage guests on each side of
+it,&mdash;on one side men, on the other women; the men are set
+with their backs to the light, which passing over their heads
+and glancing slightly on the tablecloth, falls in full length
+along the line of young Venetian women, who thus fill the
+whole centre of the picture with one broad sunbeam, made up
+of fair faces and golden hair. Close to the spectator a woman
+has risen in amazement, and stretches across the table to show
+the wine in her cup to those opposite; her dark red dress intercepts
+and enhances the mass of gathered light. It is rather
+curious, considering the subject of the picture, that one cannot
+<span class="pagenum"><a name="page369"></a>369</span>
+distinguish either the bride or the bridegroom; but the
+fourth figure from the Madonna in the line of women, who
+wears a white head-dress of lace and rich chains of pearls in
+her hair, may well be accepted for the former, and I think that
+between her and the woman on the Madonna&rsquo;s left hand the
+unity of the line of women is intercepted by a male figure; be
+this as it may, this fourth female face is the most beautiful, as
+far as I recollect, that occurs in the works of the painter, with
+the exception only of the Madonna in the &ldquo;Flight into Egypt.&rdquo;
+It is an ideal which occurs indeed elsewhere in many of his
+works, a face at once dark and delicate, the Italian cast of
+feature moulded with the softness and childishness of English
+beauty some half a century ago; but I have never seen the
+ideal so completely worked out by the master. The face may
+best be described as one of the purest and softest of Stothard&rsquo;s
+conceptions, executed with all the strength of Tintoret. The
+other women are all made inferior to this one, but there are
+beautiful profiles and bendings of breasts and necks along the
+whole line. The men are all subordinate, though there are interesting
+portraits among them; perhaps the only fault of the
+picture being that the faces are a little too conspicuous, seen
+like balls of light among the crowd of minor figures which fill
+the background of the picture. The tone of the whole is sober
+and majestic in the highest degree; the dresses are all broad
+masses of color, and the only parts of the picture which lay
+claim to the expression of wealth or splendor are the head-dresses
+of the women. In this respect the conception of the
+scene differs widely from that of Veronese, and approaches
+more nearly to the probable truth. Still the marriage is not
+an unimportant one; an immense crowd, filling the background,
+forming superbly rich mosaic of color against the distant
+sky. Taken as a whole, the picture is perhaps the most
+perfect example which human art has produced of the utmost
+possible force and sharpness of shadow united with richness of
+local color. In all the other works of Tintoret, and much
+more of other colorists, either the light and shade or the local
+color is predominant; in the one case the picture has a tendency
+to look as if painted by candle-light, in the other it becomes
+daringly conventional, and approaches the conditions of
+<span class="pagenum"><a name="page370"></a>370</span>
+glass-painting. This picture unites color as rich as Titian&rsquo;s
+with light and shade as forcible as Rembrandt&rsquo;s, and far more
+decisive.</p>
+
+<p class="i1">There are one or two other interesting pictures of the early
+Venetian schools in this sacristy, and several important tombs
+in the adjoining cloister; among which that of Francesco
+Dandolo, transported here from the Church of the Frari, deserves
+especial attention. See above, p. 74.</p>
+
+<p class="i"><span class="sc">Salvatore, Church of St.</span> Base Renaissance, occupying the
+place of the ancient church, under the porch of which the
+Pope Alexander III. is said to have passed the night. M.
+Lazari states it to have been richly decorated with mosaics;
+now all is gone.</p>
+
+<p class="i1">In the interior of the church are some of the best examples
+of Renaissance sculptural monuments in Venice. (See above,
+<a href="#chap_2">Chap. II.</a> § <span class="sc">LXXX.</span>) It is said to possess an important pala of
+silver, of the thirteenth century, one of the objects in Venice
+which I much regret having forgotten to examine; besides
+two Titians, a Bonifazio, and a John Bellini. The latter
+(&ldquo;The Supper at Emmaus&rdquo;) must, I think, have been entirely
+repainted: it is not only unworthy of the master, but unlike
+him; as far, at least, as I could see from below, for it is hung
+high.</p>
+
+<p class="i"><span class="sc">Sanudo Palazzo.</span> At the Miracoli. A noble Gothic palace of
+the fourteenth century, with Byzantine fragments and cornices
+built into its walls, especially round the interior court, in
+which the staircase is very noble. Its door, opening on the
+quay, is the only one in Venice entirely uninjured; retaining
+its wooden valve richly sculptured, its wicket for examination
+of the stranger demanding admittance, and its quaint knocker
+in the form of a fish.</p>
+
+<p class="i"><span class="sc">Scalzi, Church of the.</span> It possesses a fine John Bellini, and
+is renowned through Venice for its precious marbles. I omitted
+to notice above, in speaking of the buildings of the Grotesque
+Renaissance, that many of them are remarkable for a kind of
+dishonesty, even in the use of <i>true</i> marbles, resulting not from
+motives of economy, but from mere love of juggling and falsehood
+for their own sake. I hardly know which condition of
+mind is meanest, that which has pride in plaster made to look
+<span class="pagenum"><a name="page371"></a>371</span>
+like marble, or that which takes delight in marble made to
+look like silk. Several of the later churches in Venice, more
+especially those of the Jesuiti, of San Clemente, and this of
+the Scalzi, rest their chief claims to admiration on their having
+curtains and cushions cut out of rock. The most ridiculous
+example is in San Clemente, and the most curious and
+costly are in the Scalzi; which latter church is a perfect type
+of the vulgar abuse of marble in every possible way, by men
+who had no eye for color, and no understanding of any merit
+in a work of art but that which arises from costliness of material,
+and such powers of imitation as are devoted in England
+to the manufacture of peaches and eggs out of Derbyshire
+spar.</p>
+
+<p class="i"><span class="sc">Sebastian, Church of St.</span> The tomb, and of old the monument,
+of Paul Veronese. It is full of his noblest pictures, or
+of what once were such; but they seemed to me for the most
+part destroyed by repainting. I had not time to examine them
+justly, but I would especially direct the traveller&rsquo;s attention to
+the small Madonna over the second altar on the right of the
+nave, still a perfect and priceless treasure.</p>
+
+<p class="i"><span class="sc">Servi, Church of the.</span> Only two of its gates and some ruined
+walls are left, in one of the foulest districts of the city. It was
+one of the most interesting monuments of the early fourteenth
+century Gothic; and there is much beauty in the fragments
+yet remaining. How long they may stand I know not, the
+whole building having been offered me for sale, ground and
+all, or stone by stone, as I chose, by its present proprietor,
+when I was last in Venice. More real good might at present
+be effected by any wealthy person who would devote his resources
+to the preservation of such monuments wherever
+they exist, by freehold purchase of the entire ruin, and afterwards
+by taking proper charge of it, and forming a garden
+round it, than by any other mode of protecting or encouraging
+art. There is no school, no lecturer, like a ruin of the early
+ages.</p>
+
+<p class="i"><span class="sc">Severo, Fondamenta San</span>, palace at, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page264">II. 264</a>.</p>
+
+<p class="i"><span class="sc">Silvestro, Church of St.</span> Of no importance in itself, but it
+contains two very interesting pictures: the first, a &ldquo;St.
+Thomas of Canterbury with the Baptist and St. Francis,&rdquo; by
+<span class="pagenum"><a name="page372"></a>372</span>
+Girolamo Santa Croce, a superb example of the Venetian religious
+school; the second by Tintoret, namely:</p>
+
+<p class="i1"><i>The Baptism of Christ.</i> (Over the first altar on the right
+of the nave.) An upright picture, some ten feet wide by
+fifteen high; the top of it is arched, representing the Father
+supported by angels. It requires little knowledge of Tintoret
+to see that these figures are not by his hand. By returning
+to the opposite side of the nave, the join in the canvas may be
+plainly seen, the upper part of the picture having been entirely
+added on: whether it had this upper part before it was repainted,
+or whether originally square, cannot now be told, but
+I believe it had an upper part which has been destroyed. I
+am not sure if even the dove and the two angels which are at
+the top of the older part of the picture are quite genuine.
+The rest of it is magnificent, though both the figures of the
+Saviour and the Baptist show some concession on the part of
+the painter to the imperative requirement of his age, that
+nothing should be done except in an attitude; neither are there
+any of his usual fantastic imaginations. There is simply the
+Christ in the water and the St. John on the shore, without
+attendants, disciples, or witnesses of any kind; but the power
+of the light and shade, and the splendor of the landscape,
+which on the whole is well preserved, render it a most interesting
+example. The Jordan is represented as a mountain brook,
+receiving a tributary stream in a cascade from the rocks, in
+which St. John stands: there is a rounded stone in the centre
+of the current; and the parting of the water at this, as well as
+its rippling among the roots of some dark trees on the left, are
+among the most accurate remembrances of nature to be found
+in any of the works of the great masters. I hardly know
+whether most to wonder at the power of the man who thus
+broke through the neglect of nature which was universal at
+his time; or at the evidences, visible throughout the whole of
+the conception, that he was still content to paint from slight
+memories of what he had seen in hill countries, instead of following
+out to its full depth the fountain which he had opened.
+There is not a stream among the hills of Priuli which in any
+quarter of a mile of its course would not have suggested to him
+finer forms of cascade than those which he has idly painted at
+Venice.</p>
+
+<p><span class="pagenum"><a name="page373"></a>373</span></p>
+
+<p class="i"><span class="sc">Simeone, Profeta, Church of St.</span> Very important, though
+small, possessing the precious statue of St. Simeon, above
+noticed, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page309">II. 309</a>. The rare early Gothic capitals of the nave
+are only interesting to the architect; but in the little passage
+by the side of the church, leading out of the Campo, there is
+a curious Gothic monument built into the wall, very beautiful
+in the placing of the angels in the spandrils, and rich in the
+vine-leaf moulding above.</p>
+
+<p class="i"><span class="sc">Simeone, Piccolo, Church of St.</span> One of the ugliest churches
+in Venice or elsewhere. Its black dome, like an unusual
+species of gasometer, is the admiration of modern Italian
+architects.</p>
+
+<p class="i"><span class="sc">Sospiri, Ponte de&rsquo;.</span> The well known &ldquo;Bridge of Sighs,&rdquo; a
+work of no merit, and of a late period (see Vol. II. p. <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page304">304</a>),
+owing the interest it possesses chiefly to its pretty name, and
+to the ignorant sentimentalism of Byron.</p>
+
+<p class="i"><span class="sc">Spirito Santo, Church of the.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Stefano, Church of St.</span> An interesting building of central
+Gothic, the best ecclesiastical example of it in Venice. The
+west entrance is much later than any of the rest, and is of the
+richest Renaissance Gothic, a little anterior to the Porta della
+Carta, and first-rate of its kind. The manner of the introduction
+of the figure of the angel at the top of the arch is full
+of beauty. Note the extravagant crockets and cusp finials as
+signs of decline.</p>
+
+<p class="i"><span class="sc">Stefano, Church of St.</span>, at Murano (pugnacity of its abbot),
+II. 33. The church no longer exists.</p>
+
+<p class="i"><span class="sc">Strope, Campiello della</span>, house in, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page266">II. 266</a>.</p>
+
+
+<h5>T</h5>
+
+
+<p class="i"><span class="sc">Tana</span>, windows at the, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page260">II. 260</a>.</p>
+
+<p class="i"><span class="sc">Tiepolo, Palazzo</span>, on the Grand Canal. Of no importance.</p>
+
+<p class="i"><span class="sc">Tolentini, Church of the.</span> One of the basest and coldest
+works of the late Renaissance. It is said to contain two Bonifazios.</p>
+
+<p class="i"><span class="sc">Toma, Church of St.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Toma, Ponte San.</span> There is an interesting ancient doorway
+opening on the canal close to this bridge, probably of the
+twelfth century, and a good early Gothic door, opening upon
+the bridge itself.</p>
+
+<p><span class="pagenum"><a name="page374"></a>374</span></p>
+
+<p class="i"><span class="sc">Torcello</span>, general aspect of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page012">II. 12</a>; Santa Fosca at, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page117">I. 117</a>, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page013">II.
+13</a>; duomo, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page014">II. 14</a>; mosaics of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page196">II. 196</a>; measures of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page378">II. 378</a>;
+date of, <a href="http://www.gutenberg.org/files/30755/30755-h/30755-h.htm#page380">II. 380</a>.</p>
+<p class="i"><span class="sc">Trevisan, Palazzo</span>, <a href="http://www.gutenberg.org/files/30754/30754-h/30754-h.htm#page369">I. 369</a>, <a href="#page212">III. 212</a>.</p>
+
+<p class="i"><span class="sc">Tron, Palazzo.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Trovaso, Church of St.</span> Itself of no importance, but containing
+two pictures by Tintoret, namely:</p>
+
+<p class="i1">1. <i>The Temptation of St. Anthony.</i> (Altar piece in the
+chapel on the left of the choir.) A small and very carefully
+finished picture, but marvellously temperate and quiet in
+treatment, especially considering the subject, which one would
+have imagined likely to inspire the painter with one of his
+most fantastic visions. As if on purpose to disappoint us, both
+the effect, and the conception of the figures, are perfectly
+quiet, and appear the result much more of careful study than
+of vigorous imagination. The effect is one of plain daylight;
+there are a few clouds drifting in the distance, but with no
+wildness in them, nor is there any energy or heat in the flames
+which mantle about the waist of one of the figures. But for
+the noble workmanship, we might almost fancy it the production
+of a modern academy; yet as we begin to read the picture,
+the painter&rsquo;s mind becomes felt. St. Anthony is surrounded
+by four figures, one of which only has the form of a demon,
+and he is in the background, engaged in no more terrific act
+of violence toward St. Anthony, than endeavoring to pull off
+his mantle; he has, however, a scourge over his shoulder, but
+this is probably intended for St. Anthony&rsquo;s weapon of self-discipline,
+which the fiend, with a very Protestant turn of
+mind, is carrying off. A broken staff, with a bell hanging to
+it, at the saint&rsquo;s feet, also expresses his interrupted devotion.
+The three other figures beside him are bent on more cunning
+mischief: the woman on the left is one of Tintoret&rsquo;s best portraits
+of a young and bright-eyed Venetian beauty. It is
+curious that he has given so attractive a countenance to a type
+apparently of the temptation to violate the power of poverty,
+for this woman places one hand in a vase full of coins, and
+shakes golden chains with the other. On the opposite side of
+the saint, another woman, admirably painted, but of a far less
+attractive countenance, is a type of the lusts of the flesh, yet
+<span class="pagenum"><a name="page375"></a>375</span>
+there is nothing gross or immodest in her dress or gesture.
+She appears to have been baffled, and for the present to have
+given up addressing the saint: she lays one hand upon her
+breast, and might be taken for a very respectable person, but
+that there are flames playing about her loins. A recumbent
+figure on the ground is of less intelligible character, but may
+perhaps be meant for Indolence; at all events, he has torn the
+saint&rsquo;s book to pieces. I forgot to note, that under the figure
+representing Avarice, there is a creature like a pig; whether
+actual pig or not is unascertainable, for the church is dark,
+the little light that comes on the picture falls on it the wrong
+way, and one third of the lower part of it is hidden by a white
+case, containing a modern daub, lately painted by way of an
+altar piece; the meaning, as well as the merit, of the grand
+old picture being now far beyond the comprehension both of
+priests and people.</p>
+
+<p class="i1">2. <i>The Last Supper.</i> (On the left-hand side of the Chapel
+of the Sacrament.) A picture which has been through the
+hands of the Academy, and is therefore now hardly worth
+notice. Its conception seems always to have been vulgar, and
+far below Tintoret&rsquo;s usual standard; there is singular baseness
+in the circumstance, that one of the near Apostles, while all
+the others are, as usual, intent upon Christ&rsquo;s words, &ldquo;One of
+you shall betray me,&rdquo; is going to help himself to wine out of
+a bottle which stands behind him. In so doing he stoops towards
+the table, the flask being on the floor. If intended for
+the action of Judas at this moment, there is the painter&rsquo;s
+usual originality in the thought; but it seems to me rather
+done to obtain variation of posture, in bringing the red dress
+into strong contrast with the tablecloth. The color has once
+been fine, and there are fragments of good painting still left;
+but the light does not permit these to be seen, and there is too
+much perfect work of the master&rsquo;s in Venice, to permit us to
+spend time on retouched remnants. The picture is only
+worth mentioning, because it is ignorantly and ridiculously
+referred to by Kugler as characteristic of Tintoret.</p>
+
+
+<p><span class="pagenum"><a name="page376"></a>376</span></p>
+
+<h5>V</h5>
+
+
+<p class="i"><span class="sc">Vitali, Church of St.</span> Said to contain a picture by Vittor
+Carpaccio, over the high altar: otherwise of no importance.</p>
+
+<p class="i"><span class="sc">Volto Santo, Church of the.</span> An interesting but desecrated
+ruin of the fourteenth century; fine in style. Its roof retains
+some fresco coloring, but, as far as I recollect, of later date
+than the architecture.</p>
+
+
+<h5>Z</h5>
+
+
+<p class="i"><span class="sc">Zaccaria, Church of St.</span> Early Renaissance, and fine of its
+kind; a Gothic chapel attached to it is of great beauty. It
+contains the best John Bellini in Venice, after that of San
+G. Grisostomo, &ldquo;The Virgin, with Four Saints;&rdquo; and is said
+to contain another John Bellini and a Tintoret, neither of
+which I have seen.</p>
+
+<p class="i"><span class="sc">Zitelle, Church of the.</span> Of no importance.</p>
+
+<p class="i"><span class="sc">Zobenigo, Church of Santa Maria</span>, <a href="#page124">III. 124</a>. It contains
+one valuable Tintoret, namely:</p>
+
+<p class="i1"><i>Christ with Sta. Justina and St. Augustin.</i> (Over the
+third altar on the south side of the nave.) A picture of small
+size, and upright, about ten feet by eight. Christ appears to
+be descending out of the clouds between the two saints, who
+are both kneeling on the sea shore. It is a Venetian sea,
+breaking on a flat beach, like the Lido, with a scarlet galley in
+the middle distance, of which the chief use is to unite the two
+figures by a point of color. Both the saints are respectable
+Venetians of the lower class, in homely dresses and with
+homely faces. The whole picture is quietly painted, and
+somewhat slightly; free from all extravagance, and displaying
+little power except in the general truth or harmony of colors
+so easily laid on. It is better preserved than usual, and worth
+dwelling upon as an instance of the style of the master when
+<i>at rest</i>.</p>
+
+
+<hr class="foot" />
+<div class="note">
+
+<p><a name="Footnote_71" href="#FnAnchor_71"><span class="fn">71</span></a></p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poem">
+<p class="ind05">&ldquo;Am I in Italy? Is this the Mincius?</p>
+<p>Are those the distant turrets of Verona?</p>
+<p>And shall I sup where Juliet at the Masque</p>
+<p>Saw her loved Montague, and now sleeps by him?</p>
+<p>Such questions hourly do I ask myself;</p>
+<p>And not a stone in a crossway inscribed</p>
+<p>&lsquo;To Mantua,&rsquo; &lsquo;To Ferrara,&rsquo; but excites</p>
+<p>Surprise, and doubt, and self-congratulation.&rdquo;</p>
+</div>
+</td></tr></table>
+
+<p>Alas, after a few short months, spent even in the scenes dearest to history,
+we can feel thus no more.</p>
+
+<p><a name="Footnote_72" href="#FnAnchor_72"><span class="fn">72</span></a> I have always called this church, in the text, simply &ldquo;St. John and
+Paul,&rdquo; not Sts. John and Paul, just as the Venetians say San Giovanni e
+Paolo, and not Santi G., &amp;c.</p>
+</div>
+
+
+<p>&nbsp;</p>
+<hr class="art" />
+<p>&nbsp;</p>
+
+<div class="pg">
+<table class="pg" border="0" style="background-color: #ddddee;" cellpadding="10">
+<tr><td><a name="tntag" id="tntag"></a>
+<h4>Transcriber's Note:</h4>
+<p>This is the third volume of three.<br />&nbsp;</p>
+
+<p>The index is in this volume, with links to all
+three volumes; and some footnotes are linked between volumes.<br />&nbsp;</p>
+
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+The Project Gutenberg eBook, The Stones of Venice, Volume III (of 3), by
+John Ruskin
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
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+
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+Title: The Stones of Venice, Volume III (of 3)
+
+
+Author: John Ruskin
+
+
+
+Release Date: December 31, 2009  [eBook #30756]
+
+Language: English
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+***START OF THE PROJECT GUTENBERG EBOOK THE STONES OF VENICE, VOLUME III
+(OF 3)***
+
+
+E-text prepared by Marius Masi, Juliet Sutherland, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations and also
+      the index for all three volumes of the set with links
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+      See 30756-h.htm or 30756-h.zip:
+      (https://www.gutenberg.org/files/30756/30756-h/30756-h.htm)
+      or
+      (https://www.gutenberg.org/files/30756/30756-h.zip)
+
+      Volumes I and II are available in the Project Gutenberg
+      Library:
+      Volume I--see https://www.gutenberg.org/etext/30754
+      Volume II--see https://www.gutenberg.org/etext/30755
+
+
+Transcriber's note:
+
+      A few typographical errors have been corrected. They are
+      listed at the end of the text.
+
+      Characters following a caret were printed as superscript
+      in the original. For example, "M^a,"; here the "a." is a
+      superscript.
+
+
+
+
+
+The Complete Works of John Ruskin
+
+Volume IX
+
+STONES OF VENICE
+
+VOLUME III
+
+
+[Illustration:
+     THE BRIDGE OF SIGHS
+     FROM A PHOTOGRAPH]
+
+
+Library Edition
+
+The Complete Works of John Ruskin
+
+STONES OF VENICE
+
+VOLUME III
+
+Giotto
+Lectures on Architecture
+Harbours of England
+A Joy Forever
+
+
+
+
+
+
+
+National Library Association
+New York             Chicago
+
+
+
+
+THE
+STONES OF VENICE
+
+VOLUME III.
+
+THE FALL
+
+
+
+
+CONTENTS.
+
+
+  THIRD, OR RENAISSANCE, PERIOD.
+
+                          CHAPTER I.
+                                                      PAGE
+    Early Renaissance,                                   1
+
+                         CHAPTER II.
+    Roman Renaissance,                                  32
+
+                         CHAPTER III.
+    Grotesque Renaissance,                             112
+
+                         CHAPTER IV.
+    Conclusion,                                        166
+
+
+  APPENDIX.
+
+     1. Architect of the Ducal Palace,                 199
+     2. Theology of Spenser,                           205
+     3. Austrian Government in Italy,                  209
+     4. Date of the Palaces of the Byzantine
+          Renaissance,                                 211
+     5. Renaissance Side of Ducal Palace,              212
+     6. Character of the Doge Michele Morosini,        213
+     7. Modern Education,                              214
+     8. Early Venetian Marriages,                      222
+     9. Character of the Venetian Aristocracy,         223
+    10. Final Appendix,                                224
+
+
+  INDICES.
+
+     I. Personal Index,                                263
+    II. Local Index,                                   268
+   III. Topical Index,                                 271
+    IV. Venetian Index,                                287
+
+
+
+
+LIST OF PLATES.
+
+                                                    Facing Page
+
+ PLATE 1. Temperance and Intemperance in Ornament,            6
+   "   2. Gothic Capitals,                                    8
+   "   3. Noble and Ignoble Grotesque,                      125
+   "   4. Mosaic of Olive Tree and Flowers,                 179
+   "   5. Byzantine Bases,                                  225
+   "   6. Byzantine Jambs,                                  229
+   "   7. Gothic Jambs,                                     230
+   "   8. Byzantine Archivolts,                             244
+   "   9. Gothic Archivolts,                                245
+   "  10. Cornices,                                         248
+   "  11. Tracery Bars,                                     252
+   "  12. Capitals of Fondaco de Turchi,                    304
+
+
+
+
+THE
+
+STONES OF VENICE.
+
+THIRD, OR RENAISSANCE, PERIOD.
+
+
+
+
+CHAPTER I.
+
+EARLY RENAISSANCE.
+
+
+� I. I trust that the reader has been enabled, by the preceding
+chapters, to form some conception of the magnificence of the streets of
+Venice during the course of the thirteenth and fourteenth centuries. Yet
+by all this magnificence she was not supremely distinguished above the
+other cities of the middle ages. Her early edifices have been preserved
+to our times by the circuit of her waves; while continual recurrences of
+ruin have defaced the glory of her sister cities. But such fragments as
+are still left in their lonely squares, and in the corners of their
+streets, so far from being inferior to the buildings of Venice, are even
+more rich, more finished, more admirable in invention, more exuberant in
+beauty. And although, in the North of Europe, civilization was less
+advanced, and the knowledge of the arts was more confined to the
+ecclesiastical orders, so that, for domestic architecture, the period of
+perfection must be there placed much later than in Italy, and considered
+as extending to the middle of the fifteenth century; yet, as each city
+reached a certain point in civilization, its streets became decorated
+with the same magnificence, varied only in style according to the
+materials at hand, and temper of the people. And I am not aware of any
+town of wealth and importance in the middle ages, in which some proof
+does not exist, that, at its period of greatest energy and prosperity,
+its streets were inwrought with rich sculpture, and even (though in
+this, as before noticed, Venice always stood supreme) glowing with color
+and with gold. Now, therefore, let the reader,--forming for himself as
+vivid and real a conception as he is able, either of a group of Venetian
+palaces in the fourteenth century, or, if he likes better, of one of the
+more fantastic but even richer street scenes of Rouen, Antwerp, Cologne,
+or Nuremberg, and keeping this gorgeous image before him,--go out into
+any thoroughfare, representative, in a general and characteristic way,
+of the feeling for domestic architecture in modern times; let him, for
+instance, if in London, walk once up and down Harley Street, or Baker
+Street, or Gower Street; and then, looking upon this picture and on
+this, set himself to consider (for this is to be the subject of our
+following and final inquiry) what have been the causes which have
+induced so vast a change in the European mind.
+
+� II. Renaissance architecture is the school which has conducted men's
+inventive and constructive faculties from the Grand Canal to Gower
+Street; from the marble shaft, and the lancet arch, and the wreathed
+leafage, and the glowing and melting harmony of gold and azure, to the
+square cavity in the brick wall. We have now to consider the causes and
+the steps of this change; and, as we endeavored above to investigate the
+nature of Gothic, here to investigate also the nature of Renaissance.
+
+� III. Although Renaissance architecture assumes very different forms
+among different nations, it may be conveniently referred to three
+heads:--Early Renaissance, consisting of the first corruptions
+introduced into the Gothic schools: Central or Roman Renaissance, which
+is the perfectly formed style: and Grotesque Renaissance, which is the
+corruption of the Renaissance itself.
+
+� IV. Now, in order to do full justice to the adverse cause, we will
+consider the abstract _nature_ of the school with reference only to its
+best or central examples. The forms of building which must be classed
+generally under the term _early_ Renaissance are, in many cases, only
+the extravagances and corruptions of the languid Gothic, for whose
+errors the classical principle is in no wise answerable. It was stated
+in the second chapter of the "Seven Lamps," that, unless luxury had
+enervated and subtlety falsified the Gothic forms, Roman traditions
+could not have prevailed against them; and, although these enervated and
+false conditions are almost instantly colored by the classical
+influence, it would be utterly unfair to lay to the charge of that
+influence the first debasement of the earlier schools, which had lost
+the strength of their system before they could be struck by the plague.
+
+� V. The manner, however, of the debasement of all schools of art, so
+far as it is natural, is in all ages the same; luxuriance of ornament,
+refinement of execution, and idle subtleties of fancy, taking the place
+of true thought and firm handling: and I do not intend to delay the
+reader long by the Gothic sick-bed, for our task is not so much to watch
+the wasting of fever in the features of the expiring king, as to trace
+the character of that Hazael who dipped the cloth in water, and laid it
+upon his face, Nevertheless, it is necessary to the completeness of our
+view of the architecture of Venice, as well as to our understanding of
+the manner in which the Central Renaissance obtained its universal
+dominion, that we glance briefly at the principal forms into which
+Venetian Gothic first declined. They are two in number: one the
+corruption of the Gothic itself; the other a partial return to Byzantine
+forms; for the Venetian mind having carried the Gothic to a point at
+which it was dissatisfied, tried to retrace its steps, fell back first
+upon Byzantine types, and through them passed to the first Roman. But in
+thus retracing its steps, it does not recover its own lost energy. It
+revisits the places through which it had passed in the morning light,
+but it is now with wearied limbs, and under the gloomy shadows of
+evening.
+
+� VI. It has just been said that the two principal causes of natural
+decline in any school, are over-luxuriance and over-refinement. The
+corrupt Gothic of Venice furnishes us with a curious instance of the
+one, and the corrupt Byzantine of the other. We shall examine them in
+succession.
+
+Now, observe, first, I do not mean by _luxuriance_ of ornament,
+_quantity_ of ornament. In the best Gothic in the world there is hardly
+an inch of stone left unsculptured. But I mean that character of
+extravagance in the ornament itself which shows that it was addressed to
+jaded faculties; a violence and coarseness in curvature, a depth of
+shadow, a lusciousness in arrangement of line, evidently arising out of
+an incapability of feeling the true beauty of chaste form and restrained
+power. I do not know any character of design which may be more easily
+recognized at a glance than this over-lusciousness; and yet it seems to
+me that at the present day there is nothing so little understood as the
+essential difference between chasteness and extravagance, whether in
+color, shade, or lines. We speak loosely and inaccurately of
+"overcharged" ornament, with an obscure feeling that there is indeed
+something in visible Form which is correspondent to Intemperance in
+moral habits; but without any distinct detection of the character which
+offends us, far less with any understanding of the most important lesson
+which there can be no doubt was intended to be conveyed by the
+universality of this ornamental law.
+
+� VII. In a word, then, the safeguard of highest beauty, in all visible
+work, is exactly that which is also the safeguard of conduct in the
+soul,--Temperance, in the broadest sense; the Temperance which we have
+seen sitting on an equal throne with Justice amidst the Four Cardinal
+Virtues, and, wanting which, there is not any other virtue which may not
+lead us into desperate error. Now, observe: Temperance, in the nobler
+sense, does not mean a subdued and imperfect energy; it does not mean a
+stopping short in any good thing, as in Love or in Faith; but it means
+the power which governs the most intense energy, and prevents its acting
+in any way but as it ought. And with respect to things in which there
+may be excess, it does not mean imperfect enjoyment of them; but the
+regulation of their quantity, so that the enjoyment of them shall be
+greatest. For instance, in the matter we have at present in hand,
+temperance in color does not mean imperfect or dull enjoyment of color;
+but it means that government of color which shall bring the utmost
+possible enjoyment out of all hues. A bad colorist does not _love_
+beautiful color better than the best colorist does, nor half so much.
+But he indulges in it to excess; he uses it in large masses, and
+unsubdued; and then it is a law of Nature, a law as universal as that of
+gravitation, that he shall not be able to enjoy it so much as if he had
+used it in less quantity. His eye is jaded and satiated, and the blue
+and red have life in them no more. He tries to paint them bluer and
+redder, in vain: all the blue has become grey, and gets greyer the more
+he adds to it; all his crimson has become brown, and gets more sere and
+autumnal the more he deepens it. But the great painter is sternly
+temperate in his work; he loves the vivid color with all his heart; but
+for a long time he does not allow himself anything like it, nothing but
+sober browns and dull greys, and colors that have no conceivable beauty
+in them; but these by his government become lovely: and after bringing
+out of them all the life and power they possess, and enjoying them to
+the uttermost,--cautiously, and as the crown of the work, and the
+consummation of its music, he permits the momentary crimson and azure,
+and the whole canvas is in a flame.
+
+� VIII. Again, in curvature, which is the cause of loveliness in all
+form; the bad designer does not enjoy it more than the great designer,
+but he indulges in it till his eye is satiated, and he cannot obtain
+enough of it to touch his jaded feeling for grace. But the great and
+temperate designer does not allow himself any violent curves; he works
+much with lines in which the curvature, though always existing, is long
+before it is perceived. He dwells on all these subdued curvatures to the
+uttermost, and opposes them with still severer lines to bring them out
+in fuller sweetness; and, at last, he allows himself a momentary curve
+of energy, and all the work is, in an instant, full of life and grace.
+
+The curves drawn in Plate VII. of the first volume, were chosen entirely
+to show this character of dignity and restraint, as it appears in the
+lines of nature, together with the perpetual changefulness of the
+degrees of curvature in one and the same line; but although the purpose
+of that plate was carefully explained in the chapter which it
+illustrates, as well as in the passages of "Modern Painters" therein
+referred to (vol. ii. pp. 43, 79), so little are we now in the habit of
+considering the character of abstract lines, that it was thought by many
+persons that this plate only illustrated Hogarth's reversed line of
+beauty, even although the curve of the salvia leaf, which was the one
+taken from that plate for future use, in architecture, was not a
+reversed or serpentine curve at all. I shall now, however, I hope, be
+able to show my meaning better.
+
+� IX. Fig. 1 in Plate I., opposite, is a piece of ornamentation from a
+Norman-French manuscript of the thirteenth century, and fig. 2 from an
+Italian one of the fifteenth. Observe in the first its stern moderation
+in curvature; the gradually united lines _nearly straight_, though none
+quite straight, used for its main limb, and contrasted with the bold but
+simple offshoots of its leaves, and the noble spiral from which it
+shoots, these in their turn opposed by the sharp trefoils and thorny
+cusps. And see what a reserve of resource there is in the whole; how
+easy it would have been to make the curves more palpable and the foliage
+more rich, and how the noble hand has stayed itself, and refused to
+grant one wave of motion more.
+
+[Illustration: Plate I.
+               TEMPERANCE AND INTEMPERANCE.
+               IN CURVATURE.]
+
+� X. Then observe the other example, in which, while the same idea is
+continually repeated, excitement and interest are sought for by means of
+violent and continual curvatures wholly unrestrained, and rolling hither
+and thither in confused wantonness. Compare the character of the
+separate lines in these two examples carefully, and be assured that
+wherever this redundant and luxurious curvature shows itself in
+ornamentation, it is a sign of jaded energy and failing invention. Do
+not confuse it with fulness or richness. Wealth is not necessarily
+wantonness: a Gothic moulding may be buried half a foot deep in thorns
+and leaves, and yet will be chaste in every line; and a late Renaissance
+moulding may be utterly barren and poverty-stricken, and yet will show
+the disposition to luxury in every line.
+
+� XI. Plate XX., in the second volume, though prepared for the special
+illustration of the notices of capitals, becomes peculiarly interesting
+when considered in relation to the points at present under
+consideration. The four leaves in the upper row are Byzantine; the two
+middle rows are transitional, all but fig. 11, which is of the formed
+Gothic; fig. 12 is perfect Gothic of the finest time (Ducal Palace,
+oldest part), fig. 13 is Gothic beginning to decline, fig. 14 is
+Renaissance Gothic in complete corruption.
+
+Now observe, first, the Gothic naturalism advancing gradually from the
+Byzantine severity; how from the sharp, hard, formalized conventionality
+of the upper series the leaves gradually expand into more free and
+flexible animation, until in fig. 12 we have the perfect living leaf as
+if fresh gathered out of the dew. And then, in the last two examples and
+partly in fig. 11, observe how the forms which can advance no longer in
+animation, advance, or rather decline, into luxury and effeminacy as the
+strength of the school expires.
+
+� XII. In the second place, note that the Byzantine and Gothic schools,
+however differing in degree of life, are both alike in _temperance_,
+though the temperance of the Gothic is the nobler, because it consists
+with entire animation. Observe how severe and subtle the curvatures are
+in all the leaves from fig. 1 to fig. 12, except only in fig. 11; and
+observe especially the firmness and strength obtained by the close
+approximation to the straight line in the lateral ribs of the leaf, fig.
+12. The longer the eye rests on these temperate curvatures the more it
+will enjoy them, but it will assuredly in the end be wearied by the
+morbid exaggeration of the last example.
+
+[Illustration: Plate II.
+               GOTHIC CAPITALS.]
+
+� XIII. Finally, observe--and this is very important--how one and the
+same character in the work may be a sign of totally different states of
+mind, and therefore in one case bad, and in the other good. The
+examples, fig. 3. and fig. 12., are both equally pure in line; but one
+is subdivided in the extreme, the other broad in the extreme, and both
+are beautiful. The Byzantine mind delighted in the delicacy of
+subdivision which nature shows in the fern-leaf or parsley-leaf; and so,
+also, often the Gothic mind, much enjoying the oak, thorn, and thistle.
+But the builder of the Ducal Palace used great breadth in his foliage,
+in order to harmonize with the broad surface of his mighty wall, and
+delighted in this breadth as nature delights in the sweeping freshness
+of the dock-leaf or water-lily. Both breadth and subdivision are thus
+noble, when they are contemplated or conceived by a mind in health; and
+both become ignoble, when conceived by a mind jaded and satiated. The
+subdivision in fig. 13 as compared with the type, fig. 12, which it was
+intended to improve, is the sign, not of a mind which loved intricacy,
+but of one which could not relish simplicity, which had not strength
+enough to enjoy the broad masses of the earlier leaves, and cut them to
+pieces idly, like a child tearing the book which, in its weariness, it
+cannot read. And on the other hand, we shall continually find, in other
+examples of work of the same period, an unwholesome breadth or
+heaviness, which results from the mind having no longer any care for
+refinement or precision, nor taking any delight in delicate forms, but
+making all things blunted, cumbrous, and dead, losing at the same time
+the sense of the elasticity and spring of natural curves. It is as if
+the soul of man, itself severed from the root of its health, and about
+to fall into corruption, lost the perception of life in all things
+around it; and could no more distinguish the wave of the strong
+branches, full of muscular strength and sanguine circulation, from the
+lax bending of a broken cord, nor the sinuousness of the edge of the
+leaf, crushed into deep folds by the expansion of its living growth,
+from the wrinkled contraction of its decay.[1] Thus, in morals, there
+is a care for trifles which proceeds from love and conscience, and is
+most holy; and a care for trifles which comes of idleness and frivolity,
+and is most base. And so, also, there is a gravity proceeding from
+thought, which is most noble; and a gravity proceeding from dulness and
+mere incapability of enjoyment, which is most base. Now, in the various
+forms assumed by the later Gothic of Venice, there are one or two
+features which, under other circumstances, would not have been signs of
+decline; but, in the particular manner of their occurrence here,
+indicate the fatal weariness of decay. Of all these features the most
+distinctive are its crockets and finials.
+
+� XIV. There is not to be found a single crocket or finial upon any part
+of the Ducal Palace built during the fourteenth century; and although
+they occur on contemporary, and on some much earlier, buildings, they
+either indicate detached examples of schools not properly Venetian, or
+are signs of incipient decline.
+
+The reason of this is, that the finial is properly the ornament of
+gabled architecture; it is the compliance, in the minor features of the
+building, with the spirit of its towers, ridged roof, and spires.
+Venetian building is not gabled, but horizontal in its roots and general
+masses; therefore the finial is a feature contradictory to its spirit,
+and adopted only in that search for morbid excitement which is the
+infallible indication of decline. When it occurs earlier, it is on
+fragments of true gabled architecture, as, for instance, on the porch of
+the Carmini.
+
+In proportion to the unjustifiableness of its introduction was the
+extravagance of the form it assumed; becoming, sometimes, a tuft at the
+top of the ogee windows, half as high as the arch itself, and
+consisting, in the richest examples, of a human figure, half emergent
+out of a cup of leafage, as, for instance, in the small archway of the
+Campo San Zaccaria: while the crockets, as being at the side of the
+arch, and not so strictly connected with its balance and symmetry,
+appear to consider themselves at greater liberty even than the finials,
+and fling themselves, hither and thither, in the wildest contortions.
+Fig. 4. in Plate I, is the outline of one, carved in stone, from the
+later Gothic of St. Mark's; fig. 3. a crocket from the fine Veronese
+Gothic; in order to enable the reader to discern the Renaissance
+character better by comparison with the examples of curvature above
+them, taken from the manuscripts. And not content with this exuberance
+in the external ornaments of the arch, the finial interferes with its
+traceries. The increased intricacy of these, as such, being a natural
+process in the developement of Gothic, would have been no evil; but they
+are corrupted by the enrichment of the finial at the point of the
+cusp,--corrupted, that is to say, in Venice: for at Verona the finial,
+in the form of a fleur-de-lis, appears long previously at the cusp
+point, with exquisite effect; and in our own best Northern Gothic it is
+often used beautifully in this place, as in the window from Salisbury,
+Plate XII. (Vol. II.), fig. 2. But in Venice, such a treatment of it was
+utterly contrary to the severe spirit of the ancient traceries; and the
+adoption of a leafy finial at the extremity of the cusps in the door of
+San Stefano, as opposed to the simple ball which terminates those of the
+Ducal Palace, is an unmistakable indication of a tendency to decline.
+
+In like manner, the enrichment and complication of the jamb mouldings,
+which, in other schools, might and did take place in the healthiest
+periods, are, at Venice, signs of decline, owing to the entire
+inconsistency of such mouldings with the ancient love of the single
+square jamb and archivolt. The process of enrichment in them is shown by
+the successive examples given in Plate VII., below. They are numbered,
+and explained in the Appendix.
+
+� XV. The date at which this corrupt form of Gothic first prevailed over
+the early simplicity of the Venetian types can be determined in an
+instant, on the steps of the choir of the Church of St. John and Paul.
+On our left hand, as we enter, is the tomb of the Doge Marco Cornaro,
+who died in 1367. It is rich and fully developed Gothic, with crockets
+and finials, but not yet attaining any extravagant developement.
+Opposite to it is that of the Doge Andrea Morosini, who died in 1382.
+Its Gothic is voluptuous, and over-wrought; the crockets are bold and
+florid, and the enormous finial represents a statue of St. Michael.
+There is no excuse for the antiquaries who, having this tomb before
+them, could have attributed the severe architecture of the Ducal Palace
+to a later date; for every one of the Renaissance errors is here in
+complete developement, though not so grossly as entirely to destroy the
+loveliness of the Gothic forms. In the Porta della Carta, 1423, the vice
+reaches its climax.
+
+� XVI. Against this degraded Gothic, then, came up the Renaissance
+armies; and their first assault was in the requirement of universal
+perfection. For the first time since the destruction of Rome, the world
+had seen, in the work of the greatest artists of the fifteenth
+century,--in the painting of Ghirlandajo, Masaccio, Francia, Perugino,
+Pinturicchio, and Bellini; in the sculpture of Mino da Fiesole, of
+Ghiberti, and Verrocchio,--a perfection of execution and fulness of
+knowledge which cast all previous art into the shade, and which, being
+in the work of those men united with all that was great in that of
+former days, did indeed justify the utmost enthusiasm with which their
+efforts were, or could be, regarded. But when this perfection had once
+been exhibited in anything, it was required in everything; the world
+could no longer be satisfied with less exquisite execution, or less
+disciplined knowledge. The first thing that it demanded in all work was,
+that it should be done in a consummate and learned way; and men
+altogether forgot that it was possible to consummate what was
+contemptible, and to know what was useless. Imperatively requiring
+dexterity of touch, they gradually forgot to look for tenderness of
+feeling; imperatively requiring accuracy of knowledge, they gradually
+forgot to ask for originality of thought. The thought and the feeling
+which they despised departed from them, and they were left to
+felicitate themselves on their small science and their neat fingering.
+This is the history of the first attack of the Renaissance upon the
+Gothic schools, and of its rapid results, more fatal and immediate in
+architecture than in any other art, because there the demand for
+perfection was less reasonable, and less consistent with the
+capabilities of the workman; being utterly opposed to that rudeness or
+savageness on which, as we saw above, the nobility of the elder schools
+in great part depends. But inasmuch as the innovations were founded on
+some of the most beautiful examples of art, and headed by some of the
+greatest men that the world ever saw, and as the Gothic with which they
+interfered was corrupt and valueless, the first appearance of the
+Renaissance feeling had the appearance of a healthy movement. A new
+energy replaced whatever weariness or dulness had affected the Gothic
+mind; an exquisite taste and refinement, aided by extended knowledge,
+furnished the first models of the new school; and over the whole of
+Italy a style arose, generally now known as cinque-cento, which in
+sculpture and painting, as I just stated, produced the noblest masters
+which the world ever saw, headed by Michael Angelo, Raphael, and
+Leonardo; but which failed of doing the same in architecture, because,
+as we have seen above, perfection is therein not possible, and failed
+more totally than it would otherwise have done, because the classical
+enthusiasm had destroyed the best types of architectural form.
+
+� XVII. For, observe here very carefully, the Renaissance principle, as
+it consisted in a demand for universal perfection, is quite distinct
+from the Renaissance principle as it consists in a demand for classical
+and Roman _forms_ of perfection. And if I had space to follow out the
+subject as I should desire, I would first endeavor to ascertain what
+might have been the course of the art of Europe if no manuscripts of
+classical authors had been recovered, and no remains of classical
+architecture left, in the fifteenth century; so that the executive
+perfection to which the efforts of all great men had tended for five
+hundred years, and which now at last was reached, might have been
+allowed to develope itself in its own natural and proper form, in
+connexion with the architectural structure of earlier schools. This
+refinement and perfection had indeed its own perils, and the history of
+later Italy, as she sank into pleasure and thence into corruption, would
+probably have been the same whether she had ever learned again to write
+pure Latin or not. Still the inquiry into the probable cause of the
+enervation which might naturally have followed the highest exertion of
+her energies, is a totally distinct one from that into the particular
+form given to this enervation by her classical learning; and it is
+matter of considerable regret to me that I cannot treat these two
+subjects separately: I must be content with marking them for separation
+in the mind of the reader.
+
+� XVIII. The effect, then, of the sudden enthusiasm for classical
+literature, which gained strength during every hour of the fifteenth
+century, was, as far as respected architecture, to do away with the
+entire system of Gothic science. The pointed arch, the shadowy vault,
+the clustered shaft, the heaven-pointing spire, were all swept away; and
+no structure was any longer permitted but that of the plain cross-beam
+from pillar to pillar, over the round arch, with square or circular
+shafts, and a low-gabled roof and pediment: two elements of noble form,
+which had fortunately existed in Rome, were, however, for that reason,
+still permitted; the cupola, and, internally, the waggon vault.
+
+� XIX. These changes in form were all of them unfortunate; and it is
+almost impossible to do justice to the occasionally exquisite
+ornamentation of the fifteenth century, on account of its being placed
+upon edifices of the cold and meagre Roman outline. There is, as far as
+I know, only one Gothic building in Europe, the Duomo of Florence, in
+which, though the ornament be of a much earlier school, it is yet so
+exquisitely finished as to enable us to imagine what might have been the
+effect of the perfect workmanship of the Renaissance, coming out of the
+hands of men like Verrocchio and Ghiberti, had it been employed on the
+magnificent framework of Gothic structure. This is the question which,
+as I shall note in the concluding chapter, we ought to set ourselves
+practically to solve in modern times.
+
+� XX. The changes effected in form, however, were the least part of the
+evil principles of the Renaissance. As I have just said, its main
+mistake, in its early stages, was the unwholesome demand for
+_perfection_, at any cost. I hope enough has been advanced, in the
+chapter on the Nature of Gothic, to show the reader that perfection is
+_not_ to be had from the general workman, but at the cost of
+everything,--of his whole life, thought, and energy. And Renaissance
+Europe thought this a small price to pay for manipulative perfection.
+Men like Verrocchio and Ghiberti were not to be had every day, nor in
+every place; and to require from the common workman execution or
+knowledge like theirs, was to require him to become their copyist. Their
+strength was great enough to enable them to join science with invention,
+method with emotion, finish with fire; but, in them, the invention and
+the fire were first, while Europe saw in them only the method and the
+finish. This was new to the minds of men, and they pursued it to the
+neglect of everything else. "This," they cried, "we must have in all our
+work henceforward:" and they were obeyed. The lower workman secured
+method and finish, and lost, in exchange for them, his soul.
+
+� XXI. Now, therefore, do not let me be misunderstood when I speak
+generally of the evil spirit of the Renaissance. The reader may look
+through all I have written, from first to last, and he will not find one
+word but of the most profound reverence for those mighty men who could
+wear the Renaissance armor of proof, and yet not feel it encumber their
+living limbs,[2]--Leonardo and Michael Angelo, Ghirlandajo and Masaccio,
+Titian and Tintoret. But I speak of the Renaissance as an evil time,
+because, when it saw those men go burning forth into the battle, it
+mistook their armor for their strength: and forthwith encumbered with
+the painful panoply every stripling who ought to have gone forth only
+with his own choice of three smooth stones out of the brook.
+
+� XXII. This, then, the reader must always keep in mind when he is
+examining for himself any examples of cinque-cento work. When it has
+been done by a truly great man, whose life and strength could not be
+oppressed, and who turned to good account the whole science of his day,
+nothing is more exquisite. I do not believe, for instance, that there is
+a more glorious work of sculpture existing in the world than that
+equestrian statue of Bartolomeo Colleone, by Verrocchio, of which, I
+hope, before these pages are printed, there will be a cast in England.
+But when the cinque-cento work has been done by those meaner men, who,
+in the Gothic times, though in a rough way, would yet have found some
+means of speaking out what was in their hearts, it is utterly
+inanimate,--a base and helpless copy of more accomplished models; or, if
+not this, a mere accumulation of technical skill, in gaining which the
+workman had surrendered all other powers that were in him.
+
+There is, therefore, of course, an infinite gradation in the art of the
+period, from the Sistine Chapel down to modern upholstery; but, for the
+most part, since in architecture the workman must be of an inferior
+order, it will be found that this cinque-cento painting and higher
+religious sculpture is noble, while the cinque-cento architecture, with
+its subordinate sculpture, is universally bad; sometimes, however,
+assuming forms, in which the consummate refinement almost atones for the
+loss of force.
+
+� XXIII. This is especially the case with that second branch of the
+Renaissance which, as above noticed, was engrafted at Venice on the
+Byzantine types. So soon as the classical enthusiasm required the
+banishment of Gothic forms, it was natural that the Venetian mind should
+turn back with affection to the Byzantine models in which the round
+arches and simple shafts, necessitated by recent law, were presented
+under a form consecrated by the usage of their ancestors. And,
+accordingly, the first distinct school of architecture[3] which arose
+under the new dynasty, was one in which the method of inlaying marble,
+and the general forms of shaft and arch, were adopted from the buildings
+of the twelfth century, and applied with the utmost possible refinements
+of modern skill. Both at Verona and Venice the resulting architecture is
+exceedingly beautiful. At Verona it is, indeed, less Byzantine, but
+possesses a character of richness and tenderness almost peculiar to that
+city. At Venice it is more severe, but yet adorned with sculpture which,
+for sharpness of touch and delicacy of minute form, cannot be rivalled,
+and rendered especially brilliant and beautiful by the introduction of
+those inlaid circles of colored marble, serpentine, and porphyry, by
+which Phillippe de Commynes was so much struck on his first entrance
+into the city. The two most refined buildings in this style in Venice
+are, the small Church of the Miracoli, and the Scuola di San Marco
+beside the Church of St. John and St. Paul. The noblest is the Rio
+Fa�ade of the Ducal Palace. The Casa Dario, and Casa Manzoni, on the
+Grand Canal, are exquisite examples of the school, as applied to
+domestic architecture; and, in the reach of the canal between the Casa
+Foscari and the Rialto, there are several palaces, of which the Casa
+Contarini (called "delle Figure") is the principal, belonging to the
+same group, though somewhat later, and remarkable for the association of
+the Byzantine principles of color with the severest lines of the Roman
+pediment, gradually superseding the round arch. The precision of
+chiselling and delicacy of proportion in the ornament and general lines
+of these palaces cannot be too highly praised; and I believe that the
+traveller in Venice, in general, gives them rather too little attention
+than too much. But while I would ask him to stay his gondola beside each
+of them long enough to examine their every line, I must also warn him to
+observe, most carefully, the peculiar feebleness and want of soul in the
+conception of their ornament, which mark them as belonging to a period
+of decline; as well as the absurd mode of introduction of their pieces
+of colored marble: these, instead of being simply and naturally inserted
+in the masonry, are placed in small circular or oblong frames of
+sculpture, like mirrors or pictures, and are represented as suspended by
+ribands against the wall; a pair of wings being generally fastened on to
+the circular tablets, as if to relieve the ribands and knots from their
+weight, and the whole series tied under the chin of a little cherub at
+the top, who is nailed against the fa�ade like a hawk on a barn door.
+
+But chiefly let him notice, in the Casa Contarini delle Figure, one most
+strange incident, seeming to have been permitted, like the choice of the
+subjects at the three angles of the Ducal Palace, in order to teach us,
+by a single lesson, the true nature of the style in which it occurs. In
+the intervals of the windows of the first story, certain shields and
+torches are attached, in the form of trophies, to the stems of two trees
+whose boughs have been cut off, and only one or two of their faded
+leaves left, scarcely observable, but delicately sculptured here and
+there, beneath the insertions of the severed boughs.
+
+It is as if the workman had intended to leave us an image of the
+expiring naturalism of the Gothic school. I had not seen this sculpture
+when I wrote the passage referring to its period, in the first volume of
+this work (Chap. XX. � XXXI.):--"Autumn came,--the leaves were
+shed,--and the eye was directed to the extremities of the delicate
+branches. _The Renaissance frosts came, and all perished!_"
+
+� XXIV. And the hues of this autumn of the early Renaissance are the
+last which appear in architecture. The winter which succeeded was
+colorless as it was cold; and although the Venetian painters struggled
+long against its influence, the numbness of the architecture prevailed
+over them at last, and the exteriors of all the latter palaces were
+built only in barren stone. As at this point of our inquiry, therefore,
+we must bid farewell to color, I have reserved for this place the
+continuation of the history of chromatic decoration, from the Byzantine
+period, when we left it in the fifth chapter of the second volume, down
+to its final close.
+
+� XXV. It was above stated, that the principal difference in general
+form and treatment between the Byzantine and Gothic palaces was the
+contraction of the marble facing into the narrow spaces between the
+windows, leaving large fields of brick wall perfectly bare. The reason
+for this appears to have been, that the Gothic builders were no longer
+satisfied with the faint and delicate hues of the veined marble; they
+wished for some more forcible and piquant mode of decoration,
+corresponding more completely with the gradually advancing splendor of
+chivalric costume and heraldic device. What I have said above of the
+simple habits of life of the thirteenth century, in no wise refers
+either to costumes of state, or of military service; and any
+illumination of the thirteenth and early fourteenth centuries (the great
+period being, it seems to me, from 1250 to 1350), while it shows a
+peculiar majesty and simplicity in the fall of the robes (often worn
+over the chain armor), indicates, at the same time, an exquisite
+brilliancy of color and power of design in the hems and borders, as well
+as in the armorial bearings with which they are charged; and while, as
+we have seen, a peculiar simplicity is found also in the _forms_ of the
+architecture, corresponding to that of the folds of the robes, its
+_colors_ were constantly increasing in brilliancy and decision,
+corresponding to those of the quartering of the shield, and of the
+embroidery of the mantle.
+
+� XXVI. Whether, indeed, derived from the quarterings of the knights'
+shields, or from what other source, I know not; but there is one
+magnificent attribute of the coloring of the late twelfth, the whole
+thirteenth, and the early fourteenth century, which I do not find
+definitely in any previous work, nor afterwards in general art, though
+constantly, and necessarily, in that of great colorists, namely, the
+union of one color with another by reciprocal interference: that is to
+say, if a mass of red is to be set beside a mass of blue, a piece of the
+red will be carried into the blue, and a piece of the blue carried into
+the red; sometimes in nearly equal portions, as in a shield divided into
+four quarters, of which the uppermost on one side will be of the same
+color as the lowermost on the other; sometimes in smaller fragments,
+but, in the periods above named, always definitely and grandly, though
+in a thousand various ways. And I call it a magnificent principle, for
+it is an eternal and universal one, not in art only,[4] but in human
+life. It is the great principle of Brotherhood, not by equality, nor by
+likeness, but by giving and receiving; the souls that are unlike, and
+the nations that are unlike, and the natures that are unlike, being
+bound into one noble whole by each receiving something from, and of, the
+others' gifts and the others' glory. I have not space to follow out this
+thought,--it is of infinite extent and application,--but I note it for
+the reader's pursuit, because I have long believed, and the whole second
+volume of "Modern Painters" was written to prove, that in whatever has
+been made by the Deity externally delightful to the human sense of
+beauty, there is some type of God's nature or of God's laws; nor are any
+of His laws, in one sense, greater than the appointment that the most
+lovely and perfect unity shall be obtained by the taking of one nature
+into another. I trespass upon too high ground; and yet I cannot fully
+show the reader the extent of this law, but by leading him thus far. And
+it is just because it is so vast and so awful a law, that it has rule
+over the smallest things; and there is not a vein of color on the
+lightest leaf which the spring winds are at this moment unfolding in the
+fields around us, but it is an illustration of an ordainment to which
+the earth and its creatures owe their continuance, and their Redemption.
+
+� XXVII. It is perfectly inconceivable, until it has been made a subject
+of special inquiry, how perpetually Nature employs this principle in the
+distribution of her light and shade; how by the most extraordinary
+adaptations, apparently accidental, but always in exactly the right
+place, she contrives to bring darkness into light, and light into
+darkness; and that so sharply and decisively, that at the very instant
+when one object changes from light to dark, the thing relieved upon it
+will change from dark to light, and yet so subtly that the eye will not
+detect the transition till it looks for it. The secret of a great part
+of the grandeur in all the noblest compositions is the doing of this
+delicately in _degree_, and broadly in _mass_; in color it may be done
+much more decisively than in light and shade, and, according to the
+simplicity of the work, with greater frankness of confession, until, in
+purely decorative art, as in the illumination, glass-painting, and
+heraldry of the great periods, we find it reduced to segmental accuracy.
+Its greatest masters, in high art, are Tintoret, Veronese, and Turner.
+
+� XXVIII. Together with this great principle of quartering is introduced
+another, also of very high value as far as regards the delight of the
+eye, though not of so profound meaning. As soon as color began to be
+used in broad and opposed fields, it was perceived that the mass of it
+destroyed its brilliancy, and it was _tempered_ by chequering it with
+some other color or colors in smaller quantities, mingled with minute
+portions of pure white. The two moral principles of which this is the
+type, are those of Temperance and Purity; the one requiring the fulness
+of the color to be subdued, and the other that it shall be subdued
+without losing either its own purity or that of the colors with which it
+is associated.
+
+� XXIX. Hence arose the universal and admirable system of the diapered
+or chequered background of early ornamental art. They are completely
+developed in the thirteenth century, and extend through the whole of
+the fourteenth gradually yielding to landscape, and other pictorial
+backgrounds, as the designers lost perception of the purpose of their
+art, and of the value of color. The chromatic decoration of the Gothic
+palaces of Venice was of course founded on these two great principles,
+which prevailed constantly wherever the true chivalric and Gothic spirit
+possessed any influence. The windows, with their intermediate spaces of
+marble, were considered as the objects to be relieved, and variously
+quartered with vigorous color. The whole space of the brick wall was
+considered as a background; it was covered with stucco, and painted in
+fresco, with diaper patterns.
+
+� XXX. What? the reader asks in some surprise,--Stucco! and in the great
+Gothic period? Even so, but _not stucco to imitate stone_. Herein lies
+all the difference; it is stucco confessed and understood, and laid on
+the bricks precisely as gesso is laid on canvas, in order to form them
+into a ground for receiving color from the human hand,--color which, if
+well laid on, might render the brick wall more precious than if it had
+been built of emeralds. Whenever we wish to paint, we may prepare our
+paper as we choose; the value of the ground in no wise adds to the value
+of the picture. A Tintoret on beaten gold would be of no more value than
+a Tintoret on coarse canvas; the gold would merely be wasted. All that
+we have to do is to make the ground as good and fit for the color as
+possible, by whatever means.
+
+� XXXI. I am not sure if I am right in applying the term "stucco" to the
+ground of fresco; but this is of no consequence; the reader will
+understand that it was white, and that the whole wall of the palace was
+considered as the page of a book to be illuminated: but he will
+understand also that the sea winds are bad librarians; that, when once
+the painted stucco began to fade or to fall, the unsightliness of the
+defaced color would necessitate its immediate restoration; and that
+therefore, of all the chromatic decoration of the Gothic palaces, there
+is hardly a fragment left.
+
+Happily, in the pictures of Gentile Bellini, the fresco coloring of the
+Gothic palaces is recorded, as it still remained in his time; not with
+rigid accuracy, but quite distinctly enough to enable us, by comparing
+it with the existing colored designs in the manuscripts and glass of the
+period, to ascertain precisely what it must have been.
+
+� XXXII. The walls were generally covered with chequers of very warm
+color, a russet inclining to scarlet, more or less relieved with white,
+black, and grey; as still seen in the only example which, having been
+executed in marble, has been perfectly preserved, the front of the Ducal
+Palace. This, however, owing to the nature of its materials, was a
+peculiarly simple example; the ground is white, crossed with double bars
+of pale red, and in the centre of each chequer there is a cross,
+alternately black with a red centre and red with a black centre where
+the arms cross. In painted work the grounds would be, of course, as
+varied and complicated as those of manuscripts; but I only know of one
+example left, on the Casa Sagredo, where, on some fragments of stucco, a
+very early chequer background is traceable, composed of crimson
+quatrefoils interlaced, with cherubim stretching their wings filling the
+intervals. A small portion of this ground is seen beside the window
+taken from the palace, Vol. II. Plate XIII. fig. 1.
+
+� XXXIII. It ought to be especially noticed, that, in all chequered
+patterns employed in the colored designs of these noble periods, the
+greatest care is taken to mark that they are _grounds_ of design rather
+than designs themselves. Modern architects, in such minor imitations as
+they are beginning to attempt, endeavor to dispose the parts in the
+patterns so as to occupy certain symmetrical positions with respect to
+the parts of the architecture. A Gothic builder never does this: he cuts
+his ground into pieces of the shape he requires with utter
+remorselessness, and places his windows or doors upon it with no regard
+whatever to the lines in which they cut the pattern: and, in
+illuminations of manuscripts, the chequer itself is constantly changed
+in the most subtle and arbitrary way, wherever there is the least chance
+of its regularity attracting the eye, and making it of importance. So
+_intentional_ is this, that a diaper pattern is often set obliquely to
+the vertical lines of the designs, for fear it should appear in any way
+connected with them.
+
+� XXXIV. On these russet or crimson backgrounds the entire space of the
+series of windows was relieved, for the most part, as a subdued white
+field of alabaster; and on this delicate and veined white were set the
+circular disks of purple and green. The arms of the family were of
+course blazoned in their own proper colors, but I think generally on a
+pure azure ground; the blue color is still left behind the shields in
+the Casa Priuli and one or two more of the palaces which are unrestored,
+and the blue ground was used also to relieve the sculptures of religious
+subject. Finally, all the mouldings, capitals, cornices, cusps, and
+traceries, were either entirely gilded or profusely touched with gold.
+
+The whole front of a Gothic palace in Venice may, therefore, be simply
+described as a field of subdued russet, quartered with broad sculptured
+masses of white and gold; these latter being relieved by smaller inlaid
+fragments of blue, purple, and deep green.
+
+� XXXV. Now, from the beginning of the fourteenth century, when painting
+and architecture were thus united, two processes of change went on
+simultaneously to the beginning of the seventeenth. The merely
+decorative chequerings on the walls yielded gradually to more elaborate
+paintings of figure-subject; first small and quaint, and then enlarging
+into enormous pictures filled by figures generally colossal. As these
+paintings became of greater merit and importance, the architecture with
+which they were associated was less studied; and at last a style was
+introduced in which the framework of the building was little more
+interesting than that of a Manchester factory, but the whole space of
+its walls was covered with the most precious fresco paintings. Such
+edifices are of course no longer to be considered as forming an
+architectural school; they were merely large preparations of artists'
+panels; and Titian, Giorgione, and Veronese no more conferred merit on
+the later architecture of Venice, as such, by painting on its fa�ades,
+than Landseer or Watts could confer merit on that of London by first
+whitewashing and then painting its brick streets from one end to the
+other.
+
+� XXXVI. Contemporarily with this change in the relative values of the
+color decoration and the stone-work, one equally important was taking
+place in the opposite direction, but of course in another group of
+buildings. For in proportion as the architect felt himself thrust aside
+or forgotten in one edifice, he endeavored to make himself principal in
+another; and, in retaliation for the painter's entire usurpation of
+certain fields of design, succeeded in excluding him totally from those
+in which his own influence was predominant. Or, more accurately
+speaking, the architects began to be too proud to receive assistance
+from the colorists; and these latter sought for ground which the
+architect had abandoned, for the unrestrained display of their own
+skill. And thus, while one series of edifices is continually becoming
+feebler in design and richer in superimposed paintings, another, that of
+which we have so often spoken as the earliest or Byzantine Renaissance,
+fragment by fragment rejects the pictorial decoration; supplies its
+place first with marbles, and then, as the latter are felt by the
+architect, daily increasing in arrogance and deepening in coldness, to
+be too bright for his dignity, he casts even these aside one by one: and
+when the last porphyry circle has vanished from the fa�ade, we find two
+palaces standing side by side, one built, so far as mere masonry goes,
+with consummate care and skill, but without the slightest vestige of
+color in any part of it; the other utterly without any claim to interest
+in its architectural form, but covered from top to bottom with paintings
+by Veronese. At this period, then, we bid farewell to color, leaving the
+painters to their own peculiar field; and only regretting that they
+waste their noblest work on walls, from which in a couple of centuries,
+if not before, the greater part of their labor must be effaced. On the
+other hand, the architecture whose decline we are tracing, has now
+assumed an entirely new condition, that of the Central or True
+Renaissance, whose nature we are to examine in the next chapter.
+
+� XXXVII. But before leaving these last palaces over which the Byzantine
+influence extended itself, there is one more lesson to be learned from
+them of much importance to us. Though in many respects debased in style,
+they are consummate in workmanship, and unstained in honor; there is no
+imperfection in them, and no dishonesty. That there is absolutely _no_
+imperfection, is indeed, as we have seen above, a proof of their being
+wanting in the highest qualities of architecture; but, as lessons in
+masonry, they have their value, and may well be studied for the
+excellence they display in methods of levelling stones, for the
+precision of their inlaying, and other such qualities, which in them are
+indeed too principal, yet very instructive in their particular way.
+
+� XXXVIII. For instance, in the inlaid design of the dove with the olive
+branch, from the Casa Trevisan (Vol. I. Plate XX. p. 369), it is
+impossible for anything to go beyond the precision with which the olive
+leaves are cut out of the white marble; and, in some wreaths of laurel
+below, the rippled edge of each leaf is as finely and easily drawn, as
+if by a delicate pencil. No Florentine table is more exquisitely
+finished than the fa�ade of this entire palace; and as ideals of an
+executive perfection, which, though we must not turn aside from our main
+path to reach it, may yet with much advantage be kept in our sight and
+memory, these palaces are most notable amidst the architecture of
+Europe. The Rio Fa�ade of the Ducal Palace, though very sparing in
+color, is yet, as an example of finished masonry in a vast building, one
+of the finest things, not only in Venice, but in the world. It differs
+from other work of the Byzantine Renaissance, in being on a very large
+scale; and it still retains one pure Gothic character, which adds not a
+little to its nobleness, that of perpetual variety. There is hardly one
+window of it, or one panel, that is like another; and this continual
+change so increases its apparent size by confusing the eye, that, though
+presenting no bold features, or striking masses of any kind, there are
+few things in Italy more impressive than the vision of it overhead, as
+the gondola glides from beneath the Bridge of Sighs. And lastly (unless
+we are to blame these buildings for some pieces of very childish
+perspective), they are magnificently honest, as well as perfect. I do
+not remember even any gilding upon them; all is pure marble, and of the
+finest kind.[5]
+
+And therefore, in finally leaving the Ducal Palace,[6] let us take with
+us one more lesson, the last which we shall receive from the Stones of
+Venice, except in the form of a warning.
+
+� XXXIX. The school of architecture which we have just been examining
+is, as we have seen above, redeemed from severe condemnation by its
+careful and noble use of inlaid marbles as a means of color. From that
+time forward, this art has been unknown, or despised; the frescoes of
+the swift and daring Venetian painters long contended with the inlaid
+marbles, outvying them with color, indeed more glorious than theirs, but
+fugitive as the hues of woods in autumn; and, at last, as the art itself
+of painting in this mighty manner failed from among men,[7] the modern
+decorative system established itself, which united the meaninglessness
+of the veined marble with the evanescence of the fresco, and completed
+the harmony by falsehood.
+
+� XL. Since first, in the second chapter of the "Seven Lamps," I
+endeavored to show the culpableness, as well as the baseness, of our
+common modes of decoration by painted imitation of various woods or
+marbles, the subject has been discussed in various architectural works,
+and is evidently becoming one of daily increasing interest. When it is
+considered how many persons there are whose means of livelihood consist
+altogether in these spurious arts, and how difficult it is, even for the
+most candid, to admit a conviction contrary both to their interests and
+to their inveterate habits of practice and thought, it is rather a
+matter of wonder, that the cause of Truth should have found even a few
+maintainers, than that it should have encountered a host of adversaries.
+It has, however, been defended repeatedly by architects themselves, and
+so successfully, that I believe, so far as the desirableness of this or
+that method of ornamentation is to be measured by the fact of its simple
+honesty or dishonesty, there is little need to add anything to what has
+been already urged upon the subject. But there are some points connected
+with the practice of imitating marble, which I have been unable to touch
+upon until now, and by the consideration of which we may be enabled to
+see something of the _policy_ of honesty in this matter, without in the
+least abandoning the higher ground of principle.
+
+� XLI. Consider, then, first, what marble seems to have been made for.
+Over the greater part of the surface of the world, we find that a rock
+has been providentially distributed, in a manner particularly pointing
+it out as intended for the service of man. Not altogether a common rock,
+it is yet rare enough to command a certain degree of interest and
+attention wherever it is found; but not so rare as to preclude its use
+for any purpose to which it is fitted. It is exactly of the consistence
+which is best adapted for sculpture: that is to say, neither hard nor
+brittle, nor flaky nor splintery, but uniform, and delicately, yet not
+ignobly, soft,--exactly soft enough to allow the sculptor to work it
+without force, and trace on it the finest lines of finished form; and
+yet so hard as never to betray the touch or moulder away beneath the
+steel; and so admirably crystallized, and of such permanent elements,
+that no rains dissolve it, no time changes it, no atmosphere decomposes
+it: once shaped, it is shaped for ever, unless subjected to actual
+violence or attrition. This rock, then, is prepared by Nature for the
+sculptor and architect, just as paper is prepared by the manufacturer
+for the artist, with as great--nay, with greater--care, and more perfect
+adaptation of the material to the requirements. And of this marble
+paper, some is white and some colored; but more is colored than white,
+because the white is evidently meant for sculpture, and the colored for
+the covering of large surfaces.
+
+� XLII. Now, if we would take Nature at her word, and use this precious
+paper which she has taken so much care to provide for us (it is a long
+process, the making of that paper; the pulp of it needing the subtlest
+possible solution, and the pressing of it--for it is all
+hot-pressed--having to be done under the saw, or under something at
+least as heavy); if, I say, we use it as Nature would have us, consider
+what advantages would follow. The colors of marble are mingled for us
+just as if on a prepared palette. They are of all shades and hues
+(except bad ones), some being united and even, some broken, mixed, and
+interrupted, in order to supply, as far as possible, the want of the
+painter's power of breaking and mingling the color with the brush. But
+there is more in the colors than this delicacy of adaptation. There is
+history in them. By the manner in which they are arranged in every piece
+of marble, they record the means by which that marble has been produced,
+and the successive changes through which it has passed. And in all their
+veins and zones, and flame-like stainings, or broken and disconnected
+lines, they write various legends, never untrue, of the former political
+state of the mountain kingdom to which they belonged, of its infirmities
+and fortitudes, convulsions and consolidations, from the beginning of
+time.
+
+Now, if we were never in the habit of seeing anything but real marbles,
+this language of theirs would soon begin to be understood; that is to
+say, even the least observant of us would recognize such and such stones
+as forming a peculiar class, and would begin to inquire where they came
+from, and, at last, take some feeble interest in the main question, Why
+they were only to be found in that or the other place, and how they
+came to make a part of this mountain, and not of that? And in a little
+while, it would not be possible to stand for a moment at a shop door,
+leaning against the pillars of it, without remembering or questioning of
+something well worth the memory or the inquiry, touching the hills of
+Italy, or Greece, or Africa, or Spain; and we should be led on from
+knowledge to knowledge, until even the unsculptured walls of our streets
+became to us volumes as precious as those of our libraries.
+
+� XLIII. But the moment we admit imitation of marble, this source of
+knowledge is destroyed. None of us can be at the pains to go through the
+work of verification. If we knew that every colored stone we saw was
+natural, certain questions, conclusions, interests, would force
+themselves upon us without any effort of our own; but we have none of us
+time to stop in the midst of our daily business, to touch and pore over,
+and decide with painful minuteness of investigation, whether such and
+such a pillar be stucco or stone. And the whole field of this knowledge,
+which Nature intended us to possess when we were children, is hopelessly
+shut out from us. Worse than shut out, for the mass of coarse imitations
+confuses our knowledge acquired from other sources; and our memory of
+the marbles we have perhaps once or twice carefully examined, is
+disturbed and distorted by the inaccuracy of the imitations which are
+brought before us continually.
+
+� XLIV. But it will be said, that it is too expensive to employ real
+marbles in ordinary cases. It may be so: yet not always more expensive
+than the fitting windows with enormous plate glass, and decorating them
+with elaborate stucco mouldings and other useless sources of expenditure
+in modern building; nay, not always in the end more expensive than the
+frequent repainting of the dingy pillars, which a little water dashed
+against them would refresh from day to day, if they were of true stone.
+But, granting that it be so, in that very costliness, checking their
+common use in certain localities, is part of the interest of marbles,
+considered as history. Where they are not found, Nature has supplied
+other materials,--clay for brick, or forest for timber,--in the working
+of which she intends other characters of the human mind to be developed,
+and by the proper use of which certain local advantages will assuredly
+be attained, while the delightfulness and meaning of the precious
+marbles will be felt more forcibly in the districts where they occur, or
+on the occasions when they may be procured.
+
+� XLV. It can hardly be necessary to add, that, as the imitation of
+marbles interferes with and checks the knowledge of geography and
+geology, so the imitation of wood interferes with that of botany; and
+that our acquaintance with the nature, uses, and manner of growth of the
+timber trees of our own and of foreign countries, would probably, in the
+majority of cases, become accurate and extensive, without any labor or
+sacrifice of time, were not all inquiry checked, and all observation
+betrayed, by the wretched labors of the "Grainer."
+
+� XLVI. But this is not all. As the practice of imitation retards
+knowledge, so also it retards art.
+
+There is not a meaner occupation for the human mind than the imitation
+of the stains and stri� of marble and wood. When engaged in any easy and
+simple mechanical occupation, there is still some liberty for the mind
+to leave the literal work; and the clash of the loom or the activity of
+the fingers will not always prevent the thoughts from some happy
+expatiation in their own domains. But the grainer must think of what he
+is doing; and veritable attention and care, and occasionally
+considerable skill, are consumed in the doing of a more absolute nothing
+than I can name in any other department of painful idleness. I know not
+anything so humiliating as to see a human being, with arms and limbs
+complete, and apparently a head, and assuredly a soul, yet into the
+hands of which when you have put a brush and pallet, it cannot do
+anything with them but imitate a piece of wood. It cannot color, it has
+no ideas of color; it cannot draw, it has no ideas of form; it cannot
+caricature, it has no ideas of humor. It is incapable of anything beyond
+knots. All its achievement, the entire result of the daily application
+of its imagination and immortality, is to be such a piece of texture as
+the sun and dew are sucking up out of the muddy ground, and weaving
+together, far more finely, in millions of millions of growing branches,
+over every rood of waste woodland and shady hill.
+
+� XLVII. But what is to be done, the reader asks, with men who are
+capable of nothing else than this? Nay, they may be capable of
+everything else, for all we know, and what we are to do with them I will
+try to say in the next chapter; but meanwhile one word more touching the
+higher principles of action in this matter, from which we have descended
+to those of expediency. I trust that some day the language of Types will
+be more read and understood by us than it has been for centuries; and
+when this language, a better one than either Greek or Latin, is again
+recognized amongst us, we shall find, or remember, that as the other
+visible elements of the universe--its air, its water, and its flame--set
+forth, in their pure energies, the life-giving, purifying, and
+sanctifying influences of the Deity upon His creatures, so the earth, in
+its purity, sets forth His eternity and His TRUTH. I have dwelt above on
+the historical language of stones; let us not forget this, which is
+their theological language; and, as we would not wantonly pollute the
+fresh waters when they issue forth in their clear glory from the rock,
+nor stay the mountain winds into pestilential stagnancy, nor mock the
+sunbeams with artificial and ineffective light; so let us not by our own
+base and barren falsehoods, replace the crystalline strength and burning
+color of the earth from which we were born, and to which we must return;
+the earth which, like our own bodies, though dust in its degradation, is
+full of splendor when God's hand gathers its atoms; and which was for
+ever sanctified by Him, as the symbol no less of His love than of His
+truth, when He bade the high priest bear the names of the Children of
+Israel on the clear stones of the Breastplate of Judgment.
+
+
+FOOTNOTES:
+
+  [1] There is a curious instance of this in the modern imitations of
+    the Gothic capitals of the Casa d' Oro, employed in its
+    restorations. The old capitals look like clusters of leaves, the
+    modern ones like kneaded masses of dough with holes in them.
+
+  [2] Not that even these men were able to wear it altogether without
+    harm, as we shall see in the next chapter.
+
+  [3] Appendix 4, "Date of Palaces of Byzantine Renaissance."
+
+  [4] In the various works which Mr. Prout has written on light and
+    shade, no principle will be found insisted on more strongly than
+    this carrying of the dark into the light, and _vice versa_. It is
+    curious to find the untaught instinct of a merely picturesque artist
+    in the nineteenth century, fixing itself so intensely on a principle
+    which regulated the entire sacred composition of the thirteenth. I
+    say "untaught" instinct, for Mr. Prout was, throughout his life, the
+    discoverer of his own principles; fortunately so, considering what
+    principles were taught in his time, but unfortunately in the
+    abstract, for there were gifts in him, which, had there been any
+    wholesome influences to cherish them, might have made him one of the
+    greatest men of his age. He was great, under all adverse
+    circumstances, but the mere wreck of what he might have been, if,
+    after the rough training noticed in my pamphlet on Pre-Raphaelitism,
+    as having fitted him for his great function in the world, he had met
+    with a teacher who could have appreciated his powers, and directed
+    them.
+
+  [5] There may, however, be a kind of dishonesty even in the use of
+    marble, if it is attempted to make the marble look like something
+    else. See the final or Venetian Index under head "Scalzi."
+
+  [6] Appendix 5, "Renaissance Side of Ducal Palace."
+
+  [7] We have, as far as I _know_, at present among us, only one
+    painter, G. F. Watts, who is capable of design in color on a large
+    scale. He stands alone among our artists of the old school, in his
+    perception of the value of breadth in distant masses, and in the
+    vigor of invention by which such breadth must be sustained; and his
+    power of expression and depth of thought are not less remarkable
+    than his bold conception of color effect. Very probably some of the
+    Pre-Raphaelites have the gift also; I am nearly certain that Rosetti
+    has it, and I think also Millais; but the experiment has yet to be
+    tried. I wish it could be made in Mr. Hope's church in Margaret
+    Street.
+
+
+
+
+CHAPTER II.
+
+ROMAN RENAISSANCE.
+
+
+� I. Of all the buildings in Venice, later in date than the final
+additions to the Ducal Palace, the noblest is, beyond all question, that
+which, having been condemned by its proprietor, not many years ago, to
+be pulled down and sold for the value of its materials, was rescued by
+the Austrian government, and appropriated--the government officers
+having no other use for it--to the business of the Post-Office; though
+still known to the gondolier by its ancient name, the Casa Grimani. It
+is composed of three stories of the Corinthian order, at once simple,
+delicate, and sublime; but on so colossal a scale, that the
+three-storied palaces on its right and left only reach to the cornice
+which marks the level of its first floor. Yet it is not at first
+perceived to be so vast; and it is only when some expedient is employed
+to hide it from the eye, that by the sudden dwarfing of the whole reach
+of the Grand Canal, which it commands, we become aware that it is to the
+majesty of the Casa Grimani that the Rialto itself, and the whole group
+of neighboring buildings, owe the greater part of their impressiveness.
+Nor is the finish of its details less notable than the grandeur of their
+scale. There is not an erring line, nor a mistaken proportion,
+throughout its noble front; and the exceeding fineness of the chiselling
+gives an appearance of lightness to the vast blocks of stone out of
+whose perfect union that front is composed. The decoration is sparing,
+but delicate: the first story only simpler than the rest, in that it has
+pilasters instead of shafts, but all with Corinthian capitals, rich in
+leafage, and fruited delicately; the rest of the walls flat and smooth,
+and the mouldings sharp and shallow, so that the bold shafts look like
+crystals of beryl running through a rock of quartz.
+
+� II. This palace is the principal type at Venice, and one of the best
+in Europe, of the central architecture of the Renaissance schools; that
+carefully studied and perfectly executed architecture to which those
+schools owe their principal claims to our respect, and which became the
+model of most of the important works subsequently produced by civilized
+nations. I have called it the Roman Renaissance, because it is founded,
+both in its principles of superimposition, and in the style of its
+ornament, upon the architecture of classic Rome at its best period. The
+revival of Latin literature both led to its adoption, and directed its
+form; and the most important example of it which exists is the modern
+Roman basilica of St. Peter's. It had, at its Renaissance or new birth,
+no resemblance either to Greek, Gothic, or Byzantine forms, except in
+retaining the use of the round arch, vault, and dome; in the treatment
+of all details, it was exclusively Latin; the last links of connexion
+with medi�val tradition having been broken by its builders in their
+enthusiasm for classical art, and the forms of true Greek or Athenian
+architecture being still unknown to them. The study of these noble Greek
+forms has induced various modifications of the Renaissance in our own
+times; but the conditions which are found most applicable to the uses of
+modern life are still Roman, and the entire style may most fitly be
+expressed by the term "Roman Renaissance."
+
+� III. It is this style, in its purity and fullest form,--represented by
+such buildings as the Casa Grimani at Venice (built by San Micheli), the
+Town Hall at Vicenza (by Palladio), St. Peter's at Rome (by Michael
+Angelo), St. Paul's and Whitehall in London (by Wren and Inigo
+Jones),--which is the true antagonist of the Gothic school. The
+intermediate, or corrupt conditions of it, though multiplied over
+Europe, are no longer admired by architects, or made the subjects of
+their study; but the finished work of this central school is still, in
+most cases, the model set before the student of the nineteenth century,
+as opposed to those Gothic, Romanesque, or Byzantine forms which have
+long been considered barbarous, and are so still by most of the leading
+men of the day. That they are, on the contrary, most noble and
+beautiful, and that the antagonistic Renaissance is, in the main,
+unworthy and unadmirable, whatever perfection of a certain kind it may
+possess, it was my principal purpose to show, when I first undertook the
+labor of this work. It has been attempted already to put before the
+reader the various elements which unite in the Nature of Gothic, and to
+enable him thus to judge, not merely of the beauty of the forms which
+that system has produced already, but of its future applicability to the
+wants of mankind, and endless power over their hearts. I would now
+endeavor, in like manner, to set before the reader the Nature of
+Renaissance, and thus to enable him to compare the two styles under the
+same light, and with the same enlarged view of their relations to the
+intellect, and capacities for the service, of man.
+
+� IV. It will not be necessary for me to enter at length into any
+examination of its external form. It uses, whether for its roofs of
+aperture or roofs proper, the low gable or circular arch: but it differs
+from Romanesque work in attaching great importance to the horizontal
+lintel or architrave _above_ the arch; transferring the energy of the
+principal shafts to the supporting of this horizontal beam, and thus
+rendering the arch a subordinate, if not altogether a superfluous,
+feature. The type of this arrangement has been given already at _c_,
+Fig. XXXVI., p. 145, Vol. I.: and I might insist at length upon the
+absurdity of a construction in which the shorter shaft, which has the
+real weight of wall to carry, is split into two by the taller one, which
+has nothing to carry at all,--that taller one being strengthened,
+nevertheless, as if the whole weight of the building bore upon it; and
+on the ungracefulness, never conquered in any Palladian work, of the two
+half-capitals glued, as it were, against the slippery round sides of the
+central shaft. But it is not the form of this architecture against which
+I would plead. Its defects are shared by many of the noblest forms of
+earlier building, and might have been entirely atoned for by excellence
+of spirit. But it is the moral nature of it which is corrupt, and which
+it must, therefore, be our principal business to examine and expose.
+
+� V. The moral, or immoral, elements which unite to form the spirit of
+Central Renaissance architecture are, I believe, in the main,
+two,--Pride and Infidelity; but the pride resolves itself into three
+main branches,--Pride of Science, Pride of State, and Pride of System:
+and thus we have four separate mental conditions which must be examined
+successively.
+
+� VI. 1. PRIDE OF SCIENCE. It would have been more charitable, but more
+confusing, to have added another element to our list, namely the _Love_
+of Science; but the love is included in the pride, and is usually so
+very subordinate an element that it does not deserve equality of
+nomenclature. But, whether pursued in pride or in affection (how far by
+either we shall see presently), the first notable characteristic of the
+Renaissance central school is its introduction of accurate knowledge
+into all its work, so far as it possesses such knowledge; and its
+evident conviction, that such science is necessary to the excellence of
+the work, and is the first thing to be expressed therein. So that all
+the forms introduced, even in its minor ornament, are studied with the
+utmost care; the anatomy of all animal structure is thoroughly
+understood and elaborately expressed, and the whole of the execution
+skilful and practised in the highest degree. Perspective, linear and
+aerial, perfect drawing and accurate light and shade in painting, and
+true anatomy in all representations of the human form, drawn or
+sculptured, are the first requirements in all the work of this school.
+
+� VII. Now, first considering all this in the most charitable light, as
+pursued from a real love of truth, and not from vanity, it would, of
+course, have been all excellent and admirable, had it been regarded as
+the aid of art, and not as its essence. But the grand mistake of the
+Renaissance schools lay in supposing that science and art are the same
+things, and that to advance in the one was necessarily to perfect the
+other. Whereas they are, in reality, things not only different, but so
+opposed, that to advance in the one is, in ninety-nine cases out of the
+hundred, to retrograde in the other. This is the point to which I would
+at present especially bespeak the reader's attention.
+
+� VIII. Science and art are commonly distinguished by the nature of
+their actions; the one as knowing, the other as changing, producing, or
+creating. But there is a still more important distinction in the nature
+of the things they deal with. Science deals exclusively with things as
+they are in themselves; and art exclusively with things as they affect
+the human senses and human soul.[8] Her work is to portray the
+appearance of things, and to deepen the natural impressions which they
+produce upon living creatures. The work of science is to substitute
+facts for appearances, and demonstrations for impressions. Both,
+observe, are equally concerned with truth; the one with truth of aspect,
+the other with truth of essence. Art does not represent things falsely,
+but truly as they appear to mankind. Science studies the relations of
+things to each other: but art studies only their relations to man; and
+it requires of everything which is submitted to it imperatively this,
+and only this,--what that thing is to the human eyes and human heart,
+what it has to say to men, and what it can become to them: a field of
+question just as much vaster than that of science, as the soul is larger
+than the material creation.
+
+� IX. Take a single instance. Science informs us that the sun is
+ninety-five millions of miles distant from, and 111 times broader than,
+the earth; that we and all the planets revolve round it; and that it
+revolves on its own axis in 25 days, 14 hours and 4 minutes. With all
+this, art has nothing whatsoever to do. It has no care to know anything
+of this kind. But the things which it does care to know, are these: that
+in the heavens God hath set a tabernacle for the sun, "which is as a
+bridegroom coming out of his chamber, and rejoiceth as a strong man to
+run a race. His going forth is from the end of the heaven, and his
+circuit unto the ends of it, and there is nothing hid from the heat
+thereof."
+
+� X. This, then, being the kind of truth with which art is exclusively
+concerned, how is such truth as this to be ascertained and accumulated?
+Evidently, and only, by perception and feeling. Never either by
+reasoning, or report. Nothing must come between Nature and the artist's
+sight; nothing between God and the artist's soul. Neither calculation
+nor hearsay,--be it the most subtle of calculations, or the wisest of
+sayings,--may be allowed to come between the universe, and the witness
+which art bears to its visible nature. The whole value of that witness
+depends on its being _eye_-witness; the whole genuineness,
+acceptableness, and dominion of it depend on the personal assurance of
+the man who utters it. All its victory depends on the veracity of the
+one preceding word, "Vidi."
+
+The whole function of the artist in the world is to be a seeing and
+feeling creature; to be an instrument of such tenderness and
+sensitiveness, that no shadow, no hue, no line, no instantaneous and
+evanescent expression of the visible things around him, nor any of the
+emotions which they are capable of conveying to the spirit which has
+been given him, shall either be left unrecorded, or fade from the book
+of record. It is not his business either to think, to judge, to argue,
+or to know. His place is neither in the closet, nor on the bench, nor at
+the bar, nor in the library. They are for other men and other work. He
+may think, in a by-way; reason, now and then, when he has nothing better
+to do; know, such fragments of knowledge as he can gather without
+stooping, or reach without pains; but none of these things are to be his
+care. The work of his life is to be twofold only: to see, to feel.
+
+� XI. Nay, but, the reader perhaps pleads with me, one of the great uses
+of knowledge is to open the eyes; to make things perceivable which,
+never would have been seen, unless first they had been known.
+
+Not so. This could only be said or believed by those who do not know
+what the perceptive faculty of a great artist is, in comparison with
+that of other men. There is no great painter, no great workman in any
+art, but he sees more with the glance of a moment than he could learn by
+the labor of a thousand hours. God has made every man fit for his work;
+He has given to the man whom he means for a student, the reflective,
+logical, sequential faculties; and to the man whom He means for an
+artist, the perceptive, sensitive, retentive faculties. And neither of
+these men, so far from being able to do the other's work, can even
+comprehend the way in which it is done. The student has no understanding
+of the vision, nor the painter of the process; but chiefly the student
+has no idea of the colossal grasp of the true painter's vision and
+sensibility.
+
+The labor of the whole Geological Society, for the last fifty years, has
+but now arrived at the ascertainment of those truths respecting mountain
+form which Turner saw and expressed with a few strokes of a camel's hair
+pencil fifty years ago, when he was a boy. The knowledge of all the laws
+of the planetary system, and of all the curves of the motion of
+projectiles, would never enable the man of science to draw a waterfall
+or a wave; and all the members of Surgeons' Hall helping each other
+could not at this moment see, or represent, the natural movement of a
+human body in vigorous action, as a poor dyer's son did two hundred
+years ago.[9]
+
+� XII. But surely, it is still insisted, granting this peculiar faculty
+to the painter, he will still see more as he knows more, and the more
+knowledge he obtains, therefore, the better. No; not even so. It is
+indeed true, that, here and there, a piece of knowledge will enable the
+eye to detect a truth which might otherwise have escaped it; as, for
+instance, in watching a sunrise, the knowledge of the true nature of the
+orb may lead the painter to feel more profoundly, and express more
+fully, the distance between the bars of cloud that cross it, and the
+sphere of flame that lifts itself slowly beyond them into the infinite
+heaven. But, for one visible truth to which knowledge thus opens the
+eyes, it seals them to a thousand: that is to say, if the knowledge
+occur to the mind so as to occupy its powers of contemplation at the
+moment when the sight work is to be done, the mind retires inward, fixes
+itself upon the known fact, and forgets the passing visible ones; and a
+_moment_ of such forgetfulness loses more to the painter than a day's
+thought can gain. This is no new or strange assertion. Every person
+accustomed to careful reflection of any kind, knows that its natural
+operation is to close his eyes to the external world. While he is
+thinking deeply, he neither sees nor feels, even though naturally he may
+possess strong powers of sight and emotion. He who, having journeyed all
+day beside the Leman Lake, asked of his companions, at evening, where it
+was,[10] probably was not wanting in sensibility; but he was generally a
+thinker, not a perceiver. And this instance is only an extreme one of
+the effect which, in all cases, knowledge, becoming a subject of
+reflection, produces upon the sensitive faculties. It must be but poor
+and lifeless knowledge, if it has no tendency to force itself forward,
+and become ground for reflection, in despite of the succession of
+external objects. It will not obey their succession. The first that
+comes gives it food enough for its day's work; it is its habit, its
+duty, to cast the rest aside, and fasten upon that. The first thing that
+a thinking and knowing man sees in the course of the day, he will not
+easily quit. It is not his way to quit anything without getting to the
+bottom of it, if possible. But the artist is bound to receive all things
+on the broad, white, lucid field of his soul, not to grasp at one. For
+instance, as the knowing and thinking man watches the sunrise, he sees
+something in the color of a ray, or the change of a cloud, that is new
+to him; and this he follows out forthwith into a labyrinth of optical
+and pneumatical laws, perceiving no more clouds nor rays all the
+morning. But the painter must catch all the rays, all the colors that
+come, and see them all truly, all in their real relations and
+succession; therefore, everything that occupies room in his mind he must
+cast aside for the time, as completely as may be. The thoughtful man is
+gone far away to seek; but the perceiving man must sit still, and open
+his heart to receive. The thoughtful man is knitting and sharpening
+himself into a two-edged sword, wherewith to pierce. The perceiving man
+is stretching himself into a four-cornered sheet wherewith to catch. And
+all the breadth to which he can expand himself, and all the white
+emptiness into which he can blanch himself, will not be enough to
+receive what God has to give him.
+
+� XIII. What, then, it will be indignantly asked, is an utterly ignorant
+and unthinking man likely to make the best artist? No, not so neither.
+Knowledge is good for him so long as he can keep it utterly, servilely,
+subordinate to his own divine work, and trample it under his feet, and
+out of his way, the moment it is likely to entangle him.
+
+And in this respect, observe, there is an enormous difference between
+knowledge and education. An artist need not be a _learned_ man, in all
+probability it will be a disadvantage to him to become so; but he ought,
+if possible, always to be an _educated_ man: that is, one who has
+understanding of his own uses and duties in the world, and therefore of
+the general nature of the things done and existing in the world; and who
+has so trained himself, or been trained, as to turn to the best and most
+courteous account whatever faculties or knowledge he has. The mind of an
+educated man is greater than the knowledge it possesses; it is like the
+vault of heaven, encompassing the earth which lives and flourishes
+beneath it: but the mind of an educated and learned man is like a
+caoutchouc band, with an everlasting spirit of contraction in it,
+fastening together papers which it cannot open, and keeps others from
+opening.
+
+Half our artists are ruined for want of education, and by the possession
+of knowledge; the best that I have known have been educated, and
+illiterate. The ideal of an artist, however, is not that he should be
+illiterate, but well read in the best books, and thoroughly high bred,
+both in heart and in bearing. In a word, he should be fit for the best
+society, _and should keep out of it_.[11]
+
+� XIV. There are, indeed, some kinds of knowledge with which an artist
+ought to be thoroughly furnished; those, for instance, which enable him
+to express himself; for this knowledge relieves instead of encumbering
+his mind, and permits it to attend to its purposes instead of wearying
+itself about means. The whole mystery of manipulation and manufacture
+should be familiar to the painter from a child. He should know the
+chemistry of all colors and materials whatsoever, and should prepare all
+his colors himself, in a little laboratory of his own. Limiting his
+chemistry to this one object, the amount of practical science necessary
+for it, and such accidental discoveries as might fall in his way in the
+course of his work, of better colors or better methods of preparing
+them, would be an infinite refreshment to his mind; a minor subject of
+interest to which it might turn when jaded with comfortless labor, or
+exhausted with feverish invention, and yet which would never interfere
+with its higher functions, when it chose to address itself to them. Even
+a considerable amount of manual labor, sturdy color-grinding and
+canvas-stretching, would be advantageous; though this kind of work ought
+to be in great part done by pupils. For it is one of the conditions of
+perfect knowledge in these matters, that every great master should have
+a certain number of pupils, to whom he is to impart all the knowledge of
+materials and means which he himself possesses, as soon as possible; so
+that, at any rate, by the time they are fifteen years old, they may know
+all that he knows himself in this kind; that is to say, all that the
+world of artists know, and his own discoveries besides, and so never be
+troubled about methods any more. Not that the knowledge even of his own
+particular methods is to be of purpose confined to himself and his
+pupils, but that necessarily it must be so in some degree; for only
+those who see him at work daily can understand his small and
+multitudinous ways of practice. These cannot verbally be explained to
+everybody, nor is it needful that they should, only let them be
+concealed from nobody who cares to see them; in which case, of course,
+his attendant scholars will know them best. But all that can be made
+public in matters of this kind should be so with all speed, every artist
+throwing his discovery into the common stock, and the whole body of
+artists taking such pains in this department of science as that there
+shall be no unsettled questions about any known material or method: that
+it shall be an entirely ascertained and indisputable matter which is the
+best white, and which the best brown; which the strongest canvas, and
+safest varnish; and which the shortest and most perfect way of doing
+everything known up to that time: and if any one discovers a better, he
+is to make it public forthwith. All of them taking care to embarrass
+themselves with no theories or reasons for anything, but to work
+empirically only: it not being in any wise their business to know
+whether light moves in rays or in waves; or whether the blue rays of the
+spectrum move slower or faster than the rest; but simply to know how
+many minutes and seconds such and such a powder must be calcined, to
+give the brightest blue.
+
+� XV. Now it is perhaps the most exquisite absurdity of the whole
+Renaissance system, that while it has encumbered the artist with every
+species of knowledge that is of no use to him, this one precious and
+necessary knowledge it has utterly lost. There is not, I believe, at
+this moment, a single question which could be put respecting pigments
+and methods, on which the body of living artists would agree in their
+answers. The lives of artists are passed in fruitless experiments;
+fruitless, because undirected by experience and uncommunicated in their
+results. Every man has methods of his own, which he knows to be
+insufficient, and yet jealously conceals from his fellow-workmen: every
+colorman has materials of his own, to which it is rare that the artist
+can trust: and in the very front of the majestic advance of chemical
+science, the empirical science of the artist has been annihilated, and
+the days which should have led us to higher perfection are passed in
+guessing at, or in mourning over, lost processes; while the so-called
+Dark ages, possessing no more knowledge of chemistry than a village
+herbalist does now, discovered, established, and put into daily practice
+such methods of operation as have made their work, at this day, the
+despair of all who look upon it.
+
+� XVI. And yet even this, to the painter, the safest of sciences, and in
+some degree necessary, has its temptations, and capabilities of abuse.
+For the simplest means are always enough for a great man; and when once
+he has obtained a few ordinary colors, which he is sure will stand, and
+a white surface that will not darken nor moulder, nor rend, he is master
+of the world, and of his fellow-men. And, indeed, as if in these times
+we were bent on furnishing examples of every species of opposite error,
+while we have suffered the traditions to escape us of the simple methods
+of doing simple things, which are enough for all the arts, and to all
+the ages, we have set ourselves to discover fantastic modes of doing
+fantastic things,--new mixtures and manipulations of metal, and
+porcelain, and leather, and paper, and every conceivable condition of
+false substance and cheap work, to our own infinitely multiplied
+confusion,--blinding ourselves daily more and more to the great,
+changeless, and inevitable truth, that there is but one goodness in art;
+and that is one which the chemist cannot prepare, nor the merchant
+cheapen, for it comes only of a rare human hand, and rare human soul.
+
+� XVII. Within its due limits, however, here is one branch of science
+which the artist may pursue; and, within limits still more strict,
+another also, namely, the science of the appearances of things as they
+have been ascertained and registered by his fellow-men. For no day
+passes but some visible fact is pointed out to us by others, which,
+without their help, we should not have noticed; and the accumulation and
+generalization of visible facts have formed, in the succession of ages,
+the sciences of light and shade, and perspective, linear and aerial: so
+that the artist is now at once put in possession of certain truths
+respecting the appearances of things, which, so pointed out to him, any
+man may in a few days understand and acknowledge; but which, without
+aid, he could not probably discover in his lifetime. I say, probably
+could not, because the time which the history of art shows us to have
+been actually occupied in the discovery and systematization of such
+truth, is no measure of the time _necessary_ for such discovery. The
+lengthened period which elapsed between the earliest and the perfect
+developement of the science of light (if I may so call it) was not
+occupied in the actual effort to ascertain its laws, but in _acquiring
+the disposition to make that effort_. It did not take five centuries to
+find out the appearance of natural objects; but it took five centuries
+to make people care about representing them. An artist of the twelfth
+century did not desire to represent nature. His work was symbolical and
+ornamental. So long as it was intelligible and lovely, he had no care to
+make it like nature. As, for instance, when an old painter represented
+the glory round a saint's head by a burnished plate of pure gold, he had
+no intention of imitating an effect of light. He meant to tell the
+spectator that the figure so decorated was a saint, and to produce
+splendor of effect by the golden circle. It was no matter to him what
+light was like. So soon as it entered into his intention to represent
+the appearance of light, he was not long in discovering the natural
+facts necessary for his purpose.
+
+� XVIII. But, this being fully allowed, it is still true that the
+accumulation of facts now known respecting visible phenomena, is greater
+than any man could hope to gather for himself, and that it is well for
+him to be made acquainted with them; provided always, that he receive
+them only at their true value, and do not suffer himself to be misled by
+them. I say, at their true value; that is, an exceedingly small one. All
+the information which men can receive from the accumulated experience of
+others, is of no use but to enable them more quickly and accurately to
+see for themselves. It will in no wise take the place of this personal
+sight. Nothing can be done well in art, except by vision. Scientific
+principles and experiences are helps to the eye, as a microscope is; and
+they are of exactly as much use _without_ the eye. No science of
+perspective, or of anything else, will enable us to draw the simplest
+natural line accurately, unless we see it and feel it. Science is soon
+at her wits' end. All the professors of perspective in Europe, could
+not, by perspective, draw the line of curve of a sea beach; nay, could
+not outline one pool of the quiet water left among the sand. The eye and
+hand can do it, nothing else. All the rules of aerial perspective that
+ever were written, will not tell me how sharply the pines on the
+hill-top are drawn at this moment on the sky. I shall know if I see
+them, and love them; not till then. I may study the laws of atmospheric
+gradation for fourscore years and ten, and I shall not be able to draw
+so much as a brick-kiln through its own smoke, unless I look at it; and
+that in an entirely humble and unscientific manner, ready to see all
+that the smoke, my master, is ready to show me, and expecting to see
+nothing more.
+
+� XIX. So that all the knowledge a man has must be held cheap, and
+neither trusted nor respected, the moment he comes face to face with
+Nature. If it help him, well; if not, but, on the contrary, thrust
+itself upon him in an impertinent and contradictory temper, and venture
+to set itself in the slightest degree in opposition to, or comparison
+with, his sight, let it be disgraced forthwith. And the slave is less
+likely to take too much upon herself, if she has not been bought for a
+high price. All the knowledge an artist needs, will, in these days, come
+to him almost without his seeking; if he has far to look for it, he may
+be sure he does not want it. Prout became Prout, without knowing a
+single rule of perspective to the end of his days; and all the
+perspective in the Encyclop�dia will never produce us another Prout.
+
+� XX. And observe, also, knowledge is not only very often unnecessary,
+but it is often _untrustworthy_. It is inaccurate, and betrays us where
+the eye would have been true to us. Let us take the single instance of
+the knowledge of aerial perspective, of which the moderns are so proud,
+and see how it betrays us in various ways. First by the conceit of it,
+which often prevents our enjoying work in which higher and better things
+were thought of than effects of mist. The other day I showed a line
+impression of Albert Durer's "St. Hubert" to a modern engraver, who had
+never seen it nor any other of Albert Durer's works. He looked at it for
+a minute contemptuously, then turned away: "Ah, I see that man did not
+know much about aerial perspective!" All the glorious work and thought
+of the mighty master, all the redundant landscape, the living
+vegetation, the magnificent truth of line, were dead letters to him,
+because he happened to have been taught one particular piece of
+knowledge which Durer despised.
+
+� XXI. But not only in the conceit of it, but in the inaccuracy of it,
+this science betrays us. Aerial perspective, as given by the modern
+artist, is, in nine cases out of ten, a gross and ridiculous
+exaggeration, as is demonstrable in a moment. The effect of air in
+altering the hue and depth of color is of course great in the exact
+proportion of the volume of air between the observer and the object. It
+is not violent within the first few yards, and then diminished
+gradually, but it is equal for each foot of interposing air. Now in a
+clear day, and clear climate, such as that generally presupposed in a
+work of fine color, objects are completely visible at a distance of ten
+miles; visible in light and shade, with gradations between the two.
+Take, then, the faintest possible hue of shadow, or of any color, and
+the most violent and positive possible, and set them side by side. The
+interval between them is greater than the real difference (for objects
+may often be seen clearly much farther than ten miles, I have seen Mont
+Blanc at 120) caused by the ten miles of intervening air between any
+given hue of the nearest, and most distant, objects; but let us assume
+it, in courtesy to the masters of aerial perspective, to be the real
+difference. Then roughly estimating a mile at less than it really is,
+also in courtesy to them, or at 5000 feet, we have this difference
+between tints produced by 50,000 feet of air. Then, ten feet of air
+will produce the 5000th part of this difference. Let the reader take the
+two extreme tints, and carefully gradate the one into the other. Let him
+divide this gradated shadow or color into 5000 successive parts; and the
+difference in depth between one of these parts and the next is the exact
+amount of aerial perspective between one object, and another, ten feet
+behind it, on a clear day.
+
+� XXII. Now, in Millais' "Huguenot," the figures were standing about
+three feet from the wall behind them; and the wise world of critics,
+which could find no other fault with the picture, professed to have its
+eyes hurt by the want of an aerial perspective, which, had it been
+accurately given (as, indeed, I believe it was), would have amounted to
+the 10/3-5000th, or less than the 15,000th part of the depth of any
+given color. It would be interesting to see a picture painted by the
+critics, upon this scientific principle. The aerial perspective usually
+represented is entirely conventional and ridiculous; a mere struggle on
+the part of the pretendedly well-informed, but really ignorant, artist,
+to express distances by mist which he cannot by drawing.
+
+It is curious that the critical world is just as much offended by the
+true _presence_ of aerial perspective, over distances of fifty miles,
+and with definite purpose of representing mist, in the works of Turner,
+as by the true _absence_ of aerial perspective, over distances of three
+feet, and in clear weather, in those of Millais.
+
+� XXIII. "Well but," still answers the reader, "this kind of error may
+here and there be occasioned by too much respect for undigested
+knowledge; but, on the whole, the gain is greater than the loss, and the
+fact is, that a picture of the Renaissance period, or by a modern
+master, does indeed represent nature more faithfully than one wrought in
+the ignorance of old times." No, not one whit; for the most part less
+faithfully. Indeed, the outside of nature is more truly drawn; the
+material commonplace, which can be systematized, catalogued, and taught
+to all pains-taking mankind,--forms of ribs and scapul�,[12] of eyebrows
+and lips, and curls of hair. Whatever can be measured and handled,
+dissected and demonstrated,--in a word, whatever is of the body
+only,--that the schools of knowledge do resolutely and courageously
+possess themselves of, and portray. But whatever is immeasurable,
+intangible, indivisible, and of the spirit, that the schools of
+knowledge do as certainly lose, and blot out of their sight, that is to
+say, all that is worth art's possessing or recording at all; for
+whatever can be arrested, measured, and systematized, we can contemplate
+as much as we will in nature herself. But what we want art to do for us
+is to stay what is fleeting, and to enlighten what is incomprehensible,
+to incorporate the things that have no measure, and immortalize the
+things that have no duration. The dimly seen, momentary glance, the
+flitting shadow of faint emotion, the imperfect lines of fading thought,
+and all that by and through such things as these is recorded on the
+features of man, and all that in man's person and actions, and in the
+great natural world, is infinite and wonderful; having in it that spirit
+and power which man may witness, but not weigh; conceive, but not
+comprehend; love, but not limit; and imagine, but not define;--this, the
+beginning and the end of the aim of all noble art, we have, in the
+ancient art, by perception; and we have _not_, in the newer art, by
+knowledge. Giotto gives it us, Orcagna gives it us. Angelico, Memmi,
+Pisano, it matters not who,--all simple and unlearned men, in their
+measure and manner,--give it us; and the learned men that followed them
+give it us not, and we, in our supreme learning, own ourselves at this
+day farther from it than ever.
+
+� XXIV. "Nay," but it is still answered, "this is because we have not
+yet brought our knowledge into right use, but have been seeking to
+accumulate it, rather than to apply it wisely to the ends of art. Let us
+now do this, and we may achieve all that was done by that elder ignorant
+art, and infinitely more." No, not so; for as soon as we try to put our
+knowledge to good use, we shall find that we have much more than we can
+use, and that what more we have is an encumbrance. All our errors in
+this respect arise from a gross misconception as to the true nature of
+knowledge itself. We talk of learned and ignorant men, as if there were
+a certain quantity of knowledge, which to possess was to be learned, and
+which not to possess was to be ignorant; instead of considering that
+knowledge is infinite, and that the man most learned in human estimation
+is just as far from knowing anything as he ought to know it, as the
+unlettered peasant. Men are merely on a lower or higher stage of an
+eminence, whose summit is God's throne, infinitely above all; and there
+is just as much reason for the wisest as for the simplest man being
+discontented with his position, as respects the real quantity of
+knowledge he possesses. And, for both of them, the only true reasons for
+contentment with the sum of knowledge they possess are these: that it is
+the kind of knowledge they need for their duty and happiness in life;
+that all they have is tested and certain, so far as it is in their
+power; that all they have is well in order, and within reach when they
+need it; that it has not cost too much time in the getting; that none of
+it, once got, has been lost; and that there is not too much to be easily
+taken care of.
+
+� XXV. Consider these requirements a little, and the evils that result
+in our education and polity from neglecting them. Knowledge is mental
+food, and is exactly to the spirit what food is to the body (except that
+the spirit needs several sorts of food, of which knowledge is only one),
+and it is liable to the same kind of misuses. It may be mixed and
+disguised by art, till it becomes unwholesome; it may be refined,
+sweetened, and made palatable, until it has lost all its power of
+nourishment; and, even of its best kind, it may be eaten to surfeiting,
+and minister to disease and death.
+
+� XXVI. Therefore, with respect to knowledge, we are to reason and act
+exactly as with respect to food. We no more live to know, than we live
+to eat. We live to contemplate, enjoy, act, adore; and we may know all
+that is to be known in this world, and what Satan knows in the other,
+without being able to do any of these. We are to ask, therefore, first,
+is the knowledge we would have fit food for us, good and simple, not
+artificial and decorated? and secondly, how much of it will enable us
+best for our work; and will leave our hearts light, and our eyes clear?
+For no more than that is to be eaten without the old Eve-sin.
+
+� XXVII. Observe, also, the difference between tasting knowledge, and
+hoarding it. In this respect it is also like food; since, in some
+measure, the knowledge of all men is laid up in granaries, for future
+use; much of it is at any given moment dormant, not fed upon or enjoyed,
+but in store. And by all it is to be remembered, that knowledge in this
+form may be kept without air till it rots, or in such unthreshed
+disorder that it is of no use; and that, however good or orderly, it is
+still only in being tasted that it becomes of use; and that men may
+easily starve in their own granaries, men of science, perhaps, most of
+all, for they are likely to seek accumulation of their store, rather
+than nourishment from it. Yet let it not be thought that I would
+undervalue them. The good and great among them are like Joseph, to whom
+all nations sought to buy corn; or like the sower going forth to sow
+beside all waters, sending forth thither the feet of the ox and the ass:
+only let us remember that this is not all men's work. We are not
+intended to be all keepers of granaries, nor all to be measured by the
+filling of a storehouse; but many, nay, most of us, are to receive day
+by day our daily bread, and shall be as well nourished and as fit for
+our labor, and often, also, fit for nobler and more divine labor, in
+feeding from the barrel of meal that does not waste, and from the cruse
+of oil that does not fail, than if our barns were filled with plenty,
+and our presses bursting out with new wine.
+
+� XXVIII. It is for each man to find his own measure in this matter; in
+great part, also, for others to find it for him, while he is yet a
+youth. And the desperate evil of the whole Renaissance system is, that
+all idea of measure is therein forgotten, that knowledge is thought the
+one and the only good, and it is never inquired whether men are vivified
+by it or paralyzed. Let us leave figures. The reader may not believe the
+analogy I have been pressing so far; but let him consider the subject in
+itself, let him examine the effect of knowledge in his own heart, and
+see whether the trees of knowledge and of life are one now, any more
+than in Paradise. He must feel that the real animating power of
+knowledge is only in the moment of its being first received, when it
+fills us with wonder and joy; a joy for which, observe, the previous
+ignorance is just as necessary as the present knowledge. That man is
+always happy who is in the presence of something which he cannot know to
+the full, which he is always going on to know. This is the necessary
+condition of a finite creature with divinely rooted and divinely
+directed intelligence; this, therefore, its happy state,--but observe, a
+state, not of triumph or joy in what it knows, but of joy rather in the
+continual discovery of new ignorance, continual self-abasement,
+continual astonishment. Once thoroughly our own, the knowledge ceases to
+give us pleasure. It may be practically useful to us, it may be good for
+others, or good for usury to obtain more; but, in itself, once let it be
+thoroughly familiar, and it is dead. The wonder is gone from it, and all
+the fine color which it had when first we drew it up out of the infinite
+sea. And what does it matter how much or how little of it we have laid
+aside, when our only enjoyment is still in the casting of that deep sea
+line? What does it matter? Nay, in one respect, it matters much, and not
+to our advantage. For one effect of knowledge is to deaden the force of
+the imagination and the original energy of the whole man: under the
+weight of his knowledge he cannot move so lightly as in the days of his
+simplicity. The pack-horse is furnished for the journey, the war-horse
+is armed for war; but the freedom of the field and the lightness of the
+limb are lost for both. Knowledge is, at best, the pilgrim's burden or
+the soldier's panoply, often a weariness to them both: and the
+Renaissance knowledge is like the Renaissance armor of plate, binding
+and cramping the human form; while all good knowledge is like the
+crusader's chain mail, which throws itself into folds with the body, yet
+it is rarely so forged as that the clasps and rivets do not gall us. All
+men feel this, though they do not think of it, nor reason out its
+consequences. They look back to the days of childhood as of greatest
+happiness, because those were the days of greatest wonder, greatest
+simplicity, and most vigorous imagination. And the whole difference
+between a man of genius and other men, it has been said a thousand
+times, and most truly, is that the first remains in great part a child,
+seeing with the large eyes of children, in perpetual wonder, not
+conscious of much knowledge,--conscious, rather, of infinite ignorance,
+and yet infinite power; a fountain of eternal admiration, delight, and
+creative force within him meeting the ocean of visible and governable
+things around him.
+
+That is what we have to make men, so far as we may. All are to be men of
+genius in their degree,--rivulets or rivers, it does not matter, so that
+the souls be clear and pure; not dead walls encompassing dead heaps of
+things known and numbered, but running waters in the sweet wilderness of
+things unnumbered and unknown, conscious only of the living banks, on
+which they partly refresh and partly reflect the flowers, and so pass
+on.
+
+� XXIX. Let each man answer for himself how far his knowledge has made
+him this, or how far it is loaded upon him as the pyramid is upon the
+tomb. Let him consider, also, how much of it has cost him labor and time
+that might have been spent in healthy, happy action, beneficial to all
+mankind; how many living souls may have been left uncomforted and
+unhelped by him, while his own eyes were failing by the midnight lamp;
+how many warm sympathies have died within him as he measured lines or
+counted letters; how many draughts of ocean air, and steps on
+mountain-turf, and openings of the highest heaven he has lost for his
+knowledge; how much of that knowledge, so dearly bought, is now
+forgotten or despised, leaving only the capacity of wonder less within
+him, and, as it happens in a thousand instances, perhaps even also the
+capacity of devotion. And let him,--if, after thus dealing with his own
+heart, he can say that his knowledge has indeed been fruitful to
+him,--yet consider how many there are who have been forced by the
+inevitable laws of modern education into toil utterly repugnant to their
+natures, and that in the extreme, until the whole strength of the young
+soul was sapped away; and then pronounce with fearfulness how far, and
+in how many senses, it may indeed be true that the wisdom of this world
+is foolishness with God.
+
+� XXX. Now all this possibility of evil, observe, attaches to knowledge
+pursued for the noblest ends, if it be pursued imprudently. I have
+assumed, in speaking of its effect both on men generally and on the
+artist especially, that it was sought in the true love of it, and with
+all honesty and directness of purpose. But this is granting far too much
+in its favor. Of knowledge in general, and without qualification, it is
+said by the Apostle that "it puffeth up;" and the father of all modern
+science, writing directly in its praise, yet asserts this danger even in
+more absolute terms, calling it a "venomousness" in the very nature of
+knowledge itself.
+
+� XXXI. There is, indeed, much difference in this respect between the
+tendencies of different branches of knowledge; it being a sure rule that
+exactly in proportion as they are inferior, nugatory, or limited in
+scope, their power of feeding pride is greater. Thus philology, logic,
+rhetoric, and the other sciences of the schools, being for the most part
+ridiculous and trifling, have so pestilent an effect upon those who are
+devoted to them, that their students cannot conceive of any higher
+sciences than these, but fancy that all education ends in the knowledge
+of words: but the true and great sciences, more especially natural
+history, make men gentle and modest in proportion to the largeness of
+their apprehension, and just perception of the infiniteness of the
+things they can never know. And this, it seems to me, is the principal
+lesson we are intended to be caught by the book of Job; for there God
+has thrown open to us the heart of a man most just and holy, and
+apparently perfect in all things possible to human nature except
+humility. For this he is tried: and we are shown that no suffering, no
+self-examination, however honest, however stern, no searching out of the
+heart by its own bitterness, is enough to convince man of his
+nothingness before God; but that the sight of God's creation will do it.
+For, when the Deity himself has willed to end the temptation, and to
+accomplish in Job that for which it was sent, He does not vouchsafe to
+reason with him, still less does He overwhelm him with terror, or
+confound him by laying open before his eyes the book of his iniquities.
+He opens before him only the arch of the dayspring, and the fountains of
+the deep; and amidst the covert of the reeds, and on the heaving waves,
+He bids him watch the kings of the children of pride,--"Behold now
+Behemoth, which I made with thee:" And the work is done.
+
+� XXXII. Thus, if, I repeat, there is any one lesson in the whole book
+which stands forth more definitely than another, it is this of the holy
+and humbling influence of natural science on the human heart. And yet,
+even here, it is not the science, but the perception, to which the good
+is owing; and the natural sciences may become as harmful as any others,
+when they lose themselves in classification and catalogue-making. Still,
+the principal danger is with the sciences of words and methods; and it
+was exactly into those sciences that the whole energy of men during the
+Renaissance period was thrown. They discovered suddenly that the world
+for ten centuries had been living in an ungrammatical manner, and they
+made it forthwith the end of human existence to be grammatical. And it
+mattered thenceforth nothing what was said, or what was done, so only
+that it was said with scholarship, and done with system. Falsehood in a
+Ciceronian dialect had no opposers; truth in patois no listeners. A
+Roman phrase was thought worth any number of Gothic facts. The sciences
+ceased at once to be anything more than different kinds of
+grammars,--grammar of language, grammar of logic, grammar of ethics,
+grammar of art; and the tongue, wit, and invention of the human race
+were supposed to have found their utmost and most divine mission in
+syntax and syllogism, perspective and five orders.
+
+Of such knowledge as this, nothing but pride could come; and, therefore,
+I have called the first mental characteristic of the Renaissance
+schools, the "pride" of science. If they had reached any science worth
+the name, they might have loved it; but of the paltry knowledge they
+possessed, they could only be proud. There was not anything in it
+capable of being loved. Anatomy, indeed, then first made a subject of
+accurate study, is a true science, but not so attractive as to enlist
+the affections strongly on its side: and therefore, like its meaner
+sisters, it became merely a ground for pride; and the one main purpose
+of the Renaissance artists, in all their work, was to show how much they
+knew.
+
+� XXXIII. There were, of course, noble exceptions; but chiefly belonging
+to the earliest periods of the Renaissance, when its teaching had not
+yet produced its full effect. Raphael, Leonardo, and Michael Angelo were
+all trained in the old school; they all had masters who knew the true
+ends of art, and had reached them; masters nearly as great as they were
+themselves, but imbued with the old religious and earnest spirit, which
+their disciples receiving from them, and drinking at the same time
+deeply from all the fountains of knowledge opened in their day, became
+the world's wonders. Then the dull wondering world believed that their
+greatness rose out of their new knowledge, instead of out of that
+ancient religious root, in which to abide was life, from which to be
+severed was annihilation. And from that day to this, they have tried to
+produce Michael Angelos and Leonardos by teaching the barren sciences,
+and still have mourned and marvelled that no more Michael Angelos came;
+not perceiving that those great Fathers were only able to receive such
+nourishment because they were rooted on the rock of all ages, and that
+our scientific teaching, nowadays, is nothing more nor less than the
+assiduous watering of trees whose stems are cut through. Nay, I have
+even granted too much in saying that those great men were able to
+receive pure nourishment from the sciences; for my own conviction is,
+and I know it to be shared by most of those who love Raphael
+truly,--that he painted best when he knew least. Michael Angelo was
+betrayed, again and again, into such vain and offensive exhibition of
+his anatomical knowledge as, to this day, renders his higher powers
+indiscernible by the greater part of men; and Leonardo fretted his life
+away in engineering, so that there is hardly a picture left to bear his
+name. But, with respect to all who followed, there can be no question
+that the science they possessed was utterly harmful; serving merely to
+draw away their hearts at once from the purposes of art and the power of
+nature, and to make, out of the canvas and marble, nothing more than
+materials for the exhibition of petty dexterity and useless knowledge.
+
+� XXXIV. It is sometimes amusing to watch the na�ve and childish way in
+which this vanity is shown. For instance, when perspective was first
+invented, the world thought it a mighty discovery, and the greatest men
+it had in it were as proud of knowing that retiring lines converge, as
+if all the wisdom of Solomon had been compressed into a vanishing point.
+And, accordingly, it became nearly impossible for any one to paint a
+Nativity, but he must turn the stable and manger into a Corinthian
+arcade, in order to show his knowledge of perspective; and half the best
+architecture of the time, instead of being adorned with historical
+sculpture, as of old, was set forth with bas-relief of minor corridors
+and galleries, thrown into perspective.
+
+Now that perspective can be taught to any schoolboy in a week, we can
+smile at this vanity. But the fact is, that all pride in knowledge is
+precisely as ridiculous, whatever its kind, or whatever its degree.
+There is, indeed, nothing of which man has any right to be proud; but
+the very last thing of which, with any show of reason, he can make his
+boast is his knowledge, except only that infinitely small portion of it
+which he has discovered for himself. For what is there to be more proud
+of in receiving a piece of knowledge from another person, than in
+receiving a piece of money? Beggars should not be proud, whatever kind
+of alms they receive. Knowledge is like current coin. A man may have
+some right to be proud of possessing it, if he has worked for the gold
+of it, and assayed it, and stamped it, so that it may be received of
+all men as true; or earned it fairly, being already assayed: but if he
+has done none of these things, but only had it thrown in his face by a
+passer-by, what cause has he to be proud? And though, in this mendicant
+fashion, he had heaped together the wealth of Croesus, would pride any
+more, for this, become him, as, in some sort, it becomes the man who has
+labored for his fortune, however small? So, if a man tells me the sun is
+larger than the earth, have I any cause for pride in knowing it? or, if
+any multitude of men tell me any number of things, heaping all their
+wealth of knowledge upon me, have I any reason to be proud under the
+heap? And is not nearly all the knowledge of which we boast in these
+days cast upon us in this dishonorable way; worked for by other men,
+proved by them, and then forced upon us, even against our wills, and
+beaten into us in our youth, before we have the wit even to know if it
+be good or not? (Mark the distinction between knowledge and thought.)
+Truly a noble possession to be proud of! Be assured, there is no part of
+the furniture of a man's mind which he has a right to exult in, but that
+which he has hewn and fashioned for himself. He who has built himself a
+hut on a desert heath, and carved his bed, and table, and chair out of
+the nearest forest, may have some right to take pride in the appliances
+of his narrow chamber, as assuredly he will have joy in them. But the
+man who has had a palace built, and adorned, and furnished for him, may,
+indeed, have many advantages above the other, but he has no reason to be
+proud of his upholsterer's skill; and it is ten to one if he has half
+the joy in his couches of ivory that the other will have in his pallet
+of pine.
+
+� XXXV. And observe how we feel this, in the kind of respect we pay to
+such knowledge as we are indeed capable of estimating the value of. When
+it is our own, and new to us, we cannot judge of it; but let it be
+another's also, and long familiar to us, and see what value we set on
+it. Consider how we regard a schoolboy, fresh from his term's labor. If
+he begin to display his newly acquired small knowledge to us, and plume
+himself thereupon, how soon do we silence him with contempt! But it is
+not so if the schoolboy begins to feel or see anything. In the strivings
+of his soul within him he is our equal; in his power of sight and
+thought he stands separate from us, and may be a greater than we. We are
+ready to hear him forthwith. "You saw that? you felt that? No matter for
+your being a child; let us hear."
+
+� XXXVI. Consider that every generation of men stands in this relation
+to its successors. It is as the schoolboy: the knowledge of which it is
+proudest will be as the alphabet to those who follow. It had better make
+no noise about its knowledge; a time will come when its utmost, in that
+kind, will be food for scorn. Poor fools! was that all they knew? and
+behold how proud they were! But what we see and feel will never be
+mocked at. All men will be thankful to us for telling them that.
+"Indeed!" they will say, "they felt that in their day? saw that? Would
+God we may be like them, before we go to the home where sight and
+thought are not!"
+
+This unhappy and childish pride in knowledge, then, was the first
+constituent element of the Renaissance mind, and it was enough, of
+itself, to have cast it into swift decline: but it was aided by another
+form of pride, which was above called the Pride of State; and which we
+have next to examine.
+
+� XXXVII. II. PRIDE OF STATE. It was noticed in the second volume of
+"Modern Painters," p. 122, that the principle which had most power in
+retarding the modern school of portraiture was its constant expression
+of individual vanity and pride. And the reader cannot fail to have
+observed that one of the readiest and commonest ways in which the
+painter ministers to this vanity, is by introducing the pedestal or
+shaft of a column, or some fragment, however simple, of Renaissance
+architecture, in the background of the portrait. And this is not merely
+because such architecture is bolder or grander than, in general, that of
+the apartments of a private house. No other architecture would produce
+the same effect in the same degree. The richest Gothic, the most massive
+Norman, would not produce the same sense of exaltation as the simple
+and meagre lines of the Renaissance.
+
+� XXXVIII. And if we think over this matter a little, we shall soon feel
+that in those meagre lines there is indeed an expression of aristocracy
+in its worst characters; coldness, perfectness of training, incapability
+of emotion, want of sympathy with the weakness of lower men, blank,
+hopeless, haughty self-sufficiency. All these characters are written in
+the Renaissance architecture as plainly as if they were graven on it in
+words. For, observe, all other architectures have something in them that
+common men can enjoy; some concession to the simplicities of humanity,
+some daily bread for the hunger of the multitude. Quaint fancy, rich
+ornament, bright color, something that shows a sympathy with men of
+ordinary minds and hearts; and this wrought out, at least in the Gothic,
+with a rudeness showing that the workman did not mind exposing his own
+ignorance if he could please others. But the Renaissance is exactly the
+contrary of all this. It is rigid, cold, inhuman; incapable of glowing,
+of stooping, of conceding for an instant. Whatever excellence it has is
+refined, high-trained, and deeply erudite; a kind which the architect
+well knows no common mind can taste. He proclaims it to us aloud. "You
+cannot feel my work unless you study Vitruvius. I will give you no gay
+color, no pleasant sculpture, nothing to make you happy; for I am a
+learned man. All the pleasure you can have in anything I do is in its
+proud breeding, its rigid formalism, its perfect finish, its cold
+tranquillity. I do not work for the vulgar, only for the men of the
+academy and the court."
+
+� XXXIX. And the instinct of the world felt this in a moment. In the new
+precision and accurate law of the classical forms, they perceived
+something peculiarly adapted to the setting forth of state in an
+appalling manner: Princes delighted in it, and courtiers. The Gothic was
+good for God's worship, but this was good for man's worship. The Gothic
+had fellowship with all hearts, and was universal, like nature: it could
+frame a temple for the prayer of nations, or shrink into the poor man's
+winding stair. But here was an architecture that would not shrink, that
+had in it no submission, no mercy. The proud princes and lords rejoiced
+in it. It was full of insult to the poor in its every line. It would not
+be built of the materials at the poor man's hand; it would not roof
+itself with thatch or shingle, and black oak beams; it would not wall
+itself with rough stone or brick; it would not pierce itself with small
+windows where they were needed; it would not niche itself, wherever
+there was room for it, in the street corners. It would be of hewn stone;
+it would have its windows and its doors, and its stairs and its pillars,
+in lordly order, and of stately size; it would have its wings and its
+corridors, and its halls and its gardens, as if all the earth were its
+own. And the rugged cottages of the mountaineers, and the fantastic
+streets of the laboring burgher were to be thrust out of its way, as of
+a lower species.
+
+� XL. It is to be noted also, that it ministered as much to luxury as to
+pride. Not to luxury of the eye, that is a holy luxury; Nature ministers
+to that in her painted meadows, and sculptured forests, and gilded
+heavens; the Gothic builder ministered to that in his twisted traceries,
+and deep-wrought foliage, and burning casements. The dead Renaissance
+drew back into its earthliness, out of all that was warm and heavenly;
+back into its pride, out of all that was simple and kind; back into its
+stateliness, out of all that was impulsive, reverent, and gay. But it
+understood the luxury of the body; the terraced and scented and grottoed
+garden, with its trickling fountains and slumbrous shades; the spacious
+hall and lengthened corridor for the summer heat; the well-closed
+windows, and perfect fittings and furniture, for defence against the
+cold; and the soft picture, and frescoed wall and roof, covered with the
+last lasciviousness of Paganism;--this is understood and possessed to
+the full, and still possesses. This is the kind of domestic architecture
+on which we pride ourselves, even to this day, as an infinite and
+honorable advance from the rough habits of our ancestors; from the time
+when the king's floor was strewn with rushes, and the tapestries swayed
+before the searching wind in the baron's hall.
+
+� XLI. Let us hear two stories of those rougher times.
+
+At the debate of King Edwin with his courtiers and priests, whether he
+ought to receive the Gospel preached to him by Paulinus, one of his
+nobles spoke as follows:
+
+"The present life, O king! weighed with the time that is unknown, seems
+to me like this. When you are sitting at a feast with your earls and
+thanes in winter time, and the fire is lighted, and the hall is warmed,
+and it rains and snows, and the storm is loud without, there comes a
+sparrow, and flies through the house. It comes in at one door and goes
+out at the other. While it is within, it is not touched by the winter's
+storm; but it is but for the twinkling of an eye, for from winter it
+comes and to winter it returns. So also this life of man endureth for a
+little space; what goes before or what follows after, we know not.
+Wherefore, if this new lore bring anything more certain, it is fit that
+we should follow it."[13]
+
+That could not have happened in a Renaissance building. The bird could
+not have dashed in from the cold into the heat, and from the heat back
+again into the storm. It would have had to come up a flight of marble
+stairs, and through seven or eight antechambers; and so, if it had ever
+made its way into the presence chamber, out again through loggias and
+corridors innumerable. And the truth which the bird brought with it,
+fresh from heaven, has, in like manner, to make its way to the
+Renaissance mind through many antechambers, hardly, and as a despised
+thing, if at all.
+
+� XLII. Hear another story of those early times.
+
+The king of Jerusalem, Godfrey of Bouillon, at the siege of Asshur, or
+Arsur, gave audience to some emirs from Samaria and Naplous. They found
+him seated on the ground on a sack of straw. They expressing surprise,
+Godfrey answered them: "May not the earth, out of which we came, and
+which is to be our dwelling after death, serve us for a seat during
+life?"
+
+It is long since such a throne has been set in the reception chambers
+of Christendom, or such an answer heard from the lips of a king.
+
+Thus the Renaissance spirit became base both in its abstinence and its
+indulgence. Base in its abstinence; curtailing the bright and playful
+wealth of form and thought, which filled the architecture of the earlier
+ages with sources of delight for their hardy spirit, pure, simple, and
+yet rich as the fretwork of flowers and moss, watered by some strong and
+stainless mountain stream: and base in its indulgence; as it granted to
+the body what it withdrew from the heart, and exhausted, in smoothing
+the pavement for the painless feet, and softening the pillow for the
+sluggish brain, the powers of art which once had hewn rough ladders into
+the clouds of heaven, and set up the stones by which they rested for
+houses of God.
+
+� XLIII. And just in proportion as this courtly sensuality lowered the
+real nobleness of the men whom birth or fortune raised above their
+fellows, rose their estimate of their own dignity, together with the
+insolence and unkindness of its expression, and the grossness of the
+flattery with which it was fed. Pride is indeed the first and the last
+among the sins of men, and there is no age of the world in which it has
+not been unveiled in the power and prosperity of the wicked. But there
+was never in any form of slavery, or of feudal supremacy, a
+forgetfulness so total of the common majesty of the human soul, and of
+the brotherly kindness due from man to man, as in the aristocratic
+follies in the Renaissance. I have not space to follow out this most
+interesting and extensive subject; but here is a single and very curious
+example of the kind of flattery with which architectural teaching was
+mingled when addressed to the men of rank of the day.
+
+� XLIV. In St. Mark's library there is a very curious Latin manuscript
+of the twenty-five books of Averulinus, a Florentine architect, upon the
+principles of his art. The book was written in or about 1460, and
+translated into Latin, and richly illuminated for Corvinus, king of
+Hungary, about 1483. I extract from the third book the following passage
+on the nature of stones. "As there are three genera of men,--that is to
+say, nobles, men of the middle classes, and rustics,--so it appears that
+there are of stones. For the marbles and common stones of which we have
+spoken above, set forth the rustics. The porphyries and alabasters, and
+the other harder stones of mingled quality, represent the middle
+classes, if we are to deal in comparisons: and by means of these the
+ancients adorned their temples with incrustations and ornaments in a
+magnificent manner. And after these come the chalcedonies and
+sardonyxes, &c., which are so transparent that there can be seen no spot
+in them.[14] Thus men endowed with nobility lead a life in which no spot
+can be found."
+
+Canute or Coeur de Lion (I name not Godfrey or St. Louis) would have
+dashed their sceptres against the lips of a man who should have dared to
+utter to them flattery such as this. But in the fifteenth century it was
+rendered and accepted as a matter of course, and the tempers which
+delighted in it necessarily took pleasure also in every vulgar or false
+means, of taking worldly superiority. And among such false means
+largeness of scale in the dwelling-house was of course one of the
+easiest and most direct. All persons, however senseless or dull, could
+appreciate size: it required some exertion of intelligence to enter into
+the spirit of the quaint carving of the Gothic times, but none to
+perceive that one heap of stones was higher than another.[15] And
+therefore, while in the execution and manner of work the Renaissance
+builders zealously vindicated for themselves the attribute of cold and
+superior learning, they appealed for such approbation as they needed
+from the multitude, to the lowest possible standard of taste; and while
+the older workman lavished his labor on the minute niche and narrow
+casement, on the doorways no higher than the head, and the contracted
+angles of the turreted chamber, the Renaissance builder spared such cost
+and toil in his detail, that he might spend it in bringing larger stones
+from a distance; and restricted himself to rustication and five orders,
+that he might load the ground with colossal piers, and raise an
+ambitious barrenness of architecture, as inanimate as it was gigantic,
+above the feasts and follies of the powerful or the rich. The Titanic
+insanity extended itself also into ecclesiastical design: the principal
+church in Italy was built with little idea of any other admirableness
+than that which was to result from its being huge; and the religious
+impressions of those who enter it are to this day supposed to be
+dependent, in a great degree, on their discovering that they cannot span
+the thumbs of the statues which sustain the vessels for holy water.
+
+� XLV. It is easy to understand how an architecture which thus appealed
+not less to the lowest instincts of dulness than to the subtlest pride
+of learning, rapidly found acceptance with a large body of mankind; and
+how the spacious pomp of the new manner of design came to be eagerly
+adopted by the luxurious aristocracies, not only of Venice, but of the
+other countries of Christendom, now gradually gathering themselves into
+that insolent and festering isolation, against which the cry of the poor
+sounded hourly in more ominous unison, bursting at last into thunder
+(mark where,--first among the planted walks and plashing fountains of
+the palace wherein the Renaissance luxury attained its utmost height in
+Europe, Versailles); that cry, mingling so much piteousness with its
+wrath and indignation, "Our soul is filled with the scornful reproof of
+the wealthy, and with the despitefulness of the proud."
+
+� XLVI. But of all the evidence bearing upon this subject presented by
+the various arts of the fifteenth century, none is so interesting or so
+conclusive as that deduced from its tombs. For, exactly in proportion as
+the pride of life became more insolent, the fear of death became more
+servile; and the difference in the manner in which the men of early and
+later days adorned the sepulchre, confesses a still greater difference
+in their manner of regarding death. To those he came as the comforter
+and the friend, rest in his right hand, hope in his left; to these as
+the humiliator, the spoiler, and the avenger. And, therefore, we find
+the early tombs at once simple and lovely in adornment, severe and
+solemn in their expression; confessing the power, and accepting the
+peace, of death, openly and joyfully; and in all their symbols marking
+that the hope of resurrection lay only in Christ's righteousness; signed
+always with this simple utterance of the dead, "I will lay me down in
+peace, and take my rest; for it is thou, Lord, only that makest me dwell
+in safety." But the tombs of the later ages are a ghastly struggle of
+mean pride and miserable terror: the one mustering the statues of the
+Virtues about the tomb, disguising the sarcophagus with delicate
+sculpture, polishing the false periods of the elaborate epitaph, and
+filling with strained animation the features of the portrait statue; and
+the other summoning underneath, out of the niche or from behind the
+curtain, the frowning skull, or scythed skeleton, or some other more
+terrible image of the enemy in whose defiance the whiteness of the
+sepulchre had been set to shine above the whiteness of the ashes.
+
+� XLVII. This change in the feeling with which sepulchral monuments were
+designed, from the eleventh to the eighteenth centuries, has been common
+to the whole of Europe. But, as Venice is in other respects the centre
+of the Renaissance system, so also she exhibits this change in the
+manner of the sepulchral monument under circumstances peculiarly
+calculated to teach us its true character. For the severe guard which,
+in earlier times, she put upon every tendency to personal pomp and
+ambition, renders the tombs of her ancient monarchs as remarkable for
+modesty and simplicity as for their religious feeling; so that, in this
+respect, they are separated by a considerable interval from the more
+costly monuments erected at the same periods to the kings or nobles of
+other European states. In later times, on the other hand, as the piety
+of the Venetians diminished, their pride overleaped all limits, and the
+tombs which in recent epochs, were erected for men who had lived only to
+impoverish or disgrace the state, were as much more magnificent than
+those contemporaneously erected for the nobles of Europe, as the
+monuments for the great Doges had been humbler. When, in addition to
+this, we reflect that the art of sculpture, considered as expressive of
+emotion, was at a low ebb in Venice in the twelfth century, and that in
+the seventeenth she took the lead in Italy in luxurious work, we shall
+at once see the chain of examples through which the change of feeling is
+expressed, must present more remarkable extremes here than it can in any
+other city; extremes so startling that their impressiveness cannot be
+diminished, while their intelligibility is greatly increased, by the
+large number of intermediate types which have fortunately been
+preserved.
+
+It would, however, too much weary the general reader if, without
+illustrations, I were to endeavor to lead him step by step through the
+aisles of St. John and Paul; and I shall therefore confine myself to a
+slight notice of those features in sepulchral architecture generally
+which are especially illustrative of the matter at present in hand, and
+point out the order in which, if possible, the traveller should visit
+the tombs in Venice, so as to be most deeply impressed with the true
+character of the lessons they convey.
+
+� XLVIII. I have not such an acquaintance with the modes of entombment
+or memorial in the earliest ages of Christianity as would justify me in
+making any general statement respecting them: but it seems to me that
+the perfect type of a Christian tomb was not developed until toward the
+thirteenth century, sooner or later according to the civilization of
+each country; that perfect type consisting in the raised and perfectly
+visible sarcophagus of stone, bearing upon it a recumbent figure, and
+the whole covered by a canopy. Before that type was entirely developed,
+and in the more ordinary tombs contemporary with it, we find the simple
+sarcophagus, often with only a rough block of stone for its lid,
+sometimes with a low-gabled lid like a cottage roof, derived from
+Egyptian forms, and bearing, either on the sides or the lid, at least a
+sculpture of the cross, and sometimes the name of the deceased, and date
+of erection of the tomb. In more elaborate examples rich
+figure-sculpture is gradually introduced; and in the perfect period the
+sarcophagus, even when it does not bear any recumbent figure, has
+generally a rich sculpture on its sides representing an angel presenting
+the dead, in person and dress as he lived, to Christ or to the Madonna,
+with lateral figures, sometimes of saints, sometimes--as in the tombs of
+the Dukes of Burgundy at Dijon--of mourners; but in Venice almost always
+representing the Annunciation, the angel being placed at one angle of
+the sarcophagus, and the Madonna at the other. The canopy, in a very
+simple foursquare form, or as an arch over a recess, is added above the
+sarcophagus, long before the life-size recumbent figure appears resting
+upon it. By the time that the sculptors had acquired skill enough to
+give much expression to this figure, the canopy attains an exquisite
+symmetry and richness; and, in the most elaborate examples, is
+surmounted by a statue, generally small, representing the dead person in
+the full strength and pride of life, while the recumbent figure shows
+him as he lay in death. And, at this point, the perfect type of the
+Gothic tomb is reached.
+
+� XLIX. Of the simple sarcophagus tomb there are many exquisite examples
+both at Venice and Verona; the most interesting in Venice are those
+which are set in the recesses of the rude brick front of the Church of
+St. John and Paul, ornamented only, for the most part, with two crosses
+set in circles, and the legend with the name of the dead, and an "Orate
+pro anima" in another circle in the centre. And in this we may note one
+great proof of superiority in Italian over English tombs; the latter
+being often enriched with quatrefoils, small shafts, and arches, and
+other ordinary architectural decorations, which destroy their
+seriousness and solemnity, render them little more than ornamental, and
+have no religious meaning whatever; while the Italian sarcophagi are
+kept massive, smooth, and gloomy,--heavy-lidded dungeons of stone, like
+rock-tombs,--but bearing on their surface, sculptured with tender and
+narrow lines, the emblem of the cross, not presumptuously nor proudly,
+but dimly graven upon their granite, like the hope which the human heart
+holds, but hardly perceives in its heaviness.
+
+� L. Among the tombs in front of the Church of St. John and Paul there
+is one which is peculiarly illustrative of the simplicity of these
+earlier ages. It is on the left of the entrance, a massy sarcophagus
+with low horns as of an altar, placed in a rude recess of the outside
+wall, shattered and worn, and here and there entangled among wild grass
+and weeds. Yet it is the tomb of two Doges, Jacopo and Lorenzo Tiepolo,
+by one of whom nearly the whole ground was given for the erection of the
+noble church in front of which his unprotected tomb is wasting away. The
+sarcophagus bears an inscription in the centre, describing the acts of
+the Doges, of which the letters show that it was added a considerable
+period after the erection of the tomb: the original legend is still left
+in other letters on its base, to this effect,
+
+  "Lord James, died 1251. Lord Laurence, died 1288."
+
+At the two corners of the sarcophagus are two angels bearing censers;
+and on its lid two birds, with crosses like crests upon their heads. For
+the sake of the traveller in Venice the reader will, I think, pardon me
+the momentary irrelevancy of telling the meaning of these symbols.
+
+� LI. The foundation of the church of St. John and Paul was laid by the
+Dominicans about 1234, under the immediate protection of the Senate and
+the Doge Giacomo Tiepolo, accorded to them in consequence of a
+miraculous vision appearing to the Doge; of which the following account
+is given in popular tradition:
+
+"In the year 1226, the Doge Giacomo Tiepolo dreamed a dream; and in his
+dream he saw the little oratory of the Dominicans, and, behold, the
+ground all around it (now occupied by the church) was covered with
+roses of the color of vermilion, and the air was filled with their
+fragrance. And in the midst of the roses, there were seen flying to and
+fro a crowd of white doves, with golden crosses upon their heads. And
+while the Doge looked, and wondered, behold, two angels descended from
+heaven with golden censers, and passing through the oratory, and forth
+among the flowers, they filled the place with the smoke of their
+incense. Then the Doge heard suddenly a clear and loud voice which
+proclaimed, 'This is the place that I have chosen for my preachers;' and
+having heard it, straightway he awoke and went to the Senate, and
+declared to them the vision. Then the Senate decreed that forty paces of
+ground should be given to enlarge the monastery; and the Doge Tiepolo
+himself made a still larger grant afterwards."
+
+There is nothing miraculous in the occurrence of such a dream as this to
+the devout Doge; and the fact, of which there is no doubt, that the
+greater part of the land on which the church stands was given by him, is
+partly a confirmation of the story. But, whether the sculptures on the
+tomb were records of the vision, or the vision a monkish invention from
+the sculptures on the tomb, the reader will not, I believe, look upon
+its doves and crosses, or rudely carved angels, any more with disdain;
+knowing how, in one way or another, they were connected with a point of
+deep religious belief.
+
+� LII. Towards the beginning of the fourteenth century, in Venice, the
+recumbent figure begins to appear on the sarcophagus, the first dated
+example being also one of the most beautiful; the statue of the prophet
+Simeon, sculptured upon the tomb which was to receive his relics in the
+church dedicated to him under the name of San Simeone Grande. So soon as
+the figure appears, the sarcophagus becomes much more richly sculptured,
+but always with definite religious purpose. It is usually divided into
+two panels, which are filled with small bas-reliefs of the acts or
+martyrdom of the patron saints of the deceased: between them, in the
+centre, Christ, or the Virgin and Child, are richly enthroned, under a
+curtained canopy; and the two figures representing the Annunciation are
+almost always at the angles; the promise of the Birth of Christ being
+taken as at once the ground and the type of the promise of eternal life
+to all men.
+
+� LIII. These figures are always in Venice most rudely chiselled; the
+progress of figure sculpture being there comparatively tardy. At Verona,
+where the great Pisan school had strong influence, the monumental
+sculpture is immeasurably finer; and, so early as about the year
+1335,[16] the consummate form of the Gothic tomb occurs in the monument
+of Can Grande della Scala at Verona. It is set over the portal of the
+chapel anciently belonging to the family. The sarcophagus is sculptured
+with shallow bas-reliefs, representing (which is rare in the tombs with
+which I am acquainted in Italy, unless they are those of saints) the
+principal achievements of the warrior's life, especially the siege of
+Vicenza and battle of Placenza; these sculptures, however, form little
+more than a chased and roughened groundwork for the fully relieved
+statues representing the Annunciation, projecting boldly from the front
+of the sarcophagus. Above, the Lord of Verona is laid in his long robe
+of civil dignity, wearing the simple bonnet, consisting merely of a
+fillet bound round the brow, knotted and falling on the shoulder. He is
+laid as asleep; his arms crossed upon his body, and his sword by his
+side. Above him, a bold arched canopy is sustained by two projecting
+shafts, and on the pinnacle of its roof is the statue of the knight on
+his war-horse; his helmet, dragon-winged and crested with the dog's
+head, tossed back behind his shoulders, and the broad and blazoned
+drapery floating back from his horse's breast,--so truly drawn by the
+old workman from the life, that it seems to wave in the wind, and the
+knight's spear to shake, and his marble horse to be evermore quickening
+its pace, and starting into heavier and hastier charge, as the silver
+clouds float past behind it in the sky.
+
+� LIV. Now observe, in this tomb, as much concession is made to the
+pride of man as may ever consist with honor, discretion, or dignity. I
+do not enter into any question respecting the character of Can Grande,
+though there can be little doubt that he was one of the best among the
+nobles of his time; but that is not to our purpose. It is not the
+question whether his wars were just, or his greatness honorably
+achieved; but whether, supposing them to have been so, these facts are
+well and gracefully told upon his tomb. And I believe there can be no
+hesitation in the admission of its perfect feeling and truth. Though
+beautiful, the tomb is so little conspicuous or intrusive, that it
+serves only to decorate the portal of the little chapel, and is hardly
+regarded by the traveller as he enters. When it is examined, the history
+of the acts of the dead is found subdued into dim and minute ornament
+upon his coffin; and the principal aim of the monument is to direct the
+thoughts to his image as he lies in death, and to the expression of his
+hope of resurrection; while, seen as by the memory far away, diminished
+in the brightness of the sky, there is set the likeness of his armed
+youth, stately, as it stood of old, in the front of battle, and meet to
+be thus recorded for us, that we may now be able to remember the dignity
+of the frame, of which those who once looked upon it hardly remembered
+that it was dust.
+
+� LV. This, I repeat, is as much as may ever be granted, but this ought
+always to be granted, to the honor and the affection of men. The tomb
+which stands beside that of Can Grande, nearest it in the little field
+of sleep, already shows the traces of erring ambition. It is the tomb of
+Mastino the Second, in whose reign began the decline of his family. It
+is altogether exquisite as a work of art; and the evidence of a less
+wise or noble feeling in its design is found only in this, that the
+image of a virtue, Fortitude, as belonging to the dead, is placed on the
+extremity of the sarcophagus, opposite to the Crucifixion. But for this
+slight circumstance, of which the significance will only be appreciated
+as we examine the series of later monuments, the composition of this
+monument of Can Mastino would have been as perfect as its decoration is
+refined. It consists, like that of Can Grande, of the raised
+sarcophagus, bearing the recumbent statue, protected by a noble
+foursquare canopy, sculptured with ancient Scripture history. On one
+side of the sarcophagus is Christ enthroned, with Can Mastino kneeling
+before Him; on the other, Christ is represented in the mystical form,
+half-rising from the tomb, meant, I believe, to be at once typical of
+His passion and resurrection. The lateral panels are occupied by statues
+of saints. At one extremity of the sarcophagus is the Crucifixion; at
+the other, a noble statue of Fortitude, with a lion's skin thrown over
+her shoulders, its head forming a shield upon her breast, her flowing
+hair bound with a narrow fillet, and a three-edged sword in her
+gauntleted right hand, drawn back sternly behind her thigh, while, in
+her left, she bears high the shield of the Scalas.
+
+� LVI. Close to this monument is another, the stateliest and most
+sumptuous of the three; it first arrests the eye of the stranger, and
+long detains it,--a many-pinnacled pile surrounded by niches with
+statues of the warrior saints.
+
+It is beautiful, for it still belongs to the noble time, the latter part
+of the fourteenth century; but its work is coarser than that of the
+other, and its pride may well prepare us to learn that it was built for
+himself, in his own lifetime, by the man whose statue crowns it, Can
+Signorio della Scala. Now observe, for this is infinitely significant.
+Can Mastino II. was feeble and wicked, and began the ruin of his house;
+his sarcophagus is the first which bears upon it the image of a virtue,
+but he lays claim only to Fortitude. Can Signorio was twice a
+fratricide, the last time when he lay upon his death-bed: _his_ tomb
+bears upon its gables the images of six virtues,--Faith, Hope, Charity,
+Prudence, and (I believe) Justice and Fortitude.
+
+� LVII. Let us now return to Venice, where, in the second chapel
+counting from right to left, at the west end of the Church of the Frari,
+there is a very early fourteenth, or perhaps late thirteenth, century
+tomb, another exquisite example of the perfect Gothic form. It is a
+knight's; but there is no inscription upon it, and his name is unknown.
+It consists of a sarcophagus, supported on bold brackets against the
+chapel wall, bearing the recumbent figure, protected by a simple canopy
+in the form of a pointed arch, pinnacled by the knight's crest; beneath
+which the shadowy space is painted dark blue, and strewn with stars. The
+statue itself is rudely carved; but its lines, as seen from the intended
+distance, are both tender and masterly. The knight is laid in his mail,
+only the hands and face being bare. The hauberk and helmet are of
+chain-mail, the armor for the limbs of jointed steel; a tunic, fitting
+close to the breast, and marking the noble swell of it by two narrow
+embroidered lines, is worn over the mail; his dagger is at his right
+side; his long cross-belted sword, not seen by the spectator from below,
+at his left. His feet rest on a hound (the hound being his crest), which
+looks up towards its master. In general, in tombs of this kind, the face
+of the statue is slightly turned towards the spectator; in this
+monument, on the contrary, it is turned away from him, towards the depth
+of the arch: for there, just above the warrior's breast, is carved a
+small image of St. Joseph bearing the infant Christ, who looks down upon
+the resting figure; and to this image its countenance is turned. The
+appearance of the entire tomb is as if the warrior had seen the vision
+of Christ in his dying moments, and had fallen back peacefully upon his
+pillow, with his eyes still turned to it, and his hands clasped in
+prayer.
+
+� LVIII. On the opposite side of this chapel is another very lovely
+tomb, to Duccio degli Alberti, a Florentine ambassador at Venice;
+noticeable chiefly as being the first in Venice on which any images of
+the Virtues appear. We shall return to it presently, but some account
+must first be given of the more important among the other tombs in
+Venice belonging to the perfect period. Of these, by far the most
+interesting, though not the most elaborate, is that of the great Doge
+Francesco Dandolo, whose ashes, it might have been thought, were
+honorable enough to have been permitted to rest undisturbed in the
+chapter-house of the Frari, where they were first laid. But, as if there
+were not room enough, nor waste houses enough in the desolate city to
+receive a few convent papers, the monks, wanting an "archivio," have
+separated the tomb into three pieces: the canopy, a simple arch
+sustained on brackets, still remains on the blank walls of the
+desecrated chamber; the sarcophagus has been transported to a kind of
+museum of antiquities, established in what was once the cloister of
+Santa Maria della Salute; and the painting which filled the lunette
+behind it is hung far out of sight, at one end of the sacristy of the
+same church. The sarcophagus is completely charged with bas-reliefs: at
+its two extremities are the types of St. Mark and St. John; in front, a
+noble sculpture of the death of the Virgin; at the angles, angels
+holding vases. The whole space is occupied by the sculpture; there are
+no spiral shafts or panelled divisions; only a basic plinth below, and
+crowning plinth above, the sculpture being raised from a deep concave
+field between the two, but, in order to give piquancy and
+picturesqueness to the mass of figures, two small trees are introduced
+at the head and foot of the Madonna's couch, an oak and a stone pine.
+
+� LIX. It was said above,[17] in speaking of the frequent disputes of
+the Venetians with the Pontifical power, which in their early days they
+had so strenuously supported, that "the humiliation of Francesco Dandolo
+blotted out the shame of Barbarossa." It is indeed well that the two
+events should be remembered together. By the help of the Venetians,
+Alexander III. was enabled, in the twelfth century, to put his foot upon
+the neck of the emperor Barbarossa, quoting the words of the Psalm,
+"Thou shalt tread upon the lion and the adder." A hundred and fifty
+years later, the Venetian ambassador, Francesco Dandolo, unable to
+obtain even an audience from the Pope, Clement V., to whom he had been
+sent to pray for a removal of the sentence of excommunication pronounced
+against the republic, concealed himself (according to the common
+tradition) beneath the Pontiff's dining-table; and thence coming out as
+he sat down to meat, embraced his feet, and obtained, by tearful
+entreaties, the removal of the terrible sentence.
+
+I say, "according to the common tradition;" for there are some doubts
+cast upon the story by its supplement. Most of the Venetian historians
+assert that Francesco Dandolo's surname of "Dog" was given him first on
+this occasion, in insult, by the cardinals; and that the Venetians, in
+remembrance of the grace which his humiliation had won for them, made it
+a title of honor to him and to his race. It has, however, been
+proved[18] that the surname was borne by the ancestors of Francesco
+Dandolo long before; and the falsity of this seal of the legend renders
+also its circumstances doubtful. But the main fact of grievous
+humiliation having been undergone, admits of no dispute; the existence
+of such a tradition at all is in itself a proof of its truth; it was not
+one likely to be either invented or received without foundation: and it
+will be well, therefore, that the reader should remember, in connection
+with the treatment of Barbarossa at the door of the Church of St.
+Mark's, that in the Vatican, one hundred and fifty years later, a
+Venetian noble, a future Doge, submitted to a degradation, of which the
+current report among his people was, that he had crept on his hands and
+knees from beneath the Pontiff's table to his feet, and had been spurned
+as a "dog" by the cardinals present.
+
+� LX. There are two principal conclusions to be drawn from this: the
+obvious one respecting the insolence of the Papal dominion in the
+thirteenth century; the second, that there were probably most deep piety
+and humility in the character of the man who could submit to this
+insolence for the sake of a benefit to his country. Probably no motive
+would have been strong enough to obtain such a sacrifice from most men,
+however unselfish; but it was, without doubt, made easier to Dandolo by
+his profound reverence for the Pontifical office; a reverence which,
+however _we_ may now esteem those who claimed it, could not but have
+been felt by nearly all good and faithful men at the time of which we
+are speaking. This is the main point which I wish the reader to remember
+as we look at his tomb, this, and the result of it,--that, some years
+afterwards, when he was seated on the throne which his piety had saved,
+"there were sixty princes' ambassadors in Venice at the same time,
+requesting the judgment of the Senate on matters of various concernment,
+_so great was the fame of the uncorrupted justice of the Fathers_."[19]
+
+Observe, there are no virtues on this tomb. Nothing but religious
+history or symbols; the Death of the Virgin in front, and the types of
+St. Mark and St. John at the extremities.
+
+� LXI. Of the tomb of the Doge Andrea Dandolo, in St. Mark's, I have
+spoken before. It is one of the first in Venice which presents, in a
+canopy, the Pisan idea of angels withdrawing curtains, as of a couch, to
+look down upon the dead. The sarcophagus is richly decorated with
+flower-work; the usual figures of the Annunciation are at the sides; an
+enthroned Madonna in the centre; and two bas-reliefs, one of the
+martyrdom of the Doge's patron saint, St. Andrew, occupy the
+intermediate spaces. All these tombs have been richly colored; the hair
+of the angels has here been gilded, their wings bedropped with silver,
+and their garments covered with the most exquisite arabesques. This
+tomb, and that of St. Isidore in another chapel of St. Mark's, which was
+begun by this very Doge, Andrea Dandolo, and completed after his death
+in 1354, are both nearly alike in their treatment, and are, on the
+whole, the best existing examples of Venetian monumental sculpture.
+
+� LXII. Of much ruder workmanship, though still most precious, and
+singularly interesting from its quaintness, is a sarcophagus in the
+northernmost chapel, beside the choir of St. John and Paul, charged with
+two bas-reliefs and many figures, but which bears no inscription. It
+has, however, a shield with three dolphins on its brackets; and as at
+the feet of the Madonna in its centre there is a small kneeling figure
+of a Doge, we know it to be the tomb of the Doge Giovanni Dolfino, who
+came to the throne in 1356.
+
+He was chosen Doge while, as provveditore, he was in Treviso, defending
+the city against the King of Hungary. The Venetians sent to the
+besiegers, praying that their newly elected Doge might be permitted to
+pass the Hungarian lines. Their request was refused, the Hungarians
+exulting that they held the Doge of Venice prisoner in Treviso. But
+Dolfino, with a body of two hundred horse, cut his way through their
+lines by night, and reached Mestre (Malghera) in safety, where he was
+met by the Senate. His bravery could not avert the misfortunes which
+were accumulating on the republic. The Hungarian war was ignominiously
+terminated by the surrender of Dalmatia: the Doge's heart was broken,
+his eyesight failed him, and he died of the plague four years after he
+had ascended the throne.
+
+� LXIII. It is perhaps on this account, perhaps in consequence of later
+injuries, that the tomb has neither effigy nor inscription: that it has
+been subjected to some violence is evident from the dentil which once
+crowned its leaf-cornice being now broken away, showing the whole front.
+But, fortunately, the sculpture of the sarcophagus itself is little
+injured.
+
+There are two saints, male and female, at its angles, each in a little
+niche; a Christ, enthroned in the centre, the Doge and Dogaressa
+kneeling at his feet; in the two intermediate panels, on one side the
+Epiphany, on the other the Death of the Virgin; the whole supported, as
+well as crowned, by an elaborate leaf-plinth. The figures under the
+niches are rudely cut, and of little interest. Not so the central group.
+Instead of a niche, the Christ is seated under a square tent, or
+tabernacle, formed by curtains running on rods; the idea, of course, as
+usual, borrowed from the Pisan one, but here ingeniously applied. The
+curtains are opened in front, showing those at the back of the tent,
+behind the seated figure; the perspective of the two retiring sides
+being very tolerably suggested. Two angels, of half the size of the
+seated figure, thrust back the near curtains, and look up reverently to
+the Christ; while again, at their feet, about one third of _their_ size,
+and half-sheltered, as it seems, by their garments, are the two kneeling
+figures of the Doge and Dogaressa, though so small and carefully cut,
+full of life. The Christ raising one hand as to bless, and holding a
+book upright and open on the knees, does not look either towards them or
+to the angels, but forward; and there is a very noticeable effort to
+represent Divine abstraction in the countenance: the idea of the three
+magnitudes of spiritual being,--the God, the Angel, and the Man,--is
+also to be observed, aided as it is by the complete subjection of the
+angelic power to the Divine; for the angels are in attitudes of the most
+lowly watchfulness of the face of Christ, and appear unconscious of the
+presence of the human beings who are nestled in the folds of their
+garments.
+
+� LXIV. With this interesting but modest tomb of one of the kings of
+Venice, it is desirable to compare that of one of her senators, of
+exactly the same date, which is raised against the western wall of the
+Frari, at the end of the north aisle. It bears the following remarkable
+inscription:
+
+ "ANNO MCCCLX. prima die Julii Sepultura . Domini . Simonii Dandolo .
+   amador . de . Justisia . e . desiroso . de . acrese . el . ben .
+   chomum."
+
+The "Amador de Justitia" has perhaps some reference to Simon Dandolo's
+having been one of the Giunta who condemned the Doge Faliero. The
+sarcophagus is decorated merely by the Annunciation group, and an
+enthroned Madonna with a curtain behind her throne, sustained by four
+tiny angels, who look over it as they hold it up; but the workmanship of
+the figures is more than usually beautiful.
+
+� LXV. Seven years later, a very noble monument was placed on the north
+side of the choir of St. John and Paul, to the Doge Marco Cornaro,
+chiefly, with respect to our present subject, noticeable for the absence
+of religious imagery from the sarcophagus, which is decorated with
+roses only; three very beautiful statues of the Madonna and two saints
+are, however, set in the canopy above. Opposite this tomb, though about
+fifteen years later in date, is the richest monument of the Gothic
+period in Venice; that of the Doge Michele Morosini, who died in 1382.
+It consists of a highly florid canopy,--an arch crowned by a gable, with
+pinnacles at the flanks, boldly crocketed, and with a huge finial at the
+top representing St. Michael,--a medallion of Christ set in the gable;
+under the arch, a mosaic, representing the Madonna presenting the Doge
+to Christ upon the cross; beneath, as usual, the sarcophagus, with a
+most noble recumbent figure of the Doge, his face meagre and severe, and
+sharp in its lines, but exquisite in the form of its small and princely
+features. The sarcophagus is adorned with elaborate wrinkled leafage,
+projecting in front of it into seven brackets, from which the statues
+are broken away; but by which, for there can be no doubt that these last
+statues represented the theological and cardinal Virtues, we must for a
+moment pause.
+
+� LXVI. It was noticed above, that the tomb of the Florentine
+ambassador, Duccio, was the first in Venice which presented images of
+the Virtues. Its small lateral statues of Justice and Temperance are
+exquisitely beautiful, and were, I have no doubt, executed by a
+Florentine sculptor; the whole range of artistical power and religious
+feeling being, in Florence, full half a century in advance of that of
+Venice. But this is the first truly Venetian tomb which has the Virtues;
+and it becomes of importance, therefore, to know what was the character
+of Morosini.
+
+The reader must recollect, that I dated the commencement of the fall of
+Venice from the death of Carlo Zeno, considering that no state could be
+held as in decline, which numbered such a man amongst its citizens.
+Carlo Zeno was a candidate for the Ducal bonnet together with Michael
+Morosini; and Morosini was chosen. It might be anticipated, therefore,
+that there was something more than usually admirable or illustrious in
+his character. Yet it is difficult to arrive at a just estimate of it,
+as the reader will at once understand by comparing the following
+statements:
+
+   � LXVI. 1. "To him (Andrea Contarini) succeeded Morosini, at the age
+   of seventy-four years; a most learned and prudent man, who also
+   reformed several laws."--_Sansovino_, Vite de' Principi.
+
+   2. "It was generally believed that, if his reign had been longer, he
+   would have dignified the state by many noble laws and institutes; but
+   by so much as his reign was full of hope, by as much was it short in
+   duration, for he died when he had been at the head of the republic
+   but four months."--_Sabellico_, lib. viii.
+
+   3. "He was allowed but a short time to enjoy this high dignity, which
+   he had so well deserved by his rare virtues, for God called him to
+   Himself on the 15th of October."--_Muratori_, Annali de' Italia.
+
+   4. "Two candidates presented themselves; one was Zeno, the other that
+   Michael Morosini who, during the war, had tripled his fortune by his
+   speculations. The suffrages of the electors fell upon him, and he was
+   proclaimed Doge on the 10th of June."--_Daru_, Histoire de Venise,
+   lib. x.
+
+   5. "The choice of the electors was directed to Michele Morosini, a
+   noble of illustrious birth, derived from a stock which, coeval with
+   the republic itself, had produced the conqueror of Tyre, given a
+   queen to Hungary, and more than one Doge to Venice. The brilliancy of
+   this descent was tarnished in the present chief representative of the
+   family by the most base and grovelling avarice; for at that moment,
+   in the recent war, at which all other Venetians were devoting their
+   whole fortunes to the service of the state, Morosini sought in the
+   distresses of his country an opening for his own private enrichment,
+   and employed his ducats, not in the assistance of the national wants,
+   but in speculating upon houses which were brought to market at a
+   price far beneath their real value, and which, upon the return of
+   peace, insured the purchaser a fourfold profit. 'What matters the
+   fall of Venice to me, so as I fall not together with her?' was his
+   selfish and sordid reply to some one who expressed surprise at the
+   transaction."--_Sketches of Venetian History_. Murray, 1831.
+
+� LXVIII. The writer of the unpretending little history from which the
+last quotation is taken has not given his authority for this statement,
+and I could not find it, but believed, from the general accuracy of the
+book, that some authority might exist better than Daru's. Under these
+circumstances, wishing if possible to ascertain the truth, and to clear
+the character of this great Doge from the accusation, if it proved
+groundless, I wrote to the Count Carlo Morosini, his descendant, and one
+of the few remaining representatives of the ancient noblesse of Venice;
+one, also, by whom his great ancestral name is revered, and in whom it
+is exalted. His answer appears to me altogether conclusive as to the
+utter fallacy of the reports of Daru and the English history. I have
+placed his letter in the close of this volume (Appendix 6), in order
+that the reader may himself be the judge upon this point; and I should
+not have alluded to Daru's report, except for the purpose of
+contradicting it, but that it still appears to me impossible that any
+modern historian should have gratuitously invented the whole story, and
+that, therefore, there must have been a trace in the documents which
+Daru himself possessed, of some scandal of this kind raised by
+Morosini's enemies, perhaps at the very time of the disputed election
+with Carlo Zeno. The occurrence of the Virtues upon his tomb, for the
+first time in Venetian monumental work, and so richly and conspicuously
+placed, may partly have been in public contradiction of such a floating
+rumor. But the face of the statue is a more explicit contradiction
+still; it is resolute, thoughtful, serene, and full of beauty; and we
+must, therefore, for once, allow the somewhat boastful introduction of
+the Virtues to have been perfectly just: though the whole tomb is most
+notable, as furnishing not only the exact intermediate condition in
+style between the pure Gothic and its final Renaissance corruption, but,
+at the same time, the exactly intermediate condition of _feeling_
+between the pure calmness of early Christianity, and the boastful pomp
+of the Renaissance faithlessness; for here we have still the religious
+humility remaining in the mosaic of the canopy, which shows the Doge
+kneeling before the cross, while yet this tendency to self-trust is
+shown in the surrounding of the coffin by the Virtues.
+
+� LXIX. The next tomb by the side of which they appear is that of Jacopo
+Cavalli, in the same chapel of St. John and Paul which contains the tomb
+of the Doge Delfin. It is peculiarly rich in religious imagery, adorned
+by boldly cut types of the four evangelists, and of two saints, while,
+on projecting brackets in front of it, stood three statues of Faith,
+Hope, and Charity, now lost, but drawn in Zanotto's work. It is all rich
+in detail, and its sculptor has been proud of it, thus recording his
+name below the epitaph:
+
+  "QST OPERA DINTALGIO E FATTO IN PIERA,
+   UNVENICIAN LAFE CHANOME POLO,
+   NATO DI JACHOMEL CHATAIAPIERA."
+
+   This work of sculpture is done in stone;
+   A Venetian did it, named Paul,
+   Son of Jachomel the stone-cutter.
+
+Jacopo Cavalli died in 1384. He was a bold and active Veronese soldier,
+did the state much service, was therefore ennobled by it, and became the
+founder of the house of the Cavalli; but I find no especial reason for
+the images of the Virtues, especially that of Charity, appearing at his
+tomb, unless it be this: that at the siege of Feltre, in the war against
+Leopold of Austria, he refused to assault the city, because the senate
+would not grant his soldiers the pillage of the town. The feet of the
+recumbent figure, which is in full armor, rest on a dog, and its head on
+two lions; and these animals (neither of which form any part of the
+knight's bearings) are said by Zanotto to be intended to symbolize his
+bravery and fidelity. If, however, the lions are meant to set forth
+courage, it is a pity they should have been represented as howling.
+
+� LXX. We must next pause for an instant beside the tomb of Michael
+Steno, now in the northern aisle of St. John and Paul, having been
+removed there from the destroyed church of the Servi: first, to note its
+remarkable return to the early simplicity, the sarcophagus being
+decorated only with two crosses in quatrefoils, though it is of the
+fifteenth century, Steno dying in 1413; and, in the second place, to
+observe the peculiarity of the epitaph, which eulogises Steno as having
+been "amator justitie, pacis, et ubertatis," "a lover of justice, peace,
+and plenty." In the epitaphs of this period, the virtues which are made
+most account of in public men are those which were most useful to their
+country. We have already seen one example in the epitaph on Simon
+Dandolo; and similar expressions occur constantly in laudatory mentions
+of their later Doges by the Venetian writers. Thus Sansovino of Marco
+Cornaro, "Era savio huomo, eloquente, e amava molto la pace e l'
+abbondanza della citta;" and of Tomaso Mocenigo, "Huomo oltre modo
+desideroso della pace."
+
+Of the tomb of this last-named Doge mention has before been made. Here,
+as in Morosini's, the images of the Virtues have no ironical power,
+although their great conspicuousness marks the increase of the boastful
+feeling in the treatment of monuments. For the rest, this tomb is the
+last in Venice which can be considered as belonging to the Gothic
+period. Its mouldings are already rudely classical, and it has
+meaningless figures in Roman armor at the angles; but its tabernacle
+above is still Gothic, and the recumbent figure is very beautiful. It
+was carved by two Florentine sculptors in 1423.
+
+� LXXI. Tomaso Mocenigo was succeeded by the renowned Doge, Francesco
+Foscari, under whom, it will be remembered, the last additions were made
+to the Gothic Ducal Palace; additions which, in form only, not in
+spirit, corresponded to the older portions; since, during his reign, the
+transition took place which permits us no longer to consider the
+Venetian architecture as Gothic at all. He died in 1457, and his tomb is
+the first important example of Renaissance art.
+
+Not, however, a good characteristic example. It is remarkable chiefly as
+introducing all the faults of the Renaissance at an early period, when
+its merits, such as they are, were yet undeveloped. Its claim to be
+rated as a classical composition is altogether destroyed by the remnants
+of Gothic feeling which cling to it here and there in their last forms
+of degradation; and of which, now that we find them thus corrupted, the
+sooner we are rid the better. Thus the sarcophagus is supported by a
+species of trefoil arches; the bases of the shafts have still their
+spurs; and the whole tomb is covered by a pediment, with crockets and a
+pinnacle. We shall find that the perfect Renaissance is at least pure in
+its insipidity, and subtle in its vice; but this monument is remarkable
+as showing the refuse of one style encumbering the embryo of another,
+and all principles of life entangled either in the swaddling clothes or
+the shroud.
+
+� LXXII. With respect to our present purpose, however, it is a monument
+of enormous importance. We have to trace, be it remembered, the pride of
+state in its gradual intrusion upon the sepulchre; and the consequent
+and correlative vanishing of the expressions of religious feeling and
+heavenly hope, together with the more and more arrogant setting forth of
+the virtues of the dead. Now this tomb is the largest and most costly we
+have yet seen; but its means of religious expression are limited to a
+single statue of Christ, small and used merely as a pinnacle at the top.
+The rest of the composition is as curious as it is vulgar. The conceit,
+so often noticed as having been borrowed from the Pisan school, of
+angels withdrawing the curtains of the couch to look down upon the dead,
+was brought forward with increasing prominence by every succeeding
+sculptor; but, as we draw nearer to the Renaissance period, we find that
+the _angels_ become of less importance, and the _curtains_ of more. With
+the Pisans, the curtains are introduced as a motive for the angels; with
+the Renaissance sculptors, the angels are introduced merely as a motive
+for the curtains, which become every day more huge and elaborate. In the
+monument of Mocenigo, they have already expanded into a tent, with a
+pole in the centre of it: and in that of Foscari, for the first time,
+the _angels are absent altogether_; while the curtains are arranged in
+the form of an enormous French tent-bed, and are sustained at the flanks
+by two diminutive figures in Roman armor; substituted for the angels,
+merely that the sculptor might _show his knowledge_ of classical
+costume. And now observe how often a fault in feeling induces also a
+fault in style. In the old tombs, the angels used to stand on or by the
+side of the sarcophagus; but their places are here to be occupied by the
+Virtues, and therefore, to sustain the diminutive Roman figures at the
+necessary height, each has a whole Corinthian pillar to himself, a
+pillar whose shaft is eleven feet high, and some three or four feet
+round: and because this was not high enough, it is put on a pedestal
+four feet and a half high; and has a spurred base besides of its own, a
+tall capital, then a huge bracket above the capital, and then another
+pedestal above the bracket, and on the top of all the diminutive figure
+who has charge of the curtains.
+
+� LXXIII. Under the canopy, thus arranged, is placed the sarcophagus
+with its recumbent figure. The statues of the Virgin and the saints have
+disappeared from it. In their stead, its panels are filled with
+half-length figures of Faith, Hope, and Charity; while Temperance and
+Fortitude are at the Doge's feet, Justice and Prudence at his head,
+figures now the size of life, yet nevertheless recognizable only by
+their attributes: for, except that Hope raises her eyes, there is no
+difference in the character or expression of any of their faces,--they
+are nothing more than handsome Venetian women, in rather full and
+courtly dresses, and tolerably well thrown into postures for effect from
+below. Fortitude could not of course be placed in a graceful one without
+some sacrifice of her character, but that was of no consequence in the
+eyes of the sculptors of this period, so she leans back languidly, and
+nearly overthrows her own column; while Temperance, and Justice opposite
+to her, as neither the left hand of the one nor the right hand of the
+other could be seen from below, have been _left with one hand each_.
+
+� LXXIV. Still these figures, coarse and feelingless as they are, have
+been worked with care, because the principal effect of the tomb depends
+on them. But the effigy of the Doge, of which nothing but the side is
+visible, has been utterly neglected; and the ingenuity of the sculptor
+is not so great, at the best, as that he can afford to be slovenly.
+There is, indeed, nothing in the history of Foscari which would lead us
+to expect anything particularly noble in his face; but I trust,
+nevertheless, it has been misrepresented by this despicable carver; for
+no words are strong enough to express the baseness of the portraiture. A
+huge, gross, bony clown's face, with the peculiar sodden and sensual
+cunning in it which is seen so often in the countenances of the worst
+Romanist priest; a face part of iron and part of clay, with the
+immobility of the one, and the foulness of the other, double chinned,
+blunt-mouthed, bony-cheeked, with its brows drawn down into meagre lines
+and wrinkles over the eyelids; the face of a man incapable either of joy
+or sorrow, unless such as may be caused by the indulgence of passion, or
+the mortification of pride. Even had he been such a one, a noble workman
+would not have written it so legibly on his tomb; and I believe it to be
+the image of the carver's own mind that is there hewn in the marble, not
+that of the Doge Foscari. For the same mind is visible enough
+throughout, the traces of it mingled with those of the evil taste of the
+whole time and people. There is not anything so small but it is shown in
+some portion of its treatment; for instance, in the placing of the
+shields at the back of the great curtain. In earlier times, the shield,
+as we have seen, was represented as merely suspended against the tomb by
+a thong, or if sustained in any other manner, still its form was simple
+and undisguised. Men in those days used their shields in war, and
+therefore there was no need to add dignity to their form by external
+ornament. That which, through day after day of mortal danger, had borne
+back from them the waves of battle, could neither be degraded by
+simplicity, nor exalted by decoration. By its rude leathern thong it
+seemed to be fastened to their tombs, and the shield of the mighty was
+not cast away, though capable of defending its master no more.
+
+� LXXV. It was otherwise in the fifteenth and sixteenth centuries. The
+changed system of warfare was rapidly doing away with the practical
+service of the shield; and the chiefs who directed the battle from a
+distance, or who passed the greater part of their lives in the
+council-chamber, soon came to regard the shield as nothing more than a
+field for their armorial bearings. It then became a principal object of
+their Pride of State to increase the conspicuousness of these marks of
+family distinction by surrounding them with various and fantastic
+ornament, generally scroll or flower work, which of course deprived the
+shield of all appearance of being intended for a soldier's use. Thus the
+shield of the Foscari is introduced in two ways. On the sarcophagus,
+the bearings are three times repeated, enclosed in circular disks, which
+are sustained each by a couple of naked infants. Above the canopy, two
+shields of the usual form are set in the centre of circles filled by a
+radiating ornament of shell flutings, which give them the effect of
+ventilators; and their circumference is farther adorned by gilt rays,
+undulating to represent a glory.
+
+� LXXVI. We now approach that period of the early Renaissance which was
+noticed in the preceding chapter as being at first a very visible
+improvement on the corrupted Gothic. The tombs executed during the
+period of the Byzantine Renaissance exhibit, in the first place, a
+consummate skill in handling the chisel, perfect science of drawing and
+anatomy, high appreciation of good classical models, and a grace of
+composition and delicacy of ornament derived, I believe, principally
+from the great Florentine sculptors. But, together with this science,
+they exhibit also, for a short time, some return to the early religious
+feeling, forming a school of sculpture which corresponds to that of the
+school of the Bellini in painting; and the only wonder is that there
+should not have been more workmen in the fifteenth century doing in
+marble what Perugino, Francia, and Bellini did on canvas. There are,
+indeed, some few, as I have just said, in whom the good and pure temper
+shows itself: but the sculptor was necessarily led sooner than the
+painter to an exclusive study of classical models, utterly adverse to
+the Christian imagination; and he was also deprived of the great
+purifying and sacred element of color, besides having much more of
+merely mechanical and therefore degrading labor to go through in the
+realization of his thought. Hence I do not know any example in sculpture
+at this period, at least in Venice, which has not conspicuous faults
+(not faults of imperfection, as in early sculpture, but of purpose and
+sentiment), staining such beauties as it may possess; and the whole
+school soon falls away, and merges into vain pomp and meagre metaphor.
+
+� LXXVII. The most celebrated monument of this period is that to the
+Doge Andrea Vendramin, in the Church of St. John and Paul, sculptured
+about 1480, and before alluded to in the first chapter of the first
+volume. It has attracted public admiration, partly by its costliness,
+partly by the delicacy and precision of its chiselling; being otherwise
+a very base and unworthy example of the school, and showing neither
+invention nor feeling. It has the Virtues, as usual, dressed like
+heathen goddesses, and totally devoid of expression, though graceful and
+well studied merely as female figures. The rest of its sculpture is all
+of the same kind; perfect in workmanship, and devoid of thought. Its
+dragons are covered with marvellous scales, but have no terror nor sting
+in them; its birds are perfect in plumage, but have no song in them; its
+children lovely of limb, but have no childishness in them.
+
+� LXXVIII. Of far other workmanship are the tombs of Pietro and Giovanni
+Mocenigo, in St. John and Paul, and of Pietro Bernardo in the Frari; in
+all which the details are as full of exquisite fancy, as they are
+perfect in execution; and in the two former, and several others of
+similar feeling, the old religious symbols return; the Madonna is again
+seen enthroned under the canopy, and the sarcophagus is decorated with
+legends of the saints. But the fatal errors of sentiment are,
+nevertheless, always traceable. In the first place, the sculptor is
+always seen to be intent upon the exhibition of his skill, more than on
+producing any effect on the spectator's mind; elaborate backgrounds of
+landscape, with tricks of perspective, imitations of trees, clouds, and
+water, and various other unnecessary adjuncts, merely to show how marble
+could be subdued; together with useless under-cutting, and over-finish
+in subordinate parts, continually exhibiting the same cold vanity and
+unexcited precision of mechanism. In the second place, the figures have
+all the peculiar tendency to posture-making, which, exhibiting itself
+first painfully in Perugino, rapidly destroyed the veracity of
+composition in all art. By posture-making I mean, in general, that
+action of figures which results from the painter's considering, in the
+first place, not how, under the circumstances, they would actually have
+walked, or stood, or looked, but how they may most gracefully and
+harmoniously walk or stand. In the hands of a great man, posture, like
+everything else, becomes noble, even when over-studied, as with Michael
+Angelo, who was, perhaps, more than any other, the cause of the
+mischief; but, with inferior men, this habit of composing attitudes ends
+necessarily in utter lifelessness and abortion. Giotto was, perhaps, of
+all painters, the most free from the infection of the poison, always
+conceiving an incident naturally, and drawing it unaffectedly; and the
+absence of posture-making in the works of the Pre-Raphaelites, as
+opposed to the Attitudinarianism of the modern school, has been both one
+of their principal virtues, and of the principal causes of outcry
+against them.
+
+� LXXIX. But the most significant change in the treatment of these
+tombs, with respect to our immediate object, is in the form of the
+sarcophagus. It was above noted, that, exactly in proportion to the
+degree of the pride of life expressed in any monument, would be also the
+fear of death; and therefore, as these tombs increase in splendor, in
+size, and beauty of workmanship, we perceive a gradual desire to _take
+away from the definite character of the sarcophagus_. In the earliest
+times, as we have seen, it was a gloomy mass of stone; gradually it
+became charged with religious sculpture; but never with the slightest
+desire to disguise its form, until towards the middle of the fifteenth
+century. It then becomes enriched with flower-work and hidden by the
+Virtues; and, finally, losing its foursquare form, it is modelled on
+graceful types of ancient vases, made as little like a coffin as
+possible, and refined away in various elegancies, till it becomes, at
+last, a mere pedestal or stage for the portrait statue. This statue, in
+the meantime, has been gradually coming back to life, through a curious
+series of transitions. The Vendramin monument is one of the last which
+shows, or pretends to show, the recumbent figure laid in death. A few
+years later, this idea became disagreeable to polite minds; and, lo! the
+figures which before had been laid at rest upon the tomb pillow, raised
+themselves on their elbows, and began to look round them. The soul of
+the sixteenth century dared not contemplate its body in death.
+
+� LXXX. The reader cannot but remember many instances of this form of
+monument, England being peculiarly rich in examples of them; although,
+with her, tomb sculpture, after the fourteenth century, is altogether
+imitative, and in no degree indicative of the temper of the people. It
+was from Italy that the authority for the change was derived; and in
+Italy only, therefore, that it is truly correspondent to the change in
+the national mind. There are many monuments in Venice of this
+semi-animate type, most of them carefully sculptured, and some very
+admirable as portraits, and for the casting of the drapery, especially
+those in the Church of San Salvador; but I shall only direct the reader
+to one, that of Jacopo Pesaro, Bishop of Paphos, in the Church of the
+Frari; notable not only as a very skilful piece of sculpture, but for
+the epitaph, singularly characteristic of the period, and confirmatory
+of all that I have alleged against it:
+
+ "James Pesaro, Bishop of Paphos, who conquered the Turks in war,
+   himself in peace, transported from a noble family among the Venetians
+   to a nobler among the angels, laid here, expects the noblest crown,
+   which the just Judge shall give to him in that day. He lived the
+   years of Plato. He died 24th March, 1547."[20]
+
+The mingled classicism and carnal pride of this epitaph surely need no
+comment. The crown is expected as a right from the justice of the judge,
+and the nobility of the Venetian family is only a little lower than that
+of the angels. The quaint childishness of the "Vixit annos Platonicos"
+is also very notable.
+
+� LXXXI. The statue, however, did not long remain in this partially
+recumbent attitude. Even the expression of peace became painful to the
+frivolous and thoughtless Italians, and they required the portraiture to
+be rendered in a manner that should induce no memory of death. The
+statue rose up, and presented itself in front of the tomb, like an actor
+upon a stage, surrounded now not merely, or not at all, by the Virtues,
+but by allegorical figures of Fame and Victory, by genii and muses, by
+personifications of humbled kingdoms and adoring nations, and by every
+circumstance of pomp, and symbol of adulation, that flattery could
+suggest, or insolence could claim.
+
+� LXXXII. As of the intermediate monumental type, so also of this, the
+last and most gross, there are unfortunately many examples in our own
+country; but the most wonderful, by far, are still at Venice. I shall,
+however, particularize only two; the first, that of the Doge John
+Pesaro, in the Frari. It is to be observed that we have passed over a
+considerable interval of time; we are now in the latter half of the
+seventeenth century; the progress of corruption has in the meantime been
+incessant, and sculpture has here lost its taste and learning as well as
+its feeling. The monument is a huge accumulation of theatrical scenery
+in marble: four colossal negro caryatides, grinning and horrible, with
+faces of black marble and white eyes, sustain the first story of it;
+above this, two monsters, long-necked, half dog and half dragon, sustain
+an ornamental sarcophagus, on the top of which the full-length statue of
+the Doge in robes of state stands forward with its arms expanded, like
+an actor courting applause, under a huge canopy of metal, like the roof
+of a bed, painted crimson and gold; on each side of him are sitting
+figures of genii, and unintelligible personifications gesticulating in
+Roman armor; below, between the negro caryatides, are two ghastly
+figures in bronze, half corpse, half skeleton, carrying tablets on which
+is written the eulogium: but in large letters graven in gold, the
+following words are the first and last that strike the eye; the first
+two phrases, one on each side, on tablets in the lower story, the last
+under the portrait statue above:
+
+  VIXIT ANNOS LXX.            DEVIXIT ANNO MDCLIX.
+             "HIC REVIXIT ANNO MDCLXIX."
+
+We have here, at last, the horrible images of death in violent contrast
+with the defiant monument, which pretends to bring the resurrection
+down to earth, "Hic revixit;" and it seems impossible for false taste
+and base feeling to sink lower. Yet even this monument is surpassed by
+one in St. John and Paul.
+
+� LXXXIII. But before we pass to this, the last with which I shall
+burden the reader's attention, let us for a moment, and that we may feel
+the contrast more forcibly, return to a tomb of the early times.
+
+In a dark niche in the outer wall of the outer corridor of St.
+Mark's--not even in the church, observe, but in the atrium or porch of
+it, and on the north side of the church,--is a solid sarcophagus of
+white marble, raised only about two feet from the ground on four stunted
+square pillars. Its lid is a mere slab of stone; on its extremities are
+sculptured two crosses; in front of it are two rows of rude figures, the
+uppermost representing Christ with the Apostles: the lower row is of six
+figures only, alternately male and female, holding up their hands in the
+usual attitude of benediction; the sixth is smaller than the rest, and
+the midmost of the other five has a glory round its head. I cannot tell
+the meaning of these figures, but between them are suspended censers
+attached to crosses; a most beautiful symbolic expression of Christ's
+mediatorial function. The whole is surrounded by a rude wreath of vine
+leaves, proceeding out of the foot of a cross.
+
+On the bar of marble which separates the two rows of figures are
+inscribed these words:
+
+  "Here lies the Lord Marin Morosini, Duke."
+
+It is the tomb of the Doge Marino Morosini, who reigned from 1249 to
+1252.
+
+� LXXXIV. From before this rude and solemn sepulchre let us pass to the
+southern aisle of the church of St. John and Paul; and there, towering
+from the pavement to the vaulting of the church, behold a mass of
+marble, sixty or seventy feet in height, of mingled yellow and white,
+the yellow carved into the form of an enormous curtain, with ropes,
+fringes, and tassels, sustained by cherubs; in front of which, in the
+now usual stage attitudes, advance the statues of the Doge Bertuccio
+Valier, his son the Doge Silvester Falier, and his son's wife,
+Elizabeth. The statues of the Doges, though mean and Polonius-like, are
+partly redeemed by the Ducal robes; but that of the Dogaressa is a
+consummation of grossness, vanity, and ugliness,--the figure of a large
+and wrinkled woman, with elaborate curls in stiff projection round her
+face, covered from her shoulders to her feet with ruffs, furs, lace,
+jewels, and embroidery. Beneath and around are scattered Virtues,
+Victories, Fames, genii,--the entire company of the monumental stage
+assembled, as before a drop scene,--executed by various sculptors, and
+deserving attentive study as exhibiting every condition of false taste
+and feeble conception. The Victory in the centre is peculiarly
+interesting; the lion by which she is accompanied, springing on a
+dragon, has been intended to look terrible, but the incapable sculptor
+could not conceive any form of dreadfulness, could not even make the
+lion look angry. It looks only lachrymose; and its lifted forepaws,
+there being no spring nor motion in its body, give it the appearance of
+a dog begging. The inscriptions under the two principal statues are as
+follows:
+
+      "Bertucius Valier, Duke,
+   Great in wisdom and eloquence,
+  Greater in his Hellespontic victory,
+    Greatest in the Prince his son.
+       Died in the year 1658."
+
+         "Elisabeth Quirina,
+       The wife of Silvester,
+    Distinguished by Roman virtue,
+         By Venetian piety,
+       And by the Ducal crown,
+            Died 1708."
+
+The writers of this age were generally anxious to make the world aware
+that they understood the degrees of comparison, and a large number of
+epitaphs are principally constructed with this object (compare, in the
+Latin, that of the Bishop of Paphos, given above): but the latter of
+these epitaphs is also interesting from its mention, in an age now
+altogether given up to the pursuit of worldly honor, of that "Venetian
+piety" which once truly distinguished the city from all others; and of
+which some form and shadow, remaining still, served to point an epitaph,
+and to feed more cunningly and speciously the pride which could not be
+satiated with the sumptuousness of the sepulchre.
+
+� LXXXV. Thus far, then, of the second element of the Renaissance spirit,
+the Pride of State; nor need we go farther to learn the reason of the
+fall of Venice. She was already likened in her thoughts, and was
+therefore to be likened in her ruin, to the Virgin of Babylon. The Pride
+of State and the Pride of Knowledge were no new passions: the sentence
+against them had gone forth from everlasting. "Thou saidst, I shall be a
+lady for ever; so that thou didst not lay these things to thine heart ...
+_Thy wisdom and thy knowledge, it hath perverted thee_; and thou hast
+said in thine heart, I am, and none else beside me. Therefore shall evil
+come upon thee ...; thy merchants from thy youth, they shall wander every
+one to his quarter; none shall save thee."[21]
+
+� LXXXVI. III. PRIDE OF SYSTEM. I might have illustrated these evil
+principles from a thousand other sources, but I have not time to pursue
+the subject farther, and must pass to the third element above named, the
+Pride of System. It need not detain us so long as either of the others,
+for it is at once more palpable and less dangerous. The manner in which
+the pride of the fifteenth century corrupted the sources of knowledge,
+and diminished the majesty, while it multiplied the trappings, of state,
+is in general little observed; but the reader is probably already well
+and sufficiently aware of the curious tendency to formulization and
+system which, under the name of philosophy, encumbered the minds of the
+Renaissance schoolmen. As it was above stated, grammar became the first
+of sciences; and whatever subject had to be treated, the first aim of
+the philosopher was to subject its principles to a code of laws, in the
+observation of which the merit of the speaker, thinker, or worker, in
+or on that subject, was thereafter to consist; so that the whole mind of
+the world was occupied by the exclusive study of Restraints. The sound
+of the forging of fetters was heard from sea to sea. The doctors of all
+the arts and sciences set themselves daily to the invention of new
+varieties of cages and manacles; they themselves wore, instead of gowns,
+a chain mail, whose purpose was not so much to avert the weapon of the
+adversary as to restrain the motions of the wearer; and all the acts,
+thoughts, and workings of mankind,--poetry, painting, architecture, and
+philosophy,--were reduced by them merely to so many different forms of
+fetter-dance.
+
+� LXXXVII. Now, I am very sure that no reader who has given any
+attention to the former portions of this work, or the tendency of what
+else I have written, more especially the last chapter of the "Seven
+Lamps," will suppose me to underrate the importance, or dispute the
+authority, of law. It has been necessary for me to allege these again
+and again, nor can they ever be too often or too energetically alleged,
+against the vast masses of men who now disturb or retard the advance of
+civilization; heady and high-minded, despisers of discipline, and
+refusers of correction. But law, so far as it can be reduced to form and
+system, and is not written upon the heart,--as it is, in a Divine
+loyalty, upon the hearts of the great hierarchies who serve and wait
+about the throne of the Eternal Lawgiver,--this lower and formally
+expressible law has, I say, two objects. It is either for the definition
+and restraint of sin, or the guidance of simplicity; it either explains,
+forbids, and punishes wickedness, or it guides the movements and actions
+both of lifeless things and of the more simple and untaught among
+responsible agents. And so long, therefore, as sin and foolishness are
+in the world, so long it will be necessary for men to submit themselves
+painfully to this lower law, in proportion to their need of being
+corrected, and to the degree of childishness or simplicity by which they
+approach more nearly to the condition of the unthinking and inanimate
+things which are governed by law altogether; yet yielding, in the manner
+of their submission to it, a singular lesson to the pride of
+man,--being obedient more perfectly in proportion to their
+greatness.[22] But, so far as men become good and wise, and rise above
+the state of children, so far they become emancipated from this written
+law, and invested with the perfect freedom which consists in the fulness
+and joyfulness of compliance with a higher and unwritten law; a law so
+universal, so subtle, so glorious, that nothing but the heart can keep
+it.
+
+� LXXXVIII. Now pride opposes itself to the observance of this Divine
+law in two opposite ways: either by brute resistance, which is the way
+of the rabble and its leaders, denying or defying law altogether; or by
+formal compliance, which is the way of the Pharisee, exalting himself
+while he pretends to obedience, and making void the infinite and
+spiritual commandment by the finite and lettered commandment. And it is
+easy to know which law we are obeying: for any law which we magnify and
+keep through pride, is always the law of the letter; but that which we
+love and keep through humility, is the law of the Spirit: And the letter
+killeth, but the Spirit giveth life.
+
+� LXXXIX. In the appliance of this universal principle to what we have
+at present in hand, it is to be noted, that all written or writable law
+respecting the arts is for the childish and ignorant: that in the
+beginning of teaching, it is possible to say that this or that must or
+must not be done; and laws of color and shade may be taught, as laws of
+harmony are to the young scholar in music. But the moment a man begins
+to be anything deserving the name of an artist, all this teachable law
+has become a matter of course with him; and if, thenceforth, he boast
+himself anywise in the law, or pretend that he lives and works by it, it
+is a sure sign that he is merely tithing cummin, and that there is no
+true art nor religion in him. For the true artist has that inspiration
+in him which is above all law, or rather, which is continually working
+out such magnificent and perfect obedience to supreme law, as can in no
+wise be rendered by line and rule. There are more laws perceived and
+fulfilled in the single stroke of a great workman, than could be written
+in a volume. His science is inexpressibly subtle, directly taught him by
+his Maker, not in any wise communicable or imitable.[23] Neither can any
+written or definitely observable laws enable us to do any great thing.
+It is possible, by measuring and administering quantities of color, to
+paint a room wall so that it shall not hurt the eye; but there are no
+laws by observing which we can become Titians. It is possible so to
+measure and administer syllables, as to construct harmonious verse; but
+there are no laws by which we can write Iliads. Out of the poem or the
+picture, once produced, men may elicit laws by the volume, and study
+them with advantage, to the better understanding of the existing poem or
+picture; but no more write or paint another, than by discovering laws of
+vegetation they can make a tree to grow. And therefore, wheresoever we
+find the system and formality of rules much dwelt upon, and spoken of as
+anything else than a help for children, there we may be sure that noble
+art is not even understood, far less reached. And thus it was with all
+the common and public mind in the fifteenth and sixteenth centuries. The
+greater men, indeed, broke through the thorn hedges; and, though much
+time was lost by the learned among them in writing Latin verses and
+anagrams, and arranging the framework of quaint sonnets and dexterous
+syllogisms, still they tore their way through the sapless thicket by
+force of intellect or of piety; for it was not possible that, either in
+literature or in painting, rules could be received by any strong mind,
+so as materially to interfere with its originality: and the crabbed
+discipline and exact scholarship became an advantage to the men who
+could pass through and despise them; so that in spite of the rules of
+the drama we had Shakspeare, and in spite of the rules of art we had
+Tintoret,--both of them, to this day, doing perpetual violence to the
+vulgar scholarship and dim-eyed proprieties of the multitude.
+
+� XC. But in architecture it was not so; for that was the art of the
+multitude, and was affected by all their errors; and the great men who
+entered its field, like Michael Angelo, found expression for all the
+best part of their minds in sculpture, and made the architecture merely
+its shell. So the simpletons and sophists had their way with it: and the
+reader can have no conception of the inanities and puerilities of the
+writers, who, with the help of Vitruvius, re-established its "five
+orders," determined the proportions of each, and gave the various
+recipes for sublimity and beauty, which have been thenceforward followed
+to this day, but which may, I believe, in this age of perfect machinery,
+be followed out still farther. If, indeed, there are only five perfect
+forms of columns and architraves, and there be a fixed proportion to
+each, it is certainly possible, with a little ingenuity, so to regulate
+a stonecutting machine, as that it shall furnish pillars and friezes to
+the size ordered, of any of the five orders, on the most perfect Greek
+models, in any quantity; an epitome, also, of Vitruvius, may be made so
+simple, as to enable any bricklayer to set them up at their proper
+distances, and we may dispense with our architects altogether.
+
+� XCI. But if this be not so, and there be any truth in the faint
+persuasion which still lurks in men's minds that architecture _is_ an
+art, and that it requires some gleam of intellect to practise it, then
+let the whole system of the orders and their proportions be cast out and
+trampled down as the most vain, barbarous, and paltry deception that was
+ever stamped on human prejudice; and let us understand this plain truth,
+common to all work of man, that, if it be good work, it is not a copy,
+nor anything done by rule, but a freshly and divinely imagined thing.
+Five orders! There is not a side chapel in any Gothic cathedral but it
+has fifty orders, the worst of them better than the best of the Greek
+ones, and all new; and a single inventive human soul could create a
+thousand orders in an hour.[24] And this would have been discovered even
+in the worst times, but that, as I said, the greatest men of the age
+found expression for their invention in the other arts, and the best of
+those who devoted themselves to architecture were in great part occupied
+in adapting the construction of buildings to new necessities, such as
+those developed by the invention of gunpowder (introducing a totally new
+and most interesting science of fortification, which directed the
+ingenuity of Sanmicheli and many others from its proper channel), and
+found interest of a meaner kind in the difficulties of reconciling the
+obsolete architectural laws they had consented to revive, and the forms
+of Roman architecture which they agreed to copy, with the requirements
+of the daily life of the sixteenth century.
+
+� XCII. These, then, were the three principal directions in which the
+Renaissance pride manifested itself, and its impulses were rendered
+still more fatal by the entrance of another element, inevitably
+associated with pride. For, as it is written, "He that trusteth in his
+own heart is a fool," so also it is written, "The fool hath said in his
+heart, There is no God;" and the self-adulation which influenced not
+less the learning of the age than its luxury, led gradually to the
+forgetfulness of all things but self, and to an infidelity only the more
+fatal because it still retained the form and language of faith.
+
+� XCIII. IV. INFIDELITY. In noticing the more prominent forms in which
+this faithlessness manifested itself, it is necessary to distinguish
+justly between that which was the consequence of respect for Paganism,
+and that which followed from the corruption of Catholicism. For as the
+Roman architecture is not to be made answerable for the primal
+corruption of the Gothic, so neither is the Roman philosophy to be made
+answerable for the primal corruption of Christianity. Year after year,
+as the history of the life of Christ sank back into the depths of time,
+and became obscured by the misty atmosphere of the history of the
+world,--as intermediate actions and incidents multiplied in number, and
+countless changes in men's modes of life, and tones of thought, rendered
+it more difficult for them to imagine the facts of distant time,--it
+became daily, almost hourly, a greater effort for the faithful heart to
+apprehend the entire veracity and vitality of the story of its Redeemer;
+and more easy for the thoughtless and remiss to deceive themselves as to
+the true character of the belief they had been taught to profess. And
+this must have been the case, had the pastors of the Church never failed
+in their watchfulness, and the Church itself never erred in its practice
+or doctrine. But when every year that removed the truths of the Gospel
+into deeper distance, added to them also some false or foolish
+tradition; when wilful distortion was added to natural obscurity, and
+the dimness of memory was disguised by the fruitfulness of fiction;
+when, moreover, the enormous temporal power granted to the clergy
+attracted into their ranks multitudes of men who, but for such
+temptation, would not have pretended to the Christian name, so that
+grievous wolves entered in among them, not sparing the flock; and when,
+by the machinations of such men, and the remissness of others, the form
+and administrations of Church doctrine and discipline had become little
+more than a means of aggrandizing the power of the priesthood, it was
+impossible any longer for men of thoughtfulness or piety to remain in an
+unquestioning serenity of faith. The Church had become so mingled with
+the world that its witness could no longer be received; and the
+professing members of it, who were placed in circumstances such as to
+enable them to become aware of its corruptions, and whom their interest
+or their simplicity did not bribe or beguile into silence, gradually
+separated themselves into two vast multitudes of adverse energy, one
+tending to Reformation, and the other to Infidelity.
+
+� XCIV. Of these, the last stood, as it were, apart, to watch the course
+of the struggle between Romanism and Protestantism; a struggle which,
+however necessary, was attended with infinite calamity to the Church.
+For, in the first place, the Protestant movement was, in reality, not
+_reformation_ but _reanimation_. It poured new life into the Church, but
+it did not form or define her anew. In some sort it rather broke down
+her hedges, so that all they who passed by might pluck off her grapes.
+The reformers speedily found that the enemy was never far behind the
+sower of good seed; that an evil spirit might enter the ranks of
+reformation as well as those of resistance; and that though the deadly
+blight might be checked amidst the wheat, there was no hope of ever
+ridding the wheat itself from the tares. New temptations were invented
+by Satan wherewith to oppose the revived strength of Christianity: as
+the Romanist, confiding in his human teachers, had ceased to try whether
+they were teachers sent from God, so the Protestant, confiding in the
+teaching of the Spirit, believed every spirit, and did not try the
+spirits whether they were of God. And a thousand enthusiasms and
+heresies speedily obscured the faith and divided the force of the
+Reformation.
+
+� XCV. But the main evils rose out of the antagonism of the two great
+parties; primarily, in the mere fact of the existence of an antagonism.
+To the eyes of the unbeliever the Church of Christ, for the first time
+since its foundation, bore the aspect of a house divided against itself.
+Not that many forms of schism had not before arisen in it; but either
+they had been obscure and silent, hidden among the shadows of the Alps
+and the marshes of the Rhine; or they had been outbreaks of visible and
+unmistakable error, cast off by the Church, rootless, and speedily
+withering away, while, with much that was erring and criminal, she still
+retained within her the pillar and ground of the truth. But here was at
+last a schism in which truth and authority were at issue. The body that
+was cast off withered away no longer. It stretched out its boughs to the
+sea and its branches to the river, and it was the ancient trunk that
+gave signs of decrepitude. On one side stood the reanimated faith, in
+its right hand the book open, and its left hand lifted up to heaven,
+appealing for its proof to the Word of the Testimony and the power of
+the Holy Ghost. On the other stood, or seemed to stand, all beloved
+custom and believed tradition; all that for fifteen hundred years had
+been closest to the hearts of men, or most precious for their help.
+Long-trusted legend; long-reverenced power; long-practised discipline;
+faiths that had ruled the destiny, and sealed the departure, of souls
+that could not be told or numbered for multitude; prayers, that from the
+lips of the fathers to those of the children had distilled like sweet
+waterfalls, sounding through the silence of ages, breaking themselves
+into heavenly dew to return upon the pastures of the wilderness; hopes,
+that had set the face as a flint in the torture, and the sword as a
+flame in the battle, that had pointed the purposes and ministered the
+strength of life, brightened the last glances and shaped the last
+syllables of death; charities, that had bound together the brotherhoods
+of the mountain and the desert, and had woven chains of pitying or
+aspiring communion between this world and the unfathomable beneath and
+above; and, more than these, the spirits of all the innumerable,
+undoubting, dead, beckoning to the one way by which they had been
+content to follow the things that belonged unto their peace;--these all
+stood on the other side: and the choice must have been a bitter one,
+even at the best; but it was rendered tenfold more bitter by the
+natural, but most sinful animosity of the two divisions of the Church
+against each other.
+
+� XCVI. On one side this animosity was, of course, inevitable. The
+Romanist party, though still including many Christian men, necessarily
+included, also, all the worst of those who called themselves Christians.
+In the fact of its refusing correction, it stood confessed as the Church
+of the unholy; and, while it still counted among its adherents many of
+the simple and believing,--men unacquainted with the corruption of the
+body to which they belonged, or incapable of accepting any form of
+doctrine but that which they had been taught from their youth,--it
+gathered together with them whatever was carnal and sensual in
+priesthood or in people, all the lovers of power in the one, and of ease
+in the other. And the rage of these men was, of course, unlimited
+against those who either disputed their authority, reprehended their
+manner of life, or cast suspicion upon the popular methods of lulling
+the conscience in the lifetime, or purchasing salvation on the
+death-bed.
+
+� XCVII. Besides this, the reassertion and defence of various tenets
+which before had been little more than floating errors in the popular
+mind, but which, definitely attacked by Protestantism, it became
+necessary to fasten down with a band of iron and brass, gave a form at
+once more rigid, and less rational, to the whole body of Romanist
+Divinity. Multitudes of minds which in other ages might have brought
+honor and strength to the Church, preaching the more vital truths which
+it still retained, were now occupied in pleading for arraigned
+falsehoods, or magnifying disused frivolities; and it can hardly be
+doubted by any candid observer, that the nascent or latent errors which
+God pardoned in times of ignorance, became unpardonable when they were
+formally defined and defended; that fallacies which were forgiven to the
+enthusiasm of a multitude, were avenged upon the stubbornness of a
+Council; that, above all, the great invention of the age, which rendered
+God's word accessible to every man, left all sins against its light
+incapable of excuse or expiation; and that from the moment when Rome set
+herself in direct opposition to the Bible, the judgment was pronounced
+upon her, which made her the scorn and the prey of her own children, and
+cast her down from the throne where she had magnified herself against
+heaven, so low, that at last the unimaginable scene of the Bethlehem
+humiliation was mocked in the temples of Christianity. Judea had seen
+her God laid in the manger of the beasts of burden; it was for
+Christendom to stable the beasts of burden by the altar of her God.
+
+� XCVIII. Nor, on the other hand, was the opposition of Protestantism to
+the Papacy less injurious to itself. That opposition was, for the most
+part, intemperate, undistinguishing, and incautious. It could indeed
+hardly be otherwise. Fresh bleeding from the sword of Rome, and still
+trembling at her anathema, the reformed churches were little likely to
+remember any of her benefits, or to regard any of her teaching. Forced
+by the Romanist contumely into habits of irreverence, by the Romanist
+fallacies into habits of disbelief, the self-trusting, rashly-reasoning
+spirit gained ground among them daily. Sect branched out of sect,
+presumption rose over presumption; the miracles of the early Church
+were denied and its martyrs forgotten, though their power and palm were
+claimed by the members of every persecuted sect; pride, malice, wrath,
+love of change, masked themselves under the thirst for truth, and
+mingled with the just resentment of deception, so that it became
+impossible even for the best and truest men to know the plague of their
+own hearts; while avarice and impiety openly transformed reformation
+into robbery, and reproof into sacrilege. Ignorance could as easily lead
+the foes of the Church, as lull her slumber; men who would once have
+been the unquestioning recipients, were now the shameless inventors of
+absurd or perilous superstitions; they who were of the temper that
+walketh in darkness, gained little by having discovered their guides to
+be blind; and the simplicity of the faith, ill understood and
+contumaciously alleged, became an excuse for the rejection of the
+highest arts and most tried wisdom of mankind: while the learned
+infidel, standing aloof, drew his own conclusions, both from the rancor
+of the antagonists, and from their errors; believed each in all that he
+alleged against the other; and smiled with superior humanity, as he
+watched the winds of the Alps drift the ashes of Jerome, and the dust of
+England drink the blood of King Charles.
+
+� XCIX. Now all this evil was, of course, entirely independent of the
+renewal of the study of Pagan writers. But that renewal found the faith
+of Christendom already weakened and divided; and therefore it was itself
+productive of an effect tenfold greater than could have been apprehended
+from it at another time. It acted first, as before noticed, in leading
+the attention of all men to words instead of things; for it was
+discovered that the language of the middle ages had been corrupt, and
+the primal object of every scholar became now to purify his style. To
+this study of words, that of forms being added, both as of matters of
+the first importance, half the intellect of the age was at once absorbed
+in the base sciences of grammar, logic, and rhetoric; studies utterly
+unworthy of the serious labor of men, and necessarily rendering those
+employed upon them incapable of high thoughts or noble emotion. Of the
+debasing tendency of philology, no proof is needed beyond once reading
+a grammarian's notes on a great poet: logic is unnecessary for men who
+can reason; and about as useful to those who cannot, as a machine for
+forcing one foot in due succession before the other would be to a man
+who could not walk: while the study of rhetoric is exclusively one for
+men who desire to deceive or be deceived; he who has the truth at his
+heart need never fear the want of persuasion on his tongue, or, if he
+fear it, it is because the base rhetoric of dishonesty keeps the truth
+from being heard.
+
+� C. The study of these sciences, therefore, naturally made men shallow
+and dishonest in general; but it had a peculiarly fatal effect with
+respect to religion, in the view which men took of the Bible. Christ's
+teaching was discovered not to be rhetorical, St. Paul's preaching not
+to be logical, and the Greek of the New Testament not to be grammatical.
+The stern truth, the profound pathos, the impatient period, leaping from
+point to point and leaving the intervals for the hearer to fill, the
+comparatively Hebraized and unelaborate idiom, had little in them of
+attraction for the students of phrase and syllogism; and the chief
+knowledge of the age became one of the chief stumbling-blocks to its
+religion.
+
+� CI. But it was not the grammarian and logician alone who was thus
+retarded or perverted; in them there had been small loss. The men who
+could truly appreciate the higher excellences of the classics were
+carried away by a current of enthusiasm which withdrew them from every
+other study. Christianity was still professed as a matter of form, but
+neither the Bible nor the writings of the Fathers had time left for
+their perusal, still less heart left for their acceptance. The human
+mind is not capable of more than a certain amount of admiration or
+reverence, and that which was given to Horace was withdrawn from David.
+Religion is, of all subjects, that which will least endure a second
+place in the heart or thoughts, and a languid and occasional study of it
+was sure to lead to error or infidelity. On the other hand, what was
+heartily admired and unceasingly contemplated was soon brought nigh to
+being believed; and the systems of Pagan mythology began gradually to
+assume the places in the human mind from which the unwatched
+Christianity was wasting. Men did not indeed openly sacrifice to
+Jupiter, or build silver shrines for Diana, but the ideas of Paganism
+nevertheless became thoroughly vital and present with them at all times;
+and it did not matter in the least, as far as respected the power of
+true religion, whether the Pagan image was believed in or not, so long
+as it entirely occupied the thoughts. The scholar of the sixteenth
+century, if he saw the lightning shining from the east unto the west,
+thought forthwith of Jupiter, not of the coming of the Son of Man; if he
+saw the moon walking in brightness, he thought of Diana, not of the
+throne which was to be established for ever as a faithful witness in
+heaven; and though his heart was but secretly enticed, yet thus he
+denied the God that is above.[25]
+
+And, indeed, this double creed, of Christianity confessed and Paganism
+beloved, was worse than Paganism itself, inasmuch as it refused
+effective and practical belief altogether. It would have been better to
+have worshipped Diana and Jupiter at once, than to have gone on through
+the whole of life naming one God, imagining another, and dreading none.
+Better, a thousandfold, to have been "a Pagan suckled in some creed
+outworn," than to have stood by the great sea of Eternity and seen no
+God walking on its waves, no heavenly world on its horizon.
+
+� CII. This fatal result of an enthusiasm for classical literature was
+hastened and heightened by the misdirection of the powers of art. The
+imagination of the age was actively set to realize these objects of
+Pagan belief; and all the most exalted faculties of man, which, up to
+that period, had been employed in the service of Faith, were now
+transferred to the service of Fiction. The invention which had formerly
+been both sanctified and strengthened by laboring under the command of
+settled intention, and on the ground of assured belief, had now the
+reins laid upon its neck by passion, and all ground of fact cut from
+beneath its feet; and the imagination which formerly had helped men to
+apprehend the truth, now tempted them to believe a falsehood. The
+faculties themselves wasted away in their own treason; one by one they
+fell in the potter's field; and the Raphael who seemed sent and inspired
+from heaven that he might paint Apostles and Prophets, sank at once into
+powerlessness at the feet of Apollo and the Muses.
+
+� CIII. But this was not all. The habit of using the greatest gifts of
+imagination upon fictitious subjects, of course destroyed the honor and
+value of the same imagination used in the cause of truth. Exactly in the
+proportion in which Jupiters and Mercuries were embodied and believed,
+in that proportion Virgins and Angels were disembodied and disbelieved.
+The images summoned by art began gradually to assume one average value
+in the spectator's mind; and incidents from the Iliad and from the
+Exodus to come within the same degrees of credibility. And, farther,
+while the powers of the imagination were becoming daily more and more
+languid, because unsupported by faith, the manual skill and science of
+the artist were continually on the increase. When these had reached a
+certain point, they began to be the principal things considered in the
+picture, and its story or scene to be thought of only as a theme for
+their manifestation. Observe the difference. In old times, men used
+their powers of painting to show the objects of faith; in later times,
+they used the objects of faith that they might show their powers of
+painting. The distinction is enormous, the difference incalculable as
+irreconcilable. And thus, the more skilful the artist, the less his
+subject was regarded; and the hearts of men hardened as their handling
+softened, until they reached a point when sacred, profane, or sensual
+subjects were employed, with absolute indifference, for the display of
+color and execution; and gradually the mind of Europe congealed into
+that state of utter apathy,--inconceivable, unless it had been
+witnessed, and unpardonable, unless by us, who have been infected by
+it,--which permits us to place the Madonna and the Aphrodite side by
+side in our galleries, and to pass, with the same unmoved inquiry into
+the manner of their handling, from a Bacchanal to a Nativity.
+
+Now all this evil, observe, would have been merely the necessary and
+natural operation of an enthusiasm for the classics, and of a delight in
+the mere science of the artist, on the most virtuous mind. But this
+operation took place upon minds enervated by luxury, and which were
+tempted, at the very same period, to forgetfulness or denial of all
+religious principle by their own basest instincts. The faith which had
+been undermined by the genius of Pagans, was overthrown by the crimes of
+Christians; and the ruin which was begun by scholarship, was completed
+by sensuality. The characters of the heathen divinities were as suitable
+to the manners of the time as their forms were agreeable to its taste;
+and Paganism again became, in effect, the religion of Europe. That is to
+say, the civilized world is at this moment, collectively, just as Pagan
+as it was in the second century; a small body of believers being now, as
+they were then, representative of the Church of Christ in the midst of
+the faithless: but there is just this difference, and this very fatal
+one, between the second and nineteenth centuries, that the Pagans are
+nominally and fashionably Christians, and that there is every
+conceivable variety and shade of belief between the two; so that not
+only is it most difficult theoretically to mark the point where
+hesitating trust and failing practice change into definite infidelity,
+but it has become a point of politeness not to inquire too deeply into
+our neighbor's religious opinions; and, so that no one be offended by
+violent breach of external forms, to waive any close examination into
+the tenets of faith. The fact is, we distrust each other and ourselves
+so much, that we dare not press this matter; we know that if, on any
+occasion of general intercourse, we turn to our next neighbor, and put
+to him some searching or testing question, we shall, in nine cases out
+of ten, discover him to be only a Christian in his own way, and as far
+as he thinks proper, and that he doubts of many things which we
+ourselves do not believe strongly enough to hear doubted without danger.
+What is in reality cowardice and faithlessness, we call charity; and
+consider it the part of benevolence sometimes to forgive men's evil
+practice for the sake of their accurate faith, and sometimes to forgive
+their confessed heresy for the sake of their admirable practice. And
+under this shelter of charity, humility, and faintheartedness, the
+world, unquestioned by others or by itself, mingles with and overwhelms
+the small body of Christians, legislates for them, moralizes for them,
+reasons for them; and, though itself of course greatly and beneficently
+influenced by the association, and held much in check by its pretence to
+Christianity, yet undermines, in nearly the same degree, the sincerity
+and practical power of Christianity itself, until at last, in the very
+institutions of which the administration may be considered as the
+principal test of the genuineness of national religion, those devoted to
+education, the Pagan system is completely triumphant; and the entire
+body of the so-called Christian world has established a system of
+instruction for its youth, wherein neither the history of Christ's
+Church, nor the language of God's law, is considered a study of the
+smallest importance; wherein, of all subjects of human inquiry, his own
+religion is the one in which a youth's ignorance is most easily
+forgiven;[26] and in which it is held a light matter that he should be
+daily guilty of lying, or debauchery, or of blasphemy, so only that he
+write Latin verses accurately, and with speed.
+
+I believe that in few years more we shall wake from all these errors in
+astonishment, as from evil dreams; having been preserved, in the midst
+of their madness, by those hidden roots of active and earnest
+Christianity which God's grace has bound in the English nation with iron
+and brass. But in the Venetian, those roots themselves had withered;
+and, from the palace of their ancient religion, their pride cast them
+forth hopelessly to the pasture of the brute. From pride to infidelity,
+from infidelity to the unscrupulous and insatiable pursuit of pleasure,
+and from this to irremediable degradation, the transitions were swift,
+like the falling of a star. The great palaces of the haughtiest nobles
+of Venice were stayed, before they had risen far above their
+foundations, by the blast of a penal poverty; and the wild grass, on the
+unfinished fragments of their mighty shafts, waves at the tide-mark
+where the power of the godless people first heard the "Hitherto shalt
+thou come." And the regeneration in which they had so vainly
+trusted,--the new birth and clear dawning, as they thought it, of all
+art, all knowledge, and all hope,--became to them as that dawn which
+Ezekiel saw on the hills of Israel: "Behold the day; behold, it is come.
+The rod hath blossomed, pride hath budded, violence is risen up into a
+rod of wickedness. None of them shall remain, nor of their multitude;
+let not the buyer rejoice, nor the seller mourn, for wrath is upon all
+the multitude thereof."
+
+
+FOOTNOTES:
+
+  [8] Or, more briefly, science has to do with facts, art with
+    phenomena. To science, phenomena are of use only as they lead to
+    facts; and to art facts are of use only as they lead to phenomena. I
+    use the word "art" here with reference to the fine arts only, for
+    the lower arts of mechanical production I should reserve the word
+    "manufacture."
+
+  [9] Tintoret.
+
+  [10] St. Bernard.
+
+  [11] Society always has a destructive influence upon an artist:
+    first by its sympathy with his meanest powers; secondly, by its
+    chilling want of understanding of his greatest; and, thirdly, by its
+    vain occupation of his time and thoughts. Of course a painter of men
+    must be _among_ men; but it ought to be as a watcher, not as a
+    companion.
+
+  [12] I intended in this place to have introduced some special
+    consideration of the science of anatomy, which I believe to have
+    been in great part the cause of the decline of modern art; but I
+    have been anticipated by a writer better able to treat the subject.
+    I have only glanced at his book; and there is something in the
+    spirit of it which I do not like, and some parts of it are assuredly
+    wrong; but, respecting anatomy, it seems to me to settle the
+    question indisputably, more especially as being written by a master
+    of the science. I quote two passages, and must refer the reader to
+    the sequel.
+
+    "_The scientific men of forty centuries_ have failed to describe so
+    accurately, so beautifully, so artistically, as Homer did, the
+    organic elements constituting the emblems of youth and beauty, and
+    the waste and decay which these sustain by time and age. All these
+    Homer understood better, and has described more truthfully than the
+    scientific men of forty centuries....
+
+    "Before I approach this question, permit me to make a few remarks on
+    the pre-historic period of Greece; that era which seems to have
+    produced nearly all the great men.
+
+    "On looking attentively at the statues within my observation, I
+    cannot find the slightest foundation for the assertion that their
+    sculptors must have dissected the human frame and been well
+    acquainted with the human anatomy. They, like Homer, had discovered
+    Nature's secret, and bestowed their whole attention on the exterior.
+    The exterior they read profoundly, and studied deeply--the _living
+    exterior_ and the _dead_. Above all, they avoided displaying the
+    dead and dissected interior, through the exterior. They had
+    discovered that the interior presents hideous shapes, but not forms.
+    Men during the philosophic era of Greece saw all this, each reading
+    the antique to the best of his abilities. The man of genius
+    rediscovered the canon of the ancient masters, and wrought on its
+    principles. The greater number, as now, unequal to this step, merely
+    imitated and copied those who preceded them."--_Great Artists and
+    Great Anatomists_. By R. Knox, M.D. London, Van Voorst, 1852.
+
+    Respecting the value of literary knowledge in general as regards
+    art, the reader will also do well to meditate on the following
+    sentences from Hallam's "Literature of Europe;" remembering at the
+    same time what I have above said, that "the root of all great art in
+    Europe is struck in the thirteenth century," and that the great time
+    is from 1250 to 1350:
+
+    "In Germany the tenth century, Leibnitz declares, was a golden age
+    of learning compared with the thirteenth."
+
+    "The writers of the thirteenth century display an incredible
+    ignorance, not only of pure idiom, but of common grammatical rules."
+
+    The fourteenth century was "not superior to the thirteenth in
+    learning.... We may justly praise Richard of Bury for his zeal in
+    collecting books. But his erudition appears crude, his style
+    indifferent, and his thoughts superficial."
+
+    I doubt the superficialness of the _thoughts_: at all events, this
+    is not a character of the time, though it may be of the writer; for
+    this would affect art more even than literature.
+
+  [13] Churton's "Early English Church." London, 1840.
+
+  [14] "Quibus nulla macula inest qu� non cernatur. Ita viri nobilitate
+    pr�diti eam vitam peragant cui nulla nota possit inviri." The first
+    sentence is literally, "in which there is no spot that may not be
+    seen." But I imagine the writer meant it as I have put it in the
+    text, else his comparison does not hold.
+
+  [15] Observe, however, that the magnitude spoken of here and in the
+    following passages, is the finished and polished magnitude sought
+    for the sake of pomp: not the rough magnitude sought for the sake of
+    sublimity: respecting which see the "Seven Lamps," chap. iii. � 5,
+    6, and 8.
+
+  [16] Can Grande died in 1329: we can hardly allow more than five
+    years for the erection of his tomb.
+
+  [17] Vol. I. Chap. I.
+
+  [18] Sansovino, lib. xiii.
+
+  [19] Tentori, vi. 142, i. 157.
+
+  [20] "Jacobus Pisaurius Paphi Episcopus qui Turcos bello, se ipsum
+    pace vincebat, ex nobili inter Venetas, ad nobiliorem inter Angelos
+    familiam delatus, nobilissimam in illa die Coronam justo Judice
+    reddente, hic situs expectat Vixit annos Platonicos. Obijt MDXLVII.
+    IX. Kal. Aprilis."
+
+  [21] Isaiah xlvii. 7, 10, 11, 15.
+
+  [22] Compare "Seven Lamps," chap. vii. � 3.
+
+  [23] See the farther remarks on Inspiration, in the fourth chapter.
+
+  [24] That is to say, orders separated by such distinctions as the old
+    Greek ones: considered with reference to the bearing power of the
+    capital, all orders may be referred to two, as long ago stated; just
+    as trees may be referred to the two great classes, monocotyledonous
+    and dicotyledonous.
+
+  [25] Job xxi: 26-28; Psalm lxxxix. 37.
+
+  [26] I shall not forget the impression made upon me at Oxford, when,
+    going up for my degree, and mentioning to one of the authorities
+    that I had not had time enough to read the Epistles properly, I was
+    told, that "the Epistles were separate sciences, and I need not
+    trouble myself about them."
+
+    The reader will find some farther notes on this subject in Appendix
+    7, "Modern Education."
+
+
+
+
+CHAPTER III.
+
+GROTESQUE RENAISSANCE.
+
+
+� I. In the close of the last chapter it was noted that the phases of
+transition in the moral temper of the falling Venetians, during their
+fall, were from pride to infidelity, and from infidelity to the
+unscrupulous _pursuit of pleasure_. During the last years of the
+existence of the state, the minds both of the nobility and the people
+seem to have been set simply upon the attainment of the means of
+self-indulgence. There was not strength enough in them to be proud, nor
+forethought enough to be ambitious. One by one the possessions of the
+state were abandoned to its enemies; one by one the channels of its
+trade were forsaken by its own languor, or occupied and closed against
+it by its more energetic rivals; and the time, the resources, and the
+thoughts of the nation were exclusively occupied in the invention of
+such fantastic and costly pleasures as might best amuse their apathy,
+lull their remorse, or disguise their ruin.
+
+� II. The architecture raised at Venice during this period is amongst
+the worst and basest ever built by the hands of men, being especially
+distinguished by a spirit of brutal mockery and insolent jest, which,
+exhausting itself in deformed and monstrous sculpture, can sometimes be
+hardly otherwise defined than as the perpetuation in stone of the
+ribaldries of drunkenness. On such a period, and on such work, it is
+painful to dwell, and I had not originally intended to do so; but I
+found that the entire spirit of the Renaissance could not be
+comprehended unless it was followed to its consummation; and that there
+were many most interesting questions arising out of the study of this
+particular spirit of jesting, with reference to which I have called it
+the _Grotesque_ Renaissance. For it is not this period alone which is
+distinguished by such a spirit. There is jest--perpetual, careless, and
+not unfrequently obscene--in the most noble work of the Gothic periods;
+and it becomes, therefore, of the greatest possible importance to
+examine into the nature and essence of the Grotesque itself, and to
+ascertain in what respect it is that the jesting of art in its highest
+flight, differs from its jesting in its utmost degradation.
+
+� III. The place where we may best commence our inquiry is one renowned
+in the history of Venice, the space of ground before the Church of Santa
+Maria Formosa; a spot which, after the Rialto and St. Mark's Place,
+ought to possess a peculiar interest in the mind of the traveller, in
+consequence of its connexion with the most touching and true legend of
+the Brides of Venice. That legend is related at length in every Venetian
+history, and, finally, has been told by the poet Rogers, in a way which
+renders it impossible for any one to tell it after him. I have only,
+therefore, to remind the reader that the capture of the brides took
+place in the cathedral church, St. Pietro di Castello; and that this of
+Santa Maria Formosa is connected with the tale, only because it was
+yearly visited with prayers by the Venetian maidens, on the anniversary
+of their ancestors' deliverance. For that deliverance, their thanks were
+to be rendered to the Virgin; and there was no church then dedicated to
+the Virgin, in Venice, except this.[27]
+
+Neither of the cathedral church, nor of this dedicated to St. Mary the
+Beautiful, is one stone left upon another. But, from that which has been
+raised on the site of the latter, we may receive a most important
+lesson, introductory to our immediate subject, if first we glance back
+to the traditional history of the church which has been destroyed.
+
+� IV. No more honorable epithet than "traditional" can be attached to
+what is recorded concerning it, yet I should grieve to lose the legend
+of its first erection. The Bishop of Uderzo, driven by the Lombards from
+his Bishopric, as he was praying, beheld in a vision the Virgin Mother,
+who ordered him to found a church in her honor, in the place where he
+should see a white cloud rest. And when he went out, the white cloud
+went before him; and on the place where it rested he built a church, and
+it was called the Church of St. Mary the Beautiful, from the loveliness
+of the form in which she had appeared in the vision.[28]
+
+The first church stood only for about two centuries. It was rebuilt in
+864, and enriched with various relics some fifty years later; relics
+belonging principally to St. Nicodemus, and much lamented when they and
+the church were together destroyed by fire in 1105.
+
+It was then rebuilt in "magnifica forma," much resembling, according to
+Corner, the architecture of the chancel of St. Mark;[29] but the
+information which I find in various writers, as to the period at which
+it was reduced to its present condition, is both sparing and
+contradictory.
+
+� V. Thus, by Corner, we are told that this church, resembling St.
+Mark's, "remained untouched for more than four centuries," until, in
+1689, it was thrown down by an earthquake, and restored by the piety of
+a rich merchant, Turrin Toroni, "in ornatissima forma;" and that, for
+the greater beauty of the renewed church, it had added to it two fa�ades
+of marble. With this information that of the Padre dell' Oratoria
+agrees, only he gives the date of the earlier rebuilding of the church
+in 1175, and ascribes it to an architect of the name of Barbetta. But
+Quadri, in his usually accurate little guide, tells us that this
+Barbetta rebuilt the church in the fourteenth century; and that of the
+two fa�ades, so much admired by Corner, one is of the sixteenth century,
+and its architect unknown; and the rest of the church is of the
+seventeenth, "in the style of Sansovino."
+
+� VI. There is no occasion to examine, or endeavor to reconcile, these
+conflicting accounts. All that is necessary for the reader to know is,
+that every vestige of the church in which the ceremony took place was
+destroyed _at least_ as early as 1689; and that the ceremony itself,
+having been abolished in the close of the fourteenth century, is only to
+be conceived as taking place in that more ancient church, resembling St.
+Mark's, which, even according to Quadri, existed until that period. I
+would, therefore, endeavor to fix the reader's mind, for a moment, on
+the contrast between the former and latter aspect of this plot of
+ground; the former, when it had its Byzantine church, and its yearly
+procession of the Doge and the Brides; and the latter, when it has its
+Renaissance church "in the style of Sansovino," and its yearly honoring
+is done away.
+
+� VII. And, first, let us consider for a little the significance and
+nobleness of that early custom of the Venetians, which brought about the
+attack and the rescue of the year 943: that there should be but one
+marriage day for the nobles of the whole nation,[30] so that all might
+rejoice together; and that the sympathy might be full, not only of the
+families who that year beheld the alliance of their children, and prayed
+for them in one crowd, weeping before the altar, but of all the families
+of the state, who saw, in the day which brought happiness to others, the
+anniversary of their own. Imagine the strong bond of brotherhood thus
+sanctified among them, and consider also the effect on the minds of the
+youth of the state; the greater deliberation and openness necessarily
+given to the contemplation of marriage, to which all the people were
+solemnly to bear testimony; the more lofty and unselfish tone which it
+would give to all their thoughts. It was the exact contrary of stolen
+marriage. It was marriage to which God and man were taken for witnesses,
+and every eye was invoked for its glance, and every tongue for its
+prayers.[31]
+
+� VIII. Later historians have delighted themselves in dwelling on the
+pageantry of the marriage day itself, but I do not find that they have
+authority for the splendor of their descriptions. I cannot find a word
+in the older Chronicles about the jewels or dress of the brides, and I
+believe the ceremony to have been more quiet and homely than is usually
+supposed. The only sentence which gives color to the usual accounts of
+it is one of Sansovino's, in which he says that the magnificent dress of
+the brides in his day was founded "on ancient custom."[32] However this
+may have been, the circumstances of the rite were otherwise very simple.
+Each maiden brought her dowry with her in a small "cassetta," or chest;
+they went first to the cathedral, and waited for the youths, who having
+come, they heard mass together, and the bishop preached to them and
+blessed them: and so each bridegroom took his bride and her dowry and
+bore her home.
+
+� IX. It seems that the alarm given by the attack of the pirates put an
+end to the custom of fixing one day for all marriages: but the main
+objects of the institution were still attained by the perfect publicity
+given to the marriages of all the noble families; the bridegroom
+standing in the Court of the Ducal Palace to receive congratulations on
+his betrothal, and the whole body of the nobility attending the
+nuptials, and rejoicing, "as at some personal good fortune; since, by
+the constitution of the state, they are for ever incorporated together,
+as if of one and the same family."[33] But the festival of the 2nd of
+February, after the year 943, seems to have been observed only in memory
+of the deliverance of the brides, and no longer set apart for public
+nuptials.
+
+� X. There is much difficulty in reconciling the various accounts, or
+distinguishing the inaccurate ones, of the manner of keeping this
+memorable festival. I shall first give Sansovino's, which is the popular
+one, and then note the points of importance in the counter-statements.
+Sansovino says that the success of the pursuit of the pirates was owing
+to the ready help and hard fighting of the men of the district of Sta.
+Maria Formosa, for the most part trunkmakers; and that they, having been
+presented after the victory to the Doge and the Senate, were told to ask
+some favor for their reward. "The good men then said that they desired
+the Prince, with his wife and the Signory, to visit every year the
+church of their district, on the day of its feast. And the Prince asking
+them, 'Suppose it should rain?' they answered, 'We will give you hats to
+cover you; and if you are thirsty, we will give you to drink.' Whence is
+it that the Vicar, in the name of the people, presents to the Doge, on
+his visit, two flasks of malvoisie[34] and two oranges; and presents to
+him two gilded hats, bearing the arms of the Pope, of the Prince, and of
+the Vicar. And thus was instituted the Feast of the Maries, which was
+called noble and famous because the people from all round came together
+to behold it. And it was celebrated in this manner:...." The account
+which follows is somewhat prolix; but its substance is, briefly, that
+twelve maidens were elected, two for each division of the city; and that
+it was decided by lot which contrade, or quarters of the town, should
+provide them with dresses. This was done at enormous expense, one
+contrada contending with another, and even the jewels of the treasury of
+St. Mark being lent for the occasion to the "Maries," as the twelve
+damsels were called. They, being thus dressed with gold, and silver, and
+jewels, went in their galley to St. Mark's for the Doge, who joined them
+with the Signory, and went first to San Pietro di Castello to hear mass
+on St. Mark's day, the 31st of January, and to Santa Maria Formosa on
+the 2nd of February, the intermediate day being spent in passing in
+procession through the streets of the city; "and sometimes there arose
+quarrels about the places they should pass through, for every one wanted
+them to pass by his house."
+
+� XI. Nearly the same account is given by Corner, who, however, does not
+say anything about the hats or the malvoisie. These, however, we find
+again in the Matricola de' Casseleri, which, of course, sets the
+services of the trunkmakers and the privileges obtained by them in the
+most brilliant light. The quaintness of the old Venetian is hardly to be
+rendered into English. "And you must know that the said trunkmakers were
+the men who were the cause of such victory, and of taking the galley,
+and of cutting all the Triestines to pieces, because, at that time, they
+were valiant men and well in order. The which victory was on the 2nd
+February, on the day of the Madonna of candles. And at the request and
+entreaties of the said trunkmakers, it was decreed that the Doge, every
+year, as long as Venice shall endure, should go on the eve of the said
+feast to vespers in the said church, with the Signory. And be it noted,
+that the vicar is obliged to give to the Doge two flasks of malvoisie,
+with two oranges besides. And so it is observed, and will be observed
+always." The reader must observe the continual confusion between St.
+Mark's day the 31st of January, and Candlemas the 2nd of February. The
+fact appears to be, that the marriage day in the old republic was St.
+Mark's day, and the recovery of the brides was the same day at evening;
+so that, as we are told by Sansovino, the commemorative festival began
+on that day, but it was continued to the day of the Purification, that
+especial thanks might be rendered to the Virgin; and, the visit to Sta.
+Maria Formosa being the most important ceremony of the whole festival,
+the old chroniclers, and even Sansovino, got confused, and asserted the
+victory itself to have taken place on the day appointed for that
+pilgrimage.
+
+� XII. I doubt not that the reader who is acquainted with the beautiful
+lines of Rogers is as much grieved as I am at the interference of the
+"casket-makers" with the achievement which the poet ascribes to the
+bridegrooms alone; an interference quite as inopportune as that of old
+Le Balafr� with the victory of his nephew, in the unsatisfactory
+conclusion of "Quentin Durward." I am afraid I cannot get the
+casket-makers quite out of the way; but it may gratify some of my
+readers to know that a chronicle of the year 1378, quoted by
+Galliciolli, denies the agency of the people of Sta. Maria Formosa
+altogether, in these terms: "Some say that the people of Sta. M. Formosa
+were those who recovered the _spoil_ ("predra;" I may notice, in
+passing, that most of the old chroniclers appear to consider the
+recovery of the _caskets_ rather more a subject of congratulation than
+that of the brides), and that, for their reward, they asked the Doge and
+Signory to visit Sta. M. Formosa; but _this is false_. The going to Sta.
+M. Formosa was because the thing had succeeded on that day, and because
+this was then the only church in Venice in honor of the Virgin." But
+here is again the mistake about the day itself; and besides if we get
+rid altogether of the trunkmakers, how are we to account for the
+ceremony of the oranges and hats, of which the accounts seem authentic?
+If, however, the reader likes to substitute "carpenters" or
+"house-builders" for casket-makers, he may do so with great reason (vide
+Galliciolli, lib. ii. � 1758); but I fear that one or the other body of
+tradesmen must be allowed to have had no small share in the honor of the
+victory.
+
+� XIII. But whatever doubt attaches to the particular circumstances of
+its origin, there is none respecting the splendor of the festival
+itself, as it was celebrated for four centuries afterwards. We find that
+each contrada spent from 800 to 1000 zecchins in the dress of the
+"Maries" entrusted to it; but I cannot find among how many contrade the
+twelve Maries were divided; it is also to be supposed that most of the
+accounts given refer to the later periods of the celebration of the
+festival. In the beginning of the eleventh century, the good Doge Pietro
+Orseolo II. left in his will the third of his entire fortune "per la
+Festa della Marie;" and, in the fourteenth century, so many people came
+from the rest of Italy to see it, that special police regulations were
+made for it, and the Council of Ten were twice summoned before it took
+place.[35] The expense lavished upon it seems to have increased till the
+year 1379, when all the resources of the republic were required for the
+terrible war of Chiozza, and all festivity was for that time put an end
+to. The issue of the war left the Venetians with neither the power nor
+the disposition to restore the festival on its ancient scale, and they
+seem to have been ashamed to exhibit it in reduced splendor. It was
+entirely abolished.
+
+� XIV. As if to do away even with its memory, every feature of the
+surrounding scene which was associated with that festival has been in
+succeeding ages destroyed. With one solitary exception,[36] there is not
+a house left in the whole Piazza of Santa Maria Formosa from whose
+windows the festa of the Maries has ever been seen: of the church in
+which they worshipped, not a stone is left, even the form of the ground
+and direction of the neighboring canals are changed; and there is now
+but one landmark to guide the steps of the traveller to the place where
+the white cloud rested, and the shrine was built to St. Mary the
+Beautiful. Yet the spot is still worth his pilgrimage, for he may
+receive a lesson upon it, though a painful one. Let him first fill his
+mind with the fair images of the ancient festival, and then seek that
+landmark the tower of the modern church, built upon the place where the
+daughters of Venice knelt yearly with her noblest lords; and let him
+look at the head that is carved on the base of the tower,[37] still
+dedicated to St. Mary the Beautiful.
+
+� XV. A head,--huge, inhuman, and monstrous,--leering in bestial
+degradation, too foul to be either pictured or described, or to be
+beheld for more than an instant: yet let it be endured for that instant;
+for in that head is embodied the type of the evil spirit to which Venice
+was abandoned in the fourth period of her decline; and it is well that
+we should see and feel the full horror of it on this spot, and know what
+pestilence it was that came and breathed upon her beauty, until it
+melted away like the white cloud from the ancient fields of Santa Maria
+Formosa.
+
+� XVI. This head is one of many hundreds which disgrace the latest
+buildings of the city, all more or less agreeing in their expression of
+sneering mockery, in most cases enhanced by thrusting out the tongue.
+Most of them occur upon the bridges, which were among the very last
+works undertaken by the republic, several, for instance, upon the Bridge
+of Sighs; and they are evidences of a delight in the contemplation of
+bestial vice, and the expression of low sarcasm, which is, I believe,
+the most hopeless state into which the human mind can fall. This spirit
+of idiotic mockery is, as I have said, the most striking characteristic
+of the last period of the Renaissance, which, in consequence of the
+character thus imparted to its sculpture, I have called grotesque; but
+it must be our immediate task, and it will be a most interesting one, to
+distinguish between this base grotesqueness, and that magnificent
+condition of fantastic imagination, which was above noticed as one of
+the chief elements of the Northern Gothic mind. Nor is this a question
+of interesting speculation merely: for the distinction between the true
+and false grotesque is one which the present tendencies of the English
+mind have rendered it practically important to ascertain; and that in a
+degree which, until he has made some progress in the consideration of
+the subject, the reader will hardly anticipate.
+
+� XVII. But, first, I have to note one peculiarity in the late
+architecture of Venice, which will materially assist us in understanding
+the true nature of the spirit which is to be the subject of our inquiry;
+and this peculiarity, singularly enough, is first exemplified in the
+very fa�ade of Santa Maria Formosa which is flanked by the grotesque
+head to which our attention has just been directed. This fa�ade, whose
+architect is unknown, consists of a pediment, sustained on four
+Corinthian pilasters, and is, I believe, the earliest in Venice which
+appears _entirely destitute of every religious symbol, sculpture, or
+inscription_; unless the Cardinal's hat upon the shield in the centre of
+the impediment be considered a religious symbol. The entire fa�ade is
+nothing else than a monument to the Admiral Vincenzo Cappello. Two
+tablets, one between each pair of flanking pillars, record his acts and
+honors; and, on the corresponding spaces upon the base of the church,
+are two circular trophies, composed of halberts, arrows, flags,
+tridents, helmets, and lances: sculptures which are just as valueless in
+a military as in an ecclesiastical point of view; for, being all copied
+from the forms of Roman arms and armor, they cannot even be referred to
+for information respecting the costume of the period. Over the door, as
+the chief ornament of the fa�ade, exactly in the spot which in the
+"barbarous" St. Mark's is occupied by the figure of Christ, is the
+statue of Vincenzo Cappello, in Roman armor. He died in 1542; and we
+have, therefore, the latter part of the sixteenth century fixed as the
+period when, in Venice, churches were first built to the glory of man,
+instead of the glory of God.
+
+� XVIII. Throughout the whole of Scripture history, nothing is more
+remarkable than the close connection of punishment with the sin of
+vain-glory. Every other sin is occasionally permitted to remain, for
+lengthened periods, without definite chastisement; but the forgetfulness
+of God, and the claim of honor by man, as belonging to himself, are
+visited at once, whether in Hezekiah, Nebuchadnezzar, or Herod, with the
+most tremendous punishment. We have already seen, that the first reason
+for the fall of Venice was the manifestation of such a spirit; and it is
+most singular to observe the definiteness with which it is here
+marked,--as if so appointed, that it might be impossible for future ages
+to miss the lesson. For, in the long inscriptions[38] which record the
+acts of Vincenzo Cappello, it might, at least, have been anticipated
+that some expressions would occur indicative of remaining pretence to
+religious feeling, or formal acknowledgement of Divine power. But there
+are none whatever. The name of God does not once occur; that of St. Mark
+is found only in the statement that Cappello was a procurator of the
+church: there is no word touching either on the faith or hope of the
+deceased; and the only sentence which alludes to supernatural powers at
+all, alludes to them under the heathen name of _fates_, in its
+explanation of what the Admiral Cappello _would_ have accomplished,
+"nisi fata Christianis adversa vetuissent."
+
+� XIX. Having taken sufficient note of all the baseness of mind which
+these facts indicate in the people, we shall not be surprised to find
+immediate signs of dotage in the conception of their architecture. The
+churches raised throughout this period are so grossly debased, that even
+the Italian critics of the present day, who are partially awakened to
+the true state of art in Italy, though blind, as yet, to its true cause,
+exhaust their terms of reproach upon these last efforts of the
+Renaissance builders. The two churches of San Mois� and Santa Maria
+Zobenigo, which are among the most remarkable in Venice for their
+manifestation of insolent atheism, are characterized by Lazari, the one
+as "culmine d'ogni follia architettonica," the other as "orrido ammasso
+di pietra d'Istria," with added expressions of contempt, as just as it
+is unmitigated.
+
+� XX. Now both these churches, which I should like the reader to visit
+in succession, if possible, after that of Sta. Maria Formosa, agree with
+that church, and with each other, in being totally destitute of
+religious symbols, and entirely dedicated to the honor of two Venetian
+families. In San Mois�, a bust of Vincenzo Fini is set on a tall narrow
+pyramid, above the central door, with this marvellous inscription:
+
+  "OMNE FASTIGIVM
+   VIRTVTE IMPLET
+   VINCENTIVS FINI."
+
+It is very difficult to translate this; for fastigium, besides its
+general sense, has a particular one in architecture, and refers to the
+part of the building occupied by the bust; but the main meaning of it is
+that "Vincenzo Fini fills all height with his virtue." The inscription
+goes on into farther praise, but this example is enough. Over the two
+lateral doors are two other laudatory inscriptions of younger members of
+the Fini family, the dates of death of the three heroes being 1660,
+1685, and 1726, marking thus the period of consummate degradation.
+
+[Illustration: Plate III.
+               NOBLE AND IGNOBLE GROTESQUE.]
+
+� XXI. In like manner, the Church of Santa Maria Zobenigo is entirely
+dedicated to the Barbaro family; the only religious symbols with which
+it is invested being statues of angels blowing brazen trumpets, intended
+to express the spreading of the fame of the Barbaro family in heaven. At
+the top of the church is Venice crowned, between Justice and Temperance,
+Justice holding a pair of grocer's scales, of iron, swinging in the
+wind. There is a two-necked stone eagle (the Barbaro crest), with a
+copper crown, in the centre of the pediment. A huge statue of a Barbaro
+in armor, with a fantastic head-dress, over the central door; and four
+Barbaros in niches, two on each side of it, strutting statues, in the
+common stage postures of the period,--Jo. Maria Barbaro, sapiens
+ordinum; Marinus Barbaro, Senator (reading a speech in a Ciceronian
+attitude); Franc. Barbaro, legatus in classe (in armor, with high-heeled
+boots, and looking resolutely fierce); and Carolus Barbaro, sapiens
+ordinum: the decorations of the fa�ade being completed by two trophies,
+consisting of drums, trumpets, flags and cannon; and six plans,
+sculptured in relief, of the towns of Zara, Candia, Padua, Rome, Corfu,
+and Spalatro.
+
+� XXII. When the traveller has sufficiently considered the meaning of
+this fa�ade, he ought to visit the Church of St. Eustachio, remarkable
+for the dramatic effect of the group of sculpture on its fa�ade, and
+then the Church of the Ospedaletto (see Index, under head Ospedaletto);
+noticing, on his way, the heads on the foundations of the Palazzo Corner
+della Regina, and the Palazzo Pesaro, and any other heads carved on the
+modern bridges, closing with those on the Bridge of Sighs.
+
+He will then have obtained a perfect idea of the style and feeling of
+the Grotesque Renaissance. I cannot pollute this volume by any
+illustration of its worst forms, but the head turned to the front, on
+the right-hand in the opposite Plate, will give the general reader an
+idea of its most graceful and refined developments. The figure set
+beside it, on the left, is a piece of noble grotesque, from fourteenth
+century Gothic; and it must be our present task to ascertain the nature
+of the difference which exists between the two, by an accurate inquiry
+into the true essence of the grotesque spirit itself.
+
+� XXIII. First, then, it seems to me that the grotesque is, in almost
+all cases, composed of two elements, one ludicrous, the other fearful;
+that, as one or other of these elements prevails, the grotesque falls
+into two branches, sportive grotesque and terrible grotesque; but that
+we cannot legitimately consider it under these two aspects, because
+there are hardly any examples which do not in some degree combine both
+elements; there are few grotesques so utterly playful as to be overcast
+with no shade of fearfulness, and few so fearful as absolutely to
+exclude all ideas of jest. But although we cannot separate the grotesque
+itself into two branches, we may easily examine separately the two
+conditions of mind which it seems to combine; and consider successively
+what are the kinds of jest, and what the kinds of fearfulness, which may
+be legitimately expressed in the various walks of art, and how their
+expressions actually occur in the Gothic and Renaissance schools.
+
+First, then, what are the conditions of playfulness which we may fitly
+express in noble art, or which (for this is the same thing) are
+consistent with nobleness in humanity? In other words, what is the
+proper function of play, with respect not to youth merely, but to all
+mankind?
+
+� XXIV. It is a much more serious question than may be at first
+supposed; for a healthy manner of play is necessary in order to a
+healthy manner of work: and because the choice of our recreation is, in
+most cases, left to ourselves, while the nature of our work is generally
+fixed by necessity or authority, it may be well doubted whether more
+distressful consequences may not have resulted from mistaken choice in
+play than from mistaken direction in labor.
+
+� XXV. Observe, however, that we are only concerned, here, with that
+kind of play which causes laughter or implies recreation, not with that
+which consists in the excitement of the energies whether of body or
+mind. Muscular exertion is, indeed, in youth, one of the conditions of
+recreation; "but neither the violent bodily labor which children of all
+ages agree to call play," nor the grave excitement of the mental
+faculties in games of skill or chance, are in anywise connected with the
+state of feeling we have here to investigate, namely, that sportiveness
+which man possesses in common with many inferior creatures, but to which
+his higher faculties give nobler expression in the various
+manifestations of wit, humor, and fancy.
+
+With respect to the manner in which this instinct of playfulness is
+indulged or repressed, mankind are broadly distinguishable into four
+classes: the men who play wisely; who play necessarily; who play
+inordinately; and who play not at all.
+
+� XXVI. First: Those who play wisely. It is evident that the idea of any
+kind of play can only be associated with the idea of an imperfect,
+childish, and fatigable nature. As far as men can raise that nature, so
+that it shall no longer be interested by trifles or exhausted by toils,
+they raise it above play; he whose heart is at once fixed upon heaven,
+and open to the earth, so as to apprehend the importance of heavenly
+doctrines, and the compass of human sorrow, will have little disposition
+for jest; and exactly in proportion to the breadth and depth of his
+character and intellect, will be, in general, the incapability of
+surprise, or exuberant and sudden emotion, which must render play
+impossible. It is, however, evidently not intended that many men should
+even reach, far less pass their lives in, that solemn state of
+thoughtfulness, which brings them into the nearest brotherhood with
+their Divine Master; and the highest and healthiest state which is
+competent to ordinary humanity appears to be that which, accepting the
+necessity of recreation, and yielding to the impulses of natural delight
+springing out of health and innocence, does, indeed, condescend often to
+playfulness, but never without such deep love of God, of truth, and of
+humanity, as shall make even its slightest words reverent, its idlest
+fancies profitable, and its keenest satire indulgent. Wordsworth and
+Plato furnish us with, perhaps, the finest and highest examples of this
+playfulness: in the one case, unmixed with satire, the perfectly simple
+effusion of that spirit--in
+
+  "Which gives to all the self-same bent,
+   Whose life is wise, and innocent;"
+
+Plato, and, by the by, in a very wise book of our own times, not
+unworthy of being named in such companionship, "Friends in Council,"
+mingled with an exquisitely tender and loving satire.
+
+� XXVII. Secondly: The men who play necessarily. That highest species of
+playfulness, which we have just been considering, is evidently the
+condition of a mind, not only highly cultivated, but so habitually
+trained to intellectual labor that it can bring a considerable force of
+accurate thought into its moments even of recreation. This is not
+possible, unless so much repose of mind and heart are enjoyed, even at
+the periods of greatest exertion, that the rest required by the system
+is diffused over the whole life. To the majority of mankind, such a
+state is evidently unattainable. They must, perforce, pass a large part
+of their lives in employments both irksome and toilsome, demanding an
+expenditure of energy which exhausts the system, and yet consuming that
+energy upon subjects incapable of interesting the nobler faculties. When
+such employments are intermitted, those noble instincts, fancy,
+imagination, and curiosity, are all hungry for the food which the labor
+of the day has denied to them, while yet the weariness of the body, in a
+great degree, forbids their application to any serious subject. They
+therefore exert themselves without any determined purpose, and under no
+vigorous restraint, but gather, as best they may, such various
+nourishment, and put themselves to such fantastic exercise, as may
+soonest indemnify them for their past imprisonment, and prepare them to
+endure their recurrence. This sketching of the mental limbs as their
+fetters fall away,--this leaping and dancing of the heart and intellect,
+when they are restored to the fresh air of heaven, yet half paralyzed by
+their captivity, and unable to turn themselves to any earnest
+purpose,--I call necessary play. It is impossible to exaggerate its
+importance, whether in polity, or in art.
+
+� XXVIII. Thirdly: The men who play inordinately. The most perfect state
+of society which, consistently with due understanding of man's nature,
+it may be permitted us to conceive, would be one in which the whole
+human race were divided, more or less distinctly, into workers and
+thinkers; that is to say, into the two classes, who only play wisely, or
+play necessarily. But the number and the toil of the working class are
+enormously increased, probably more than doubled, by the vices of the
+men who neither play wisely nor necessarily, but are enabled by
+circumstances, and permitted by their want of principle, to make
+amusement the object of their existence. There is not any moment of the
+lives of such men which is not injurious to others; both because they
+leave the work undone which was appointed for them, and because they
+necessarily think wrongly, whenever it becomes compulsory upon them to
+think at all. The greater portion of the misery of this world arises
+from the false opinions of men whose idleness has physically
+incapacitated them from forming true ones. Every duty which we omit
+obscures some truth which we should have known; and the guilt of a life
+spent in the pursuit of pleasure is twofold, partly consisting in the
+perversion of action, and partly in the dissemination of falsehood.
+
+� XXIX. There is, however, a less criminal, though hardly less dangerous
+condition of mind; which, though not failing in its more urgent duties,
+fails in the finer conscientiousness which regulates the degree, and
+directs the choice, of amusement, at those times when amusement is
+allowable. The most frequent error in this respect is the want of
+reverence in approaching subjects of importance or sacredness, and of
+caution in the expression of thoughts which may encourage like
+irreverence in others: and these faults are apt to gain upon the mind
+until it becomes habitually more sensible to what is ludicrous and
+accidental, than to what is grave and essential, in any subject that is
+brought before it; or even, at last, desires to perceive or to know
+nothing but what may end in jest. Very generally minds of this
+character are active and able; and many of them are so far
+conscientious, that they believe their jesting forwards their work. But
+it is difficult to calculate the harm they do, by destroying the
+reverence which is our best guide into all truth; for weakness and evil
+are easily visible, but greatness and goodness are often latent; and we
+do infinite mischief by exposing weakness to eyes which cannot
+comprehend greatness. This error, however, is more connected with abuses
+of the satirical than of the playful instinct; and I shall have more to
+say of it presently.
+
+� XXX. Lastly: The men who do not play at all: those who are so dull or
+so morose as to be incapable of inventing or enjoying jest, and in whom
+care, guilt, or pride represses all healthy exhilaration of the fancy;
+or else men utterly oppressed with labor, and driven too hard by the
+necessities of the world to be capable of any species of happy
+relaxation.
+
+� XXXI. We have now to consider the way in which the presence or absence
+of joyfulness, in these several classes, is expressed in art.
+
+1. Wise play. The first and noblest class hardly ever speak through art,
+except seriously; they feel its nobleness too profoundly, and value the
+time necessary for its production too highly, to employ it in the
+rendering of trivial thoughts. The playful fancy of a moment may
+innocently be expressed by the passing word; but he can hardly have
+learned the preciousness of life, who passes days in the elaboration of
+a jest. And, as to what regards the delineation of human character, the
+nature of all noble art is to epitomize and embrace so much at once,
+that its subject can never be altogether ludicrous; it must possess all
+the solemnities of the whole, not the brightness of the partial, truth.
+For all truth that makes us smile is partial. The novelist amuses us by
+his relation of a particular incident; but the painter cannot set any
+one of his characters before us without giving some glimpse of its whole
+career. That of which the historian informs us in successive pages, it
+is the task of the painter to inform us of at once, writing upon the
+countenance not merely the expression of the moment, but the history of
+the life: and the history of a life can never be a jest.
+
+Whatever part, therefore, of the sportive energy of these men of the
+highest class would be expressed in verbal wit or humor finds small
+utterance through their art, and will assuredly be confined, if it occur
+there at all, to scattered and trivial incidents. But so far as their
+minds can recreate themselves by the imagination of strange, yet not
+laughable, forms, which, either in costume, in landscape, or in any
+other accessaries, may be combined with those necessary for their more
+earnest purposes, we find them delighting in such inventions; and a
+species of grotesqueness thence arising in all their work, which is
+indeed one of its most valuable characteristics, but which is so
+intimately connected with the sublime or terrible form of the grotesque,
+that it will be better to notice it under that head.
+
+� XXXII. 2. Necessary play. I have dwelt much in a former portion of
+this work, on the justice and desirableness of employing the minds of
+inferior workmen, and of the lower orders in general, in the production
+of objects of art of one kind or another. So far as men of this class
+are compelled to hard manual labor for their daily bread, so far forth
+their artistical efforts must be rough and ignorant, and their
+artistical perceptions comparatively dull. Now it is not possible, with
+blunt perceptions and rude hands, to produce works which shall be
+pleasing by their beauty; but it is perfectly possible to produce such
+as shall be interesting by their character or amusing by their satire.
+For one hard-working man who possesses the finer instincts which decide
+on perfection of lines and harmonies of color, twenty possess dry humor
+or quaint fancy; not because these faculties were originally given to
+the human race, or to any section of it, in greater degree than the
+sense of beauty, but because these are exercised in our daily
+intercourse with each other, and developed by the interest which we take
+in the affairs of life, while the others are not. And because,
+therefore, a certain degree of success will probably attend the effort
+to express this humor or fancy, while comparative failure will
+assuredly result from an ignorant struggle to reach the forms of solemn
+beauty, the working-man, who turns his attention partially to art, will
+probably, and wisely, choose to do that which he can do best, and
+indulge the pride of an effective satire rather than subject himself to
+assured mortification in the pursuit of beauty; and this the more,
+because we have seen that his application to art is to be playful and
+recreative, and it is not in recreation that the conditions of
+perfection can be fulfilled.
+
+� XXXIII. Now all the forms of art which result from the comparatively
+recreative exertion of minds more or less blunted or encumbered by other
+cares and toils, the art which we may call generally art of the wayside,
+as opposed to that which is the business of men's lives, is, in the best
+sense of the word, Grotesque. And it is noble or inferior, first,
+according to the tone of the minds which have produced it, and in
+proportion to their knowledge, wit, love of truth, and kindness;
+secondly, according to the degree of strength they have been able to
+give forth; but yet, however much we may find in it needing to be
+forgiven, always delightful so long as it is the work of good and
+ordinarily intelligent men. And its delightfulness ought mainly to
+consist _in those very imperfections_ which mark it for work done in
+times of rest. It is not its own merit so much as the enjoyment of him
+who produced it, which is to be the source of the spectator's pleasure;
+it is to the strength of his sympathy, not to the accuracy of his
+criticism, that it makes appeal; and no man can indeed be a lover of
+what is best in the higher walks of art, who has not feeling and charity
+enough to rejoice with the rude sportiveness of hearts that have escaped
+out of prison, and to be thankful for the flowers which men have laid
+their burdens down to sow by the wayside.
+
+� XXXIV. And consider what a vast amount of human work this right
+understanding of its meaning will make fruitful and admirable to us,
+which otherwise we could only have passed by with contempt. There is
+very little architecture in the world which is, in the full sense of the
+words, good and noble. A few pieces of Italian Gothic and Romanesque, a
+few scattered fragments of Gothic cathedrals, and perhaps two or three
+of Greek temples, are all that we possess approaching to an ideal of
+perfection. All the rest--Egyptian, Norman, Arabian, and most Gothic,
+and, which is very noticeable, for the most part all the strongest and
+mightiest--depend for their power on some developement of the grotesque
+spirit; but much more the inferior domestic architecture of the middle
+ages, and what similar conditions remain to this day in countries from
+which the life of art has not yet been banished by its laws. The
+fantastic gables, built up in scroll-work and steps, of the Flemish
+street; the pinnacled roofs set with their small humorist double
+windows, as if with so many ears and eyes, of Northern France; the
+blackened timbers, crossed and carved into every conceivable waywardness
+of imagination, of Normandy and old England; the rude hewing of the pine
+timbers of the Swiss cottage; the projecting turrets and bracketed
+oriels of the German street; these, and a thousand other forms, not in
+themselves reaching any high degree of excellence, are yet admirable,
+and most precious, as the fruits of a rejoicing energy in uncultivated
+minds. It is easier to take away the energy, than to add the
+cultivation; and the only effect of the better knowledge which civilized
+nations now possess, has been, as we have seen in a former chapter, to
+forbid their being happy, without enabling them to be great.
+
+� XXXV. It is very necessary, however, with respect to this provincial
+or rustic architecture, that we should carefully distinguish its truly
+grotesque from its picturesque elements. In the "Seven Lamps" I defined
+the picturesque to be "parasitical sublimity," or sublimity belonging to
+the external or accidental characters of a thing, not to the thing
+itself. For instance, when a highland cottage roof is covered with
+fragments of shale instead of slates, it becomes picturesque, because
+the irregularity and rude fractures of the rocks, and their grey and
+gloomy color, give to it something of the savageness, and much of the
+general aspect, of the slope of a mountain side. But as a mere cottage
+roof, it cannot be sublime, and whatever sublimity it derives from the
+wildness or sternness which the mountains have given it in its covering,
+is, so far forth, parasitical. The mountain itself would have been
+grand, which is much more than picturesque; but the cottage cannot be
+grand as such, and the parasitical grandeur which it may possess by
+accidental qualities, is the character for which men have long agreed to
+use the inaccurate word "Picturesque."
+
+� XXXVI. On the other hand, beauty cannot be parasitical. There is
+nothing so small or so contemptible, but it may be beautiful in its own
+right. The cottage may be beautiful, and the smallest moss that grows on
+its roof, and the minutest fibre of that moss which the microscope can
+raise into visible form, and all of them in their own right, not less
+than the mountains and the sky; so that we use no peculiar term to
+express their beauty, however diminutive, but only when the sublime
+element enters, without sufficient worthiness in the nature of the thing
+to which it is attached.
+
+� XXXVII. Now this picturesque element, which is always given, if by
+nothing else, merely by ruggedness, adds usually very largely to the
+pleasurableness of grotesque work, especially to that of its inferior
+kinds; but it is not for this reason to be confounded with the
+grotesqueness itself. The knots and rents of the timbers, the irregular
+lying of the shingles on the roofs, the vigorous light and shadow, the
+fractures and weather-stains of the old stones, which were so deeply
+loved and so admirably rendered by our lost Prout, are the picturesque
+elements of the architecture: the grotesque ones are those which are not
+produced by the working of nature and of time, but exclusively by the
+fancy of man; and, as also for the most part by his indolent and
+uncultivated fancy, they are always, in some degree, wanting in
+grandeur, unless the picturesque element be united with them.
+
+� XXXVIII. 3. Inordinate play. The reader will have some difficulty, I
+fear, in keeping clearly in his mind the various divisions of our
+subject; but, when he has once read the chapter through, he will see
+their places and coherence. We have next to consider the expression
+throughout of the minds of men who indulge themselves in unnecessary
+play. It is evident that a large number of these men will be more
+refined and more highly educated than those who only play necessarily;
+the power of pleasure-seeking implies, in general, fortunate
+circumstances of life. It is evident also that their play will not be so
+hearty, so simple, or so joyful; and this deficiency of brightness will
+affect it in proportion to its unnecessary and unlawful continuance,
+until at last it becomes a restless and dissatisfied indulgence in
+excitement, or a painful delving after exhausted springs of pleasure.
+
+The art through which this temper is expressed will, in all probability,
+be refined and sensual,--therefore, also, assuredly feeble; and because,
+in the failure of the joyful energy of the mind, there will fail, also,
+its perceptions and its sympathies, it will be entirely deficient in
+expression of character, and acuteness of thought, but will be
+peculiarly restless, manifesting its desire for excitement in idle
+changes of subject and purpose. Incapable of true imagination, it will
+seek to supply its place by exaggerations, incoherencies, and
+monstrosities; and the form of the grotesque to which it gives rise will
+be an incongruous chain of hackneyed graces, idly thrown
+together,--prettinesses or sublimities, not of its own invention,
+associated in forms which will be absurd without being fantastic, and
+monstrous without being terrible. And because, in the continual pursuit
+of pleasure, men lose both cheerfulness and charity, there will be small
+hilarity, but much malice, in this grotesque; yet a weak malice,
+incapable of expressing its own bitterness, not having grasp enough of
+truth to become forcible, and exhausting itself in impotent or
+disgusting caricature.
+
+� XXXIX. Of course, there are infinite ranks and kinds of this
+grotesque, according to the natural power of the minds which originate
+it, and to the degree in which they have lost themselves. Its highest
+condition is that which first developed itself among the enervated
+Romans, and which was brought to the highest perfection of which it was
+capable, by Raphael, in the arabesques of the Vatican. It may be
+generally described as an elaborate and luscious form of nonsense. Its
+lower conditions are found in the common upholstery and decorations
+which, over the whole of civilized Europe, have sprung from this
+poisonous root; an artistical pottage, composed of nymphs, cupids, and
+satyrs, with shreddings of heads and paws of meek wild beasts, and
+nondescript vegetables. And the lowest of all are those which have not
+even graceful models to recommend them, but arise out of the corruption
+of the higher schools, mingled with clownish or bestial satire, as is
+the case in the latter Renaissance of Venice, which we were above
+examining. It is almost impossible to believe the depth to which the
+human mind can be debased in following this species of grotesque. In a
+recent Italian garden, the favorite ornaments frequently consist of
+stucco images, representing, in dwarfish caricature, the most disgusting
+types of manhood and womanhood which can be found amidst the dissipation
+of the modern drawingroom; yet without either veracity or humor, and
+dependent, for whatever interest they possess, upon simple grossness of
+expression and absurdity of costume. Grossness, of one kind or another,
+is, indeed, an unfailing characteristic of the style; either latent, as
+in the refined sensuality of the more graceful arabesques, or, in the
+worst examples, manifested in every species of obscene conception and
+abominable detail. In the head, described in the opening of this
+chapter, at Santa Maria Formosa, the _teeth_ are represented as
+_decayed_.
+
+� XL. 4. The minds of the fourth class of men who do not play at all,
+are little likely to find expression in any trivial form of art, except
+in bitterness of mockery; and this character at once stamps the work in
+which it appears, as belonging to the class of terrible, rather than of
+playful, grotesque. We have, therefore, now to examine the state of mind
+which gave rise to this second and more interesting branch of
+imaginative work.
+
+� XLI. Two great and principal passions are evidently appointed by the
+Deity to rule the life of man; namely, the love of God, and the fear of
+sin, and of its companion--Death. How many motives we have for Love, how
+much there is in the universe to kindle our admiration and to claim our
+gratitude, there are, happily, multitudes among us who both feel and
+teach. But it has not, I think, been sufficiently considered how
+evident, throughout the system of creation, is the purpose of God that
+we should often be affected by Fear; not the sudden, selfish, and
+contemptible fear of immediate danger, but the fear which arises out of
+the contemplation of great powers in destructive operation, and
+generally from the perception of the presence of death. Nothing appears
+to me more remarkable than the array of scenic magnificence by which the
+imagination is appalled, in myriads of instances, when the actual danger
+is comparatively small; so that the utmost possible impression of awe
+shall be produced upon the minds of all, though direct suffering is
+inflicted upon few. Consider, for instance, the moral effect of a single
+thunder-storm. Perhaps two or three persons may be struck dead within
+the space of a hundred square miles; and their deaths, unaccompanied by
+the scenery of the storm, would produce little more than a momentary
+sadness in the busy hearts of living men. But the preparation for the
+Judgment by all that mighty gathering of clouds; by the questioning of
+the forest leaves, in their terrified stillness, which way the winds
+shall go forth; by the murmuring to each other, deep in the distance, of
+the destroying angels before they draw forth their swords of fire; by
+the march of the funeral darkness in the midst of the noon-day, and the
+rattling of the dome of heaven beneath the chariot-wheels of death;--on
+how many minds do not these produce an impression almost as great as the
+actual witnessing of the fatal issue! and how strangely are the
+expressions of the threatening elements fitted to the apprehension of
+the human soul! The lurid color, the long, irregular, convulsive sound,
+the ghastly shapes of flaming and heaving cloud, are all as true and
+faithful in their appeal to our instinct of danger, as the moaning or
+wailing of the human voice itself is to our instinct of pity. It is not
+a reasonable calculating terror which they awake in us; it is no matter
+that we count distance by seconds, and measure probability by averages.
+That shadow of the thunder-cloud will still do its work upon our hearts,
+and we shall watch its passing away as if we stood upon the
+threshing-floor of Araunah.
+
+� XLII. And this is equally the case with respect to all the other
+destructive phenomena of the universe. From the mightiest of them to the
+gentlest, from the earthquake to the summer shower, it will be found
+that they are attended by certain aspects of threatening, which strike
+terror into the hearts of multitudes more numerous a thousandfold than
+those who actually suffer from the ministries of judgment; and that,
+besides the fearfulness of these immediately dangerous phenomena, there
+is an occult and subtle horror belonging to many aspects of the creation
+around us, calculated often to fill us with serious thought, even in our
+times of quietness and peace. I understand not the most dangerous,
+because most attractive form of modern infidelity, which, pretending to
+exalt the beneficence of the Deity, degrades it into a reckless
+infinitude of mercy, and blind obliteration of the work of sin; and
+which does this chiefly by dwelling on the manifold appearances of God's
+kindness on the face of creation. Such kindness is indeed everywhere and
+always visible; but not alone. Wrath and threatening are invariably
+mingled with the love; and in the utmost solitudes of nature, the
+existence of Hell seems to me as legibly declared by a thousand
+spiritual utterances, as that of Heaven. It is well for us to dwell with
+thankfulness on the unfolding of the flower, and the falling of the dew,
+and the sleep of the green fields in the sunshine; but the blasted
+trunk, the barren rock, the moaning of the bleak winds, the roar of the
+black, perilous, merciless whirlpools of the mountain streams, the
+solemn solitudes of moors and seas, the continual fading of all beauty
+into darkness, and of all strength into dust, have these no language for
+us? We may seek to escape their teaching by reasonings touching the good
+which is wrought out of all evil; but it is vain sophistry. The good
+succeeds to the evil as day succeeds the night, but so also the evil to
+the good. Gerizim and Ebal, birth and death, light and darkness, heaven
+and hell, divide the existence of man, and his Futurity.[39]
+
+� XLIII. And because the thoughts of the choice we have to make between
+these two, ought to rule us continually, not so much in our own actions
+(for these should, for the most part, be governed by settled habit and
+principle) as in our manner of regarding the lives of other men, and our
+own responsibilities with respect to them; therefore, it seems to me
+that the healthiest state into which the human mind can be brought is
+that which is capable of the greatest love, and the greatest awe: and
+this we are taught even in our times of rest; for when our minds are
+rightly in tone, the merely pleasurable excitement which they seek with
+most avidity is that which rises out of the contemplation of beauty or
+of terribleness. We thirst for both, and, according to the height and
+tone of our feeling, desire to see them in noble or inferior forms. Thus
+there is a Divine beauty, and a terribleness or sublimity coequal with
+it in rank, which are the subjects of the highest art; and there is an
+inferior or ornamental beauty, and an inferior terribleness coequal with
+it in rank, which are the subjects of grotesque art. And the state of
+mind in which the terrible form of the grotesque is developed, is that
+which in some irregular manner, dwells upon certain conditions of
+terribleness, into the complete depth of which it does not enter for the
+time.
+
+� XLIV. Now the things which are the proper subjects of human fear are
+twofold; those which have the power of Death, and those which have the
+nature of Sin. Of which there are many ranks, greater or less in power
+and vice, from the evil angels themselves down to the serpent which is
+their type, and which though of a low and contemptible class, appears
+to unite the deathful and sinful natures in the most clearly visible and
+intelligible form; for there is nothing else which we know, of so small
+strength and occupying so unimportant a place in the economy of
+creation, which yet is so mortal and so malignant. It is, then, on these
+two classes of objects that the mind fixes for its excitement, in that
+mood which gives rise to the terrible grotesque; and its subject will be
+found always to unite some expression of vice and danger, but regarded
+in a peculiar temper; sometimes (A) of predetermined or involuntary
+apathy, sometimes (B) of mockery, sometimes (C) of diseased and
+ungoverned imaginativeness.
+
+� XLV. For observe, the difficulty which, as I above stated, exists in
+distinguishing the playful from the terrible grotesque arises out of
+this cause; that the mind, under certain phases of excitement, _plays_
+with _terror_, and summons images which, if it were in another temper,
+would be awful, but of which, either in weariness or in irony, it
+refrains for the time to acknowledge the true terribleness. And the mode
+in which this refusal takes place distinguishes the noble from the
+ignoble grotesque. For the master of the noble grotesque knows the depth
+of all at which he seems to mock, and would feel it at another time, or
+feels it in a certain undercurrent of thought even while he jests with
+it; but the workman of the ignoble grotesque can feel and understand
+nothing, and mocks at all things with the laughter of the idiot and the
+cretin.
+
+To work out this distinction completely is the chief difficulty in our
+present inquiry; and, in order to do so, let us consider the above-named
+three conditions of mind in succession, with relation to objects of
+terror.
+
+� _XLVI_. (A). Involuntary or predetermined apathy. We saw above that
+the grotesque was produced, chiefly in subordinate or ornamental art, by
+rude, and in some degree uneducated men, and in their times of rest. At
+such times, and in such subordinate work, it is impossible that they
+should represent any solemn or terrible subject with a full and serious
+entrance into its feeling. It is not in the languor of a leisure hour
+that a man will set his whole soul to conceive the means of representing
+some important truth, nor to the projecting angle of a timber bracket
+that he would trust its representation, if conceived. And yet, in this
+languor, and in this trivial work, he must find some expression of the
+serious part of his soul, of what there is within him capable of awe, as
+well as of love. The more noble the man is, the more impossible it will
+be for him to confine his thoughts to mere loveliness, and that of a low
+order. Were his powers and his time unlimited, so that, like Fr�
+Angelico, he could paint the Seraphim, in that order of beauty he could
+find contentment, bringing down heaven to earth. But by the conditions
+of his being, by his hard-worked life, by his feeble powers of
+execution, by the meanness of his employment and the languor of his
+heart, he is bound down to earth. It is the world's work that he is
+doing, and world's work is not to be done without fear. And whatever
+there is of deep and eternal consciousness within him, thrilling his
+mind with the sense of the presence of sin and death around him, must be
+expressed in that slight work, and feeble way, come of it what will. He
+cannot forget it, among all that he sees of beautiful in nature; he may
+not bury himself among the leaves of the violet on the rocks, and of the
+lily in the glen, and twine out of them garlands of perpetual gladness.
+He sees more in the earth than these,--misery and wrath, and
+discordance, and danger, and all the work of the dragon and his angels;
+this he sees with too deep feeling ever to forget. And though when he
+returns to his idle work,--it may be to gild the letters upon the page,
+or to carve the timbers of the chamber, or the stones of the
+pinnacle,--he cannot give his strength of thought any more to the woe or
+to the danger, there is a shadow of them still present with him: and as
+the bright colors mingle beneath his touch, and the fair leaves and
+flowers grow at his bidding, strange horrors and phantasms rise by their
+side; grisly beasts and venomous serpents, and spectral fiends and
+nameless inconsistencies of ghastly life, rising out of things most
+beautiful, and fading back into them again, as the harm and the horror
+of life do out of its happiness. He has seen these things; he wars with
+them daily; he cannot but give them their part in his work, though in a
+state of comparative apathy to them at the time. He is but carving and
+gilding, and must not turn aside to weep; but he knows that hell is
+burning on, for all that, and the smoke of it withers his oak-leaves.
+
+� XLVII. Now, the feelings which give rise to the false or ignoble
+grotesque, are exactly the reverse of these. In the true grotesque, a
+man of naturally strong feeling is accidentally or resolutely apathetic;
+in the false grotesque, a man naturally apathetic is forcing himself
+into temporary excitement. The horror which is expressed by the one,
+comes upon him whether he will or not; that which is expressed by the
+other, is sought out by him, and elaborated by his art. And therefore,
+also, because the fear of the one is true, and of true things, however
+fantastic its expression may be, there will be reality in it, and force.
+It is not a manufactured terribleness, whose author, when he had
+finished it, knew not if it would terrify any one else or not: but it is
+a terribleness taken from the life; a spectre which the workman indeed
+saw, and which, as it appalled him, will appal us also. But the other
+workman never felt any Divine fear; he never shuddered when he heard the
+cry from the burning towers of the earth,
+
+  "Venga Medusa; s� lo farem di smalto."
+
+He is stone already, and needs no gentle hand laid upon his eyes to save
+him.
+
+� XLVIII. I do not mean what I say in this place to apply to the
+creations of the imagination. It is not as the creating but as the
+_seeing_ man, that we are here contemplating the master of the true
+grotesque. It is because the dreadfulness of the universe around him
+weighs upon his heart, that his work is wild; and therefore through the
+whole of it we shall find the evidence of deep insight into nature. His
+beasts and birds, however monstrous, will have profound relations with
+the true. He may be an ignorant man, and little acquainted with the laws
+of nature; he is certainly a busy man, and has not much time to watch
+nature; but he never saw a serpent cross his path, nor a bird flit
+across the sky, nor a lizard bask upon a stone, without learning so much
+of the sublimity and inner nature of each as will not suffer him
+thenceforth to conceive them coldly. He may not be able to carve plumes
+or scales well; but his creatures will bite and fly, for all that. The
+ignoble workman is the very reverse of this. He never felt, never looked
+at nature; and if he endeavor to imitate the work of the other, all his
+touches will be made at random, and all his extravagances will be
+ineffective; he may knit brows, and twist lips, and lengthen beaks, and
+sharpen teeth, but it will be all in vain. He may make his creatures
+disgusting, but never fearful.
+
+� XLIX. There is, however, often another cause of difference than this.
+The true grotesque being the expression of the _repose_ or play of a
+_serious_ mind, there is a false grotesque opposed to it, which is the
+result of the _full exertion_ of a _frivolous_ one. There is much
+grotesque which is wrought out with exquisite care and pains, and as
+much labor given to it as if it were of the noblest subject; so that the
+workman is evidently no longer apathetic, and has no excuse for
+unconnectedness of thought, or sudden unreasonable fear. If he awakens
+horror now, it ought to be in some truly sublime form. His strength is
+in his work; and he must not give way to sudden humor, and fits of
+erratic fancy. If he does so, it must be because his mind is naturally
+frivolous, or is for the time degraded into the deliberate pursuit of
+frivolity. And herein lies the real distinction between the base
+grotesque of Raphael and the Renaissance, above alluded to, and the true
+Gothic grotesque. Those grotesques or arabesques of the Vatican, and
+other such work, which have become the patterns of ornamentation in
+modern times, are the fruit of great minds degraded to base objects. The
+care, skill, and science, applied to the distribution of the leaves, and
+the drawing of the figures, are intense, admirable, and accurate;
+therefore, they ought to have produced a grand and serious work, not a
+tissue of nonsense. If we can draw the human head perfectly, and are
+masters of its expression and its beauty, we have no business to cut it
+off, and hang it up by the hair at the end of a garland. If we can draw
+the human body in the perfection of its grace and movement, we have no
+business to take away its limbs, and terminate it with a bunch of
+leaves. Or rather our doing so will imply that there is something wrong
+with us; that, if we can consent to use our best powers for such base
+and vain trifling, there must be something wanting in the powers
+themselves; and that, however skilful we may be, or however learned, we
+are wanting both in the earnestness which can apprehend a noble truth,
+and in the thoughtfulness which can feel a noble fear. No Divine terror
+will ever be found in the work of the man who wastes a colossal strength
+in elaborating toys; for the first lesson which that terror is sent to
+teach us, is the value of the human soul, and the shortness of mortal
+time.
+
+� L. And are we never, then, it will be asked, to possess a refined or
+perfect ornamentation? Must all decoration be the work of the ignorant
+and the rude? Not so; but exactly in proportion as the ignorance and
+rudeness diminish, must the ornamentation become rational, and the
+grotesqueness disappear. The noblest lessons may be taught in
+ornamentation, the most solemn truths compressed into it. The Book of
+Genesis, in all the fulness of its incidents, in all the depth of its
+meaning, is bound within the leaf-borders of the gates of Ghiberti. But
+Raphael's arabesque is mere elaborate idleness. It has neither meaning
+nor heart in it; it is an unnatural and monstrous abortion.
+
+� LI. Now, this passing of the grotesque into higher art, as the mind of
+the workman becomes informed with better knowledge, and capable of more
+earnest exertion, takes place in two ways. Either, as his power
+increases, he devotes himself more and more to the beauty which he now
+feels himself able to express, and so the grotesqueness expands, and
+softens into the beautiful, as in the above-named instance of the gates
+of Ghiberti; or else, if the mind of the workman be naturally inclined
+to gloomy contemplation, the imperfection or apathy of his work rises
+into nobler terribleness, until we reach the point of the grotesque of
+Albert Durer, where, every now and then, the playfulness or apathy of
+the painter passes into perfect sublime. Take the Adam and Eve, for
+instance. When he gave Adam a bough to hold, with a parrot on it, and a
+tablet hung to it, with "Albertus Durer Noricus faciebat, 1504,"
+thereupon, his mind was not in Paradise. He was half in play, half
+apathetic with respect to his subject, thinking how to do his work well,
+as a wise master-graver, and how to receive his just reward of fame. But
+he rose into the true sublime in the head of Adam, and in the profound
+truthfulness of every creature that fills the forest. So again in that
+magnificent coat of arms, with the lady and the satyr, as he cast the
+fluttering drapery hither and thither around the helmet, and wove the
+delicate crown upon the woman's forehead, he was in a kind of play; but
+there is none in the dreadful skull upon the shield. And in the "Knight
+and Death," and in the dragons of the illustrations to the Apocalypse,
+there is neither play nor apathy; but their grotesque is of the ghastly
+kind which best illustrates the nature of death and sin. And this leads
+us to the consideration of the second state of mind out of which the
+noble grotesque is developed; that is to say, the temper of mockery.
+
+� LII. (B). Mockery, or Satire. In the former part of this chapter, when
+I spoke of the kinds of art which were produced in the recreation of the
+lower orders, I only spoke of forms of ornament, not of the expression
+of satire or humor. But it seems probable, that nothing is so refreshing
+to the vulgar mind as some exercise of this faculty, more especially on
+the failings of their superiors; and that, wherever the lower orders are
+allowed to express themselves freely, we shall find humor, more or less
+caustic, becoming a principal feature in their work. The classical and
+Renaissance manufacturers of modern times having silenced the
+independent language of the operative, his humor and satire pass away in
+the word-wit which has of late become the especial study of the group of
+authors headed by Charles Dickens; all this power was formerly thrown
+into noble art, and became permanently expressed in the sculptures of
+the cathedral. It was never thought that there was anything discordant
+or improper in such a position: for the builders evidently felt very
+deeply a truth of which, in modern times, we are less cognizant; that
+folly and sin are, to a certain extent, synonymous, and that it would be
+well for mankind in general, if all could be made to feel that
+wickedness is as contemptible as it is hateful. So that the vices were
+permitted to be represented under the most ridiculous forms, and all the
+coarsest wit of the workman to be exhausted in completing the
+degradation of the creatures supposed to be subjected to them.
+
+� LIII. Nor were even the supernatural powers of evil exempt from this
+species of satire. For with whatever hatred or horror the evil angels
+were regarded, it was one of the conditions of Christianity that they
+should also be looked upon as vanquished; and this not merely in their
+great combat with the King of Saints, but in daily and hourly combats
+with the weakest of His servants. In proportion to the narrowness of the
+powers of abstract conception in the workman, the nobleness of the idea
+of spiritual nature diminished, and the traditions of the encounters of
+men with fiends in daily temptations were imagined with less terrific
+circumstances, until the agencies which in such warfare were almost
+always represented as vanquished with disgrace, became, at last, as much
+the objects of contempt as of terror.
+
+The superstitions which represented the devil as assuming various
+contemptible forms of disguises in order to accomplish his purposes
+aided this gradual degradation of conception, and directed the study of
+the workman to the most strange and ugly conditions of animal form,
+until at last, even in the most serious subjects, the fiends are oftener
+ludicrous than terrible. Nor, indeed, is this altogether avoidable, for
+it is not possible to express intense wickedness without some condition
+of degradation. Malice, subtlety, and pride, in their extreme, cannot be
+written upon noble forms; and I am aware of no effort to represent the
+Satanic mind in the angelic form, which has succeeded in painting.
+Milton succeeds only because he separately describes the movements of
+the mind, and therefore leaves himself at liberty to make the form
+heroic; but that form is never distinct enough to be painted. Dante, who
+will not leave even external forms obscure, degrades them before he can
+feel them to be demoniacal; so also John Bunyan: both of them, I think,
+having firmer faith than Milton's in their own creations, and deeper
+insight into the nature of sin. Milton makes his fiends too noble, and
+misses the foulness, inconstancy, and fury of wickedness. His Satan
+possesses some virtues, not the less virtues for being applied to evil
+purpose. Courage, resolution, patience, deliberation in council, this
+latter being eminently a wise and holy character, as opposed to the
+"Insania" of excessive sin: and all this, if not a shallow and false, is
+a smooth and artistical, conception. On the other hand, I have always
+felt that there was a peculiar grandeur in the indescribable,
+ungovernable fury of Dante's fiends, ever shortening its own powers, and
+disappointing its own purposes; the deaf, blind, speechless, unspeakable
+rage, fierce as the lightning, but erring from its mark or turning
+senselessly against itself, and still further debased by foulness of
+form and action. Something is indeed to be allowed for the rude feelings
+of the time, but I believe all such men as Dante are sent into the world
+at the time when they can do their work best; and that, it being
+appointed for him to give to mankind the most vigorous realization
+possible both of Hell and Heaven, he was born both in the country and at
+the time which furnished the most stern opposition of Horror and Beauty,
+and permitted it to be written in the clearest terms. And, therefore,
+though there are passages in the "Inferno" which it would be impossible
+for any poet now to write, I look upon it as all the more perfect for
+them. For there can be no question but that one characteristic of
+excessive vice is indecency, a general baseness in its thoughts and acts
+concerning the body,[40] and that the full portraiture of it cannot be
+given without marking, and that in the strongest lines, this tendency to
+corporeal degradation; which, in the time of Dante, could be done
+frankly, but cannot now. And, therefore, I think the twenty-first and
+twenty-second books of the "Inferno" the most perfect portraitures of
+fiendish nature which we possess; and at the same time, in their
+mingling of the extreme of horror (for it seems to me that the silent
+swiftness of the first demon, "con l'ali aperte e sovra i pie leggiero,"
+cannot be surpassed in dreadfulness) with ludicrous actions and images,
+they present the most perfect instances with which I am acquainted of
+the terrible grotesque. But the whole of the "Inferno" is full of this
+grotesque, as well as the "Fa�rie Queen;" and these two poems, together
+with the works of Albert Durer, will enable the reader to study it in
+its noblest forms, without reference to Gothic cathedrals.
+
+� LIV. Now, just as there are base and noble conditions of the apathetic
+grotesque, so also are there of this satirical grotesque. The condition
+which might be mistaken for it is that above described as resulting from
+the malice of men given to pleasure, and in which the grossness and
+foulness are in the workman as much as in his subject, so that he
+chooses to represent vice and disease rather than virtue and beauty,
+having his chief delight in contemplating them; though he still mocks at
+them with such dull wit as may be in him, because, as Young has said
+most truly,
+
+  "'Tis not in folly not to scorn a fool."
+
+� LV. Now it is easy to distinguish this grotesque from its noble
+counterpart, by merely observing whether any forms of beauty or dignity
+are mingled with it or not; for, of course, the noble grotesque is only
+employed by its master for good purposes, and to contrast with beauty:
+but the base workman cannot conceive anything but what is base; and
+there will be no loveliness in any part of his work, or, at the best, a
+loveliness measured by line and rule, and dependent on legal shapes of
+feature. But, without resorting to this test, and merely by examining
+the ugly grotesque itself, it will be found that, if it belongs to the
+base school, there will be, first, no Horror in it; secondly, no Nature
+in it; and, thirdly, no Mercy in it.
+
+� LVI. I say, first, no Horror. For the base soul has no fear of sin,
+and no hatred of it: and, however it may strive to make its work
+terrible, there will be no genuineness in the fear; the utmost it can do
+will be to make its work disgusting.
+
+Secondly, there will be no Nature in it. It appears to be one of the
+ends proposed by Providence in the appointment of the forms of the brute
+creation, that the various vices to which mankind are liable should be
+severally expressed in them so distinctly and clearly as that men could
+not but understand the lesson; while yet these conditions of vice might,
+in the inferior animal, be observed without the disgust and hatred which
+the same vices would excite, if seen in men, and might be associated
+with features of interest which would otherwise attract and reward
+contemplation. Thus, ferocity, cunning, sloth, discontent, gluttony,
+uncleanness, and cruelty are seen, each in its extreme, in various
+animals; and are so vigorously expressed, that when men desire to
+indicate the same vices in connexion with human forms, they can do it no
+better than by borrowing here and there the features of animals. And
+when the workman is thus led to the contemplation of the animal kingdom,
+finding therein the expressions of vice which he needs, associated with
+power, and nobleness, and freedom from disease, if his mind be of right
+tone he becomes interested in this new study; and all noble grotesque
+is, therefore, full of the most admirable rendering of animal character.
+But the ignoble workman is capable of no interest of this kind; and,
+being too dull to appreciate, and too idle to execute, the subtle and
+wonderful lines on which the expression of the lower animal depends, he
+contents himself with vulgar exaggeration, and leaves his work as false
+as it is monstrous, a mass of blunt malice and obscene ignorance.
+
+� LVII. Lastly, there will be no Mercy in it. Wherever the satire of the
+noble grotesque fixes upon human nature, it does so with much sorrow
+mingled amidst its indignation: in its highest forms there is an
+infinite tenderness, like that of the fool in Lear; and even in its more
+heedless or bitter sarcasm, it never loses sight altogether of the
+better nature of what it attacks, nor refuses to acknowledge its
+redeeming or pardonable features. But the ignoble grotesque has no pity:
+it rejoices in iniquity, and exists only to slander.
+
+� LVIII. I have not space to follow out the various forms of transition
+which exist between the two extremes of great and base in the satirical
+grotesque. The reader must always remember, that, although there is an
+infinite distance between the best and worst, in this kind the interval
+is filled by endless conditions more or less inclining to the evil or
+the good; impurity and malice stealing gradually into the nobler forms,
+and invention and wit elevating the lower, according to the countless
+minglings of the elements of the human soul.
+
+� LIX. (C). Ungovernableness of the imagination. The reader is always to
+keep in mind that if the objects of horror, in which the terrible
+grotesque finds its materials, were contemplated in their true light,
+and with the entire energy of the soul, they would cease to be
+grotesque, and become altogether sublime; and that therefore it is some
+shortening of the power, or the will, of contemplation, and some
+consequent distortion of the terrible image in which the grotesqueness
+consists. Now this distortion takes place, it was above asserted, in
+three ways: either through apathy, satire, or ungovernableness of
+imagination. It is this last cause of the grotesque which we have
+finally to consider; namely, the error and wildness of the mental
+impressions, caused by fear operating upon strong powers of imagination,
+or by the failure of the human faculties in the endeavor to grasp the
+highest truths.
+
+� LX. The grotesque which comes to all men in a disturbed dream is the
+most intelligible example of this kind, but also the most ignoble; the
+imagination, in this instance, being entirely deprived of all aid from
+reason, and incapable of self-government. I believe, however, that the
+noblest forms of imaginative power are also in some sort ungovernable,
+and have in them something of the character of dreams; so that the
+vision, of whatever kind, comes uncalled, and will not submit itself to
+the seer, but conquers him, and forces him to speak as a prophet,
+having no power over his words or thoughts.[41] Only, if the whole man
+be trained perfectly, and his mind calm, consistent and powerful, the
+vision which comes to him is seen as in a perfect mirror, serenely, and
+in consistence with the rational powers; but if the mind be imperfect
+and ill trained, the vision is seen as in a broken mirror, with strange
+distortions and discrepancies, all the passions of the heart breathing
+upon it in cross ripples, till hardly a trace of it remains unbroken. So
+that, strictly speaking, the imagination is never governed; it is always
+the ruling and Divine power: and the rest of the man is to it only as an
+instrument which it sounds, or a tablet on which it writes; clearly and
+sublimely if the wax be smooth and the strings true, grotesquely and
+wildly if they are stained and broken. And thus the "Iliad," the
+"Inferno," the "Pilgrim's Progress," the "Fa�rie Queen," are all of them
+true dreams; only the sleep of the men to whom they came was the deep,
+living sleep which God sends, with a sacredness in it, as of death, the
+revealer of secrets.
+
+� LXI. Now, observe in this matter, carefully, the difference between a
+dim mirror and a distorted one; and do not blame me for pressing the
+analogy too far, for it will enable me to explain my meaning every way
+more clearly. Most men's minds are dim mirrors, in which all truth is
+seen, as St. Paul tells us, darkly: this is the fault most common and
+most fatal; dulness of the heart and mistiness of sight, increasing to
+utter hardness and blindness; Satan breathing upon the glass, so that if
+we do not sweep the mist laboriously away, it will take no image. But,
+even so far as we are able to do this, we have still the distortion to
+fear, yet not to the same extent, for we can in some sort allow for the
+distortion of an image, if only we can see it clearly. And the fallen
+human soul, at its best, must be as a diminishing glass, and that a
+broken one, to the mighty truths of the universe round it; and the wider
+the scope of its glance, and the vaster the truths into which it obtains
+an insight, the more fantastic their distortion is likely to be, as the
+winds and vapors trouble the field of the telescope most when it reaches
+farthest.
+
+� LXII. Now, so far as the truth is seen by the imagination[42] in its
+wholeness and quietness, the vision is sublime; but so far as it is
+narrowed and broken by the inconsistencies of the human capacity, it
+becomes grotesque; and it would seem to be rare that any very exalted
+truth should be impressed on the imagination without some grotesqueness
+in its aspect, proportioned to the degree of _diminution of breadth_ in
+the grasp which is given of it. Nearly all the dreams recorded in the
+Bible,--Jacob's, Joseph's, Pharaoh's, Nebuchadnezzar's,--are grotesques;
+and nearly the whole of the accessary scenery in the books of Ezekiel
+and the Apocalypse. Thus, Jacob's dream revealed to him the ministry of
+angels; but because this ministry could not be seen or understood by him
+in its fulness, it was narrowed to him into a ladder between heaven and
+earth, which was a grotesque. Joseph's two dreams were evidently
+intended to be signs of the steadfastness of the Divine purpose towards
+him, by possessing the clearness of special prophecy; yet were couched
+in such imagery, as not to inform him prematurely of his destiny, and
+only to be understood after their fulfilment. The sun, and moon, and
+stars were at the period, and are indeed throughout the Bible, the
+symbols of high authority. It was not revealed to Joseph that he should
+be lord over all Egypt; but the representation of his family by symbols
+of the most magnificent dominion, and yet as subject to him, must have
+been afterwards felt by him as a distinctly prophetic indication of his
+own supreme power. It was not revealed to him that the occasion of his
+brethren's special humiliation before him should be their coming to buy
+corn; but when the event took place, must he not have felt that there
+was prophetic purpose in the form of the sheaves of wheat which first
+imaged forth their subjection to him? And these two images of the sun
+doing obeisance, and the sheaves bowing down,--narrowed and imperfect
+intimations of great truth which yet could not be otherwise
+conveyed,--are both grotesque. The kine of Pharaoh eating each other,
+the gold and clay of Nebuchadnezzar's image, the four beasts full of
+eyes, and other imagery of Ezekiel and the Apocalypse, are grotesques of
+the same kind, on which I need not further insist.
+
+� LXIII. Such forms, however, ought perhaps to have been arranged under
+a separate head, as Symbolical Grotesque; but the element of awe enters
+into them so strongly, as to justify, for all our present purposes,
+their being classed with the other varieties of terrible grotesque. For
+even if the symbolic vision itself be not terrible, the sense of what
+may be veiled behind it becomes all the more awful in proportion to the
+insignificance or strangeness of the sign itself; and, I believe, this
+thrill of mingled doubt, fear, and curiosity lies at the very root of
+the delight which mankind take in symbolism. It was not an accidental
+necessity for the conveyance of truth by pictures instead of words,
+which led to its universal adoption wherever art was on the advance; but
+the Divine fear which necessarily follows on the understanding that a
+thing is other and greater than it seems; and which, it appears
+probable, has been rendered peculiarly attractive to the human heart,
+because God would have us understand that this is true not of invented
+symbols merely, but of all things amidst which we live; that there is a
+deeper meaning within them than eye hath seen, or ear hath heard; and
+that the whole visible creation is a mere perishable symbol of things
+eternal and true. It cannot but have been sometimes a subject of wonder
+with thoughtful men, how fondly, age after age, the Church has cherished
+the belief that the four living creatures which surrounded the
+Apocalyptic throne were symbols of the four Evangelists, and rejoiced
+to use those forms in its picture-teaching; that a calf, a lion, an
+eagle, and a beast with a man's face, should in all ages have been
+preferred by the Christian world, as expressive of Evangelistic power
+and inspiration, to the majesty of human forms; and that quaint
+grotesques, awkward and often ludicrous caricatures even of the animals
+represented, should have been regarded by all men, not only with
+contentment, but with awe, and have superseded all endeavors to
+represent the characters and persons of the Evangelistic writers
+themselves (except in a few instances, confined principally to works
+undertaken without a definite religious purpose);--this, I say, might
+appear more than strange to us, were it not that we ourselves share the
+awe, and are still satisfied with the symbol, and that justly. For,
+whether we are conscious of it or not, there is in our hearts, as we
+gaze upon the brutal forms that have so holy a signification, an
+acknowledgment that it was not Matthew, nor Mark, nor Luke, nor John, in
+whom the Gospel of Christ was unsealed: but that the invisible things of
+Him from the beginning of the creation are clearly seen, being
+understood by the things that are made; that the whole world, and all
+that is therein, be it low or high, great or small, is a continual
+Gospel; and that as the heathen, in their alienation from God, changed
+His glory into an image made like unto corruptible man, and to birds,
+and four-footed boasts, the Christian, in his approach to God, is to
+undo this work, and to change the corruptible things into the image of
+His glory; believing that there is nothing so base in creation, but that
+our faith may give it wings which shall raise us into companionship with
+heaven; and that, on the other hand, there is nothing so great or so
+goodly in creation, but that it is a mean symbol of the Gospel of
+Christ, and of the things He has prepared for them that love Him.
+
+� LXIV. And it is easy to understand, if we follow out this thought,
+how, when once the symbolic language was familiarized to the mind, and
+its solemnity felt in all its fulness, there was no likelihood of
+offence being taken at any repulsive or feeble characters in execution
+or conception. There was no form so mean, no incident so commonplace,
+but, if regarded in this light, it might become sublime; the more
+vigorous the fancy and the more faithful the enthusiasm, the greater
+would be the likelihood of their delighting in the contemplation of
+symbols whose mystery was enhanced by apparent insignificance, or in
+which the sanctity and majesty of meaning were contrasted with the
+utmost uncouthness of external form: nor with uncouthness merely, but
+even with every appearance of malignity or baseness; the beholder not
+being revolted even by this, but comprehending that, as the seeming evil
+in the framework of creation did not invalidate its Divine authorship,
+so neither did the evil or imperfection in the symbol invalidate its
+Divine message. And thus, sometimes, the designer at last became wanton
+in his appeal to the piety of his interpreter, and recklessly poured out
+the impurity and the savageness of his own heart, for the mere pleasure
+of seeing them overlaid with the fine gold of the sanctuary, by the
+religion of their beholder.
+
+� LXV. It is not, however, in every symbolical subject that the fearful
+grotesque becomes embodied to the full. The element of distortion which
+affects the intellect when dealing with subjects above its proper
+capacity, is as nothing compared with that which it sustains from the
+direct impressions of terror. It is the trembling of the human soul in
+the presence of death which most of all disturbs the images on the
+intellectual mirror, and invests them with the fitfulness and
+ghastliness of dreams. And from the contemplation of death, and of the
+pangs which follow his footsteps, arise in men's hearts the troop of
+strange and irresistible superstitions which, more or less melancholy or
+majestic according to the dignity of the mind they impress, are yet
+never without a certain grotesqueness, following on the paralysis of the
+reason and over-excitement of the fancy. I do not mean to deny the
+actual existence of spiritual manifestations; I have never weighed the
+evidence upon the subject; but with these, if such exist, we are not
+here concerned. The grotesque which we are examining arises out of that
+condition of mind which appears to follow naturally upon the
+contemplation of death, and in which the fancy is brought into morbid
+action by terror, accompanied by the belief in spiritual presence, and
+in the possibility of spiritual apparition. Hence are developed its most
+sublime, because its least voluntary, creations, aided by the
+fearfulness of the phenomena of nature which are in any wise the
+ministers of death, and primarily directed by the peculiar ghastliness
+of expression in the skeleton, itself a species of terrible grotesque in
+its relation to the perfect human frame.
+
+� LXVI. Thus, first born from the dusty and dreadful whiteness of the
+charnel house, but softened in their forms by the holiest of human
+affections, went forth the troop of wild and wonderful images, seen
+through tears, that had the mastery over our Northern hearts for so many
+ages. The powers of sudden destruction lurking in the woods and waters,
+in the rocks and clouds;--kelpie and gnome, Lurlei and Hartz spirits;
+the wraith and foreboding phantom; the spectra of second sight; the
+various conceptions of avenging or tormented ghost, haunting the
+perpetrator of crime, or expiating its commission; and the half
+fictitious and contemplative, half visionary and believed images of the
+presence of death itself, doing its daily work in the chambers of
+sickness and sin, and waiting for its hour in the fortalices of strength
+and the high places of pleasure;--these, partly degrading us by the
+instinctive and paralyzing terror with which they are attended, and
+partly ennobling us by leading our thoughts to dwell in the eternal
+world, fill the last and the most important circle in that great kingdom
+of dark and distorted power, of which we all must be in some sort the
+subjects until mortality shall be swallowed up of life; until the waters
+of the last fordless river cease to roll their untransparent volume
+between us and the light of heaven, and neither death stand between us
+and our brethren, nor symbols between us and our God.
+
+� LXVII. We have now, I believe, obtained a view approaching to
+completeness of the various branches of human feeling which are
+concerned in the developement of this peculiar form of art. It remains
+for us only to note, as briefly as possible, what facts in the actual
+history of the grotesque bear upon our immediate subject.
+
+From what we have seen to be its nature, we must, I think, be led to one
+most important conclusion; that wherever the human mind is healthy and
+vigorous in all its proportions, great in imagination and emotion no
+less than in intellect, and not overborne by an undue or hardened
+pre�minence of the mere reasoning faculties, there the grotesque will
+exist in full energy. And, accordingly, I believe that there is no test
+of greatness in periods, nations, or men, more sure than the
+developement, among them or in them, of a noble grotesque, and no test
+of comparative smallness or limitation, of one kind or another, more
+sure than the absence of grotesque invention, or incapability of
+understanding it. I think that the central man of all the world, as
+representing in perfect balance the imaginative, moral, and intellectual
+faculties, all at their highest, is Dante; and in him the grotesque
+reaches at once the most distinct and the most noble developement to
+which it was ever brought in the human mind. The two other greatest men
+whom Italy has produced, Michael Angelo and Tintoret, show the same
+element in no less original strength, but oppressed in the one by his
+science, and in both by the spirit of the age in which they lived;
+never, however, absent even in Michael Angelo, but stealing forth
+continually in a strange and spectral way, lurking in folds of raiment
+and knots of wild hair, and mountainous confusions of craggy limb and
+cloudy drapery; and, in Tintoret, ruling the entire conceptions of his
+greatest works to such a degree that they are an enigma or an offence,
+even to this day, to all the petty disciples of a formal criticism. Of
+the grotesque in our own Shakspeare I need hardly speak, nor of its
+intolerableness to his French critics; nor of that of �schylus and
+Homer, as opposed to the lower Greek writers; and so I believe it will
+be found, at all periods, in all minds of the first order.
+
+� LXVIII. As an index of the greatness of nations, it is a less certain
+test, or, rather, we are not so well agreed on the meaning of the term
+"greatness" respecting them. A nation may produce a great effect, and
+take up a high place in the world's history, by the temporary enthusiasm
+or fury of its multitudes, without being truly great; or, on the other
+hand, the discipline of morality and common sense may extend its
+physical power or exalt its well-being, while yet its creative and
+imaginative powers are continually diminishing. And again: a people may
+take so definite a lead over all the rest of the world in one direction,
+as to obtain a respect which is not justly due to them if judged on
+universal grounds. Thus the Greeks perfected the sculpture of the human
+body; threw their literature into a disciplined form, which has given it
+a peculiar power over certain conditions of modern mind; and were the
+most carefully educated race that the world has seen; but a few years
+hence, I believe, we shall no longer think them a greater people than
+either the Egyptians or Assyrians.
+
+� LXIX. If, then, ridding ourselves as far as possible of prejudices
+owing merely to the school-teaching which remains from the system of the
+Renaissance, we set ourselves to discover in what races the human soul,
+taken all in all, reached its highest magnificence, we shall find, I
+believe, two great families of men, one of the East and South, the other
+of the West and North: the one including the Egyptians, Jews, Arabians,
+Assyrians, and Persians; the other, I know not whence derived, but
+seeming to flow forth from Scandinavia, and filling the whole of Europe
+with its Norman and Gothic energy. And in both these families, wherever
+they are seen in their utmost nobleness, there the grotesque is
+developed in its utmost energy; and I hardly know whether most to admire
+the winged bulls of Nineveh, or the winged dragons of Verona.
+
+� LXX. The reader who has not before turned his attention to this
+subject may, however, at first have some difficulty in distinguishing
+between the noble grotesque of these great nations, and the barbarous
+grotesque of mere savages, as seen in the work of the Hindoo and other
+Indian nations; or, more grossly still, in that of the complete savage
+of the Pacific islands; or if, as is to be hoped, he instinctively
+feels the difference, he may yet find difficulty in determining wherein
+that difference consists. But he will discover, on consideration, that
+the noble grotesque _involves the true appreciation of beauty_, though
+the mind may wilfully turn to other images or the hand resolutely stop
+short of the perfection which it must fail, if it endeavored, to reach;
+while the grotesque of the Sandwich islander involves no perception or
+imagination of anything above itself. He will find that in the exact
+proportion in which the grotesque results from an incapability of
+perceiving beauty, it becomes savage or barbarous; and that there are
+many stages of progress to be found in it even in its best times, much
+truly savage grotesque occurring in the fine Gothic periods, mingled
+with the other forms of the ignoble grotesque resulting from vicious
+inclinations or base sportiveness. Nothing is more mysterious in the
+history of the human mind, than the manner in which gross and ludicrous
+images are mingled with the most solemn subjects in the work of the
+middle ages, whether of sculpture or illumination; and although, in
+great part, such incongruities are to be accounted for on the various
+principles which I have above endeavored to define, in many instances
+they are clearly the result of vice and sensuality. The general
+greatness of seriousness of an age does not effect the restoration of
+human nature; and it would be strange, if, in the midst of the art even
+of the best periods, when that art was entrusted to myriads of workmen,
+we found no manifestations of impiety, folly, or impurity.
+
+� LXXI. It needs only to be added that in the noble grotesque, as it is
+partly the result of a morbid state of the imaginative power, that power
+itself will be always seen in a high degree; and that therefore our
+power of judging of the rank of a grotesque work will depend on the
+degree in which we are in general sensible of the presence of invention.
+The reader may partly test this power in himself by referring to the
+Plate given in the opening of this chapter, in which, on the left, is a
+piece of noble and inventive grotesque, a head of the lion-symbol of St.
+Mark, from the Veronese Gothic; the other is a head introduced as a
+boss on the foundation of the Palazzo Corner della Regina at Venice,
+utterly devoid of invention, made merely monstrous by exaggerations of
+the eyeballs and cheeks, and generally characteristic of that late
+Renaissance grotesque of Venice, with which we are at present more
+immediately concerned.[43]
+
+� LXXII. The developement of that grotesque took place under different
+laws from those which regulate it in any other European city. For, great
+as we have seen the Byzantine mind show itself to be in other
+directions, it was marked as that of a declining nation by the absence
+of the grotesque element; and, owing to its influence, the early
+Venetian Gothic remained inferior to all other schools in this
+particular character. Nothing can well be more wonderful than its
+instant failure in any attempt at the representation of ludicrous or
+fearful images, more especially when it is compared with the magnificent
+grotesque of the neighboring city of Verona, in which the Lombard
+influence had full sway. Nor was it until the last links of connexion
+with Constantinople had been dissolved, that the strength of the
+Venetian mind could manifest itself in this direction. But it had then a
+new enemy to encounter. The Renaissance laws altogether checked its
+imagination in architecture; and it could only obtain permission to
+express itself by starting forth in the work of the Venetian painters,
+filling them with monkeys and dwarfs, even amidst the most serious
+subjects, and leading Veronese and Tintoret to the most unexpected and
+wild fantasies of form and color.
+
+� LXXIII. We may be deeply thankful for this peculiar reserve of the
+Gothic grotesque character to the last days of Venice. All over the rest
+of Europe it had been strongest in the days of imperfect art;
+magnificently powerful throughout the whole of the thirteenth century,
+tamed gradually in the fourteenth and fifteenth, and expiring in the
+sixteenth amidst anatomy and laws of art. But at Venice, it had not been
+received when it was elsewhere in triumph, and it fled to the lagoons
+for shelter when elsewhere it was oppressed. And it was arrayed by the
+Venetian painters in robes of state, and advanced by them to such honor
+as it had never received in its days of widest dominion; while, in
+return, it bestowed upon their pictures that fulness, piquancy, decision
+of parts, and mosaic-like intermingling of fancies, alternately
+brilliant and sublime, which were exactly what was most needed for the
+developement of their unapproachable color-power.
+
+� LXXIV. Yet, observe, it by no means follows that because the grotesque
+does not appear in the art of a nation, the sense of it does not exist
+in the national mind. Except in the form of caricature, it is hardly
+traceable in the English work of the present day; but the minds of our
+workmen are full of it, if we would only allow them to give it shape.
+They express it daily in gesture and gibe, but are not allowed to do so
+where it would be useful. In like manner, though the Byzantine influence
+repressed it in the early Venetian architecture, it was always present
+in the Venetian mind, and showed itself in various forms of national
+custom and festival; _acted_ grotesques, full of wit, feeling, and
+good-humor. The ceremony of the hat and the orange, described in the
+beginning of this chapter, is one instance out of multitudes. Another,
+more rude, and exceedingly characteristic, was that instituted in the
+twelfth century in memorial of the submission of Woldaric, the patriarch
+of Aquileia, who, having taken up arms against the patriarch of Grado,
+and being defeated and taken prisoner by the Venetians, was sentenced,
+not to death, but to send every year on "Fat Thursday" sixty-two large
+loaves, twelve fat pigs, and a bull, to the Doge; the bull being
+understood to represent the patriarch, and the twelve pigs his clergy:
+and the ceremonies of the day consisting in the decapitation of these
+representatives, and a distribution of their joints among the senators;
+together with a symbolic record of the attack upon Aquileia, by the
+erection of a wooden castle in the rooms of the Ducal Palace, which the
+_Doge and the Senate_ attacked and demolished with clubs. As long as the
+Doge and the Senate were truly kingly and noble, they were content to
+let this ceremony be continued; but when they became proud and selfish,
+and were destroying both themselves and the state by their luxury, they
+found it inconsistent with their dignity, and it was abolished, as far
+as the Senate was concerned, in 1549.[44]
+
+� LXXV. By these and other similar manifestations, the grotesque spirit
+is traceable through all the strength of the Venetian people. But again:
+it is necessary that we should carefully distinguish between it and the
+spirit of mere levity. I said, in the fifth chapter, that the Venetians
+were distinctively a serious people, serious, that is to say, in the
+sense in which the English are a more serious people than the French;
+though the habitual intercourse of our lower classes in London has a
+tone of humor in it which I believe is untraceable in that of the
+Parisian populace. It is one thing to indulge in playful rest, and
+another to be devoted to the pursuit of pleasure: and gaiety of heart
+during the reaction after hard labor, and quickened by satisfaction in
+the accomplished duty or perfected result, is altogether compatible
+with, nay, even in some sort arises naturally out of, a deep internal
+seriousness of disposition; this latter being exactly the condition of
+mind which, as we have seen, leads to the richest developements of the
+playful grotesque; while, on the contrary, the continual pursuit of
+pleasure deprives the soul of all alacrity and elasticity, and leaves it
+incapable of happy jesting, capable only of that which is bitter, base,
+and foolish. Thus, throughout the whole of the early career of the
+Venetians, though there is much jesting, there is no levity; on the
+contrary there is an intense earnestness both in their pursuit of
+commercial and political successes, and in their devotion to
+religion,[45] which led gradually to the formation of that highly
+wrought mingling of immovable resolution with secret thoughtfulness,
+which so strangely, sometimes so darkly, distinguishes the Venetian
+character at the time of their highest power, when the seriousness was
+left, but the conscientiousness destroyed. And if there be any one sign
+by which the Venetian countenance, as it is recorded for us, to the very
+life, by a school of portraiture which has never been equalled (chiefly
+because no portraiture ever had subjects so noble),--I say, if there be
+one thing more notable than another in the Venetian features, it is this
+deep pensiveness and solemnity. In other districts of Italy, the dignity
+of the heads which occur in the most celebrated compositions is clearly
+owing to the feeling of the painter. He has visibly raised or idealized
+his models, and appears always to be veiling the faults or failings of
+the human nature around him, so that the best of his work is that which
+has most perfectly taken the color of his own mind; and the least
+impressive, if not the least valuable, that which appears to have been
+unaffected and unmodified portraiture. But at Venice, all is exactly the
+reverse of this. The tone of mind in the painter appears often in some
+degree frivolous or sensual; delighting in costume, in domestic and
+grotesque incident, and in studies of the naked form. But the moment he
+gives himself definitely to portraiture, all is noble and grave; the
+more literally true his work, the more majestic; and the same artist who
+will produce little beyond what is commonplace in painting a Madonna or
+an apostle, will rise into unapproachable sublimity when his subject is
+a member of the Forty, or a Master of the Mint.
+
+Such, then, were the general tone and progress of the Venetian mind, up
+to the close of the seventeenth century. First, serious, religious, and
+sincere; then, though serious still, comparatively deprived of
+conscientiousness, and apt to decline into stern and subtle policy: in
+the first case, the spirit of the noble grotesque not showing itself in
+art at all, but only in speech and action; in the second case,
+developing itself in painting, through accessories and vivacities of
+composition, while perfect dignity was always preserved in portraiture.
+A third phase rapidly developed itself.
+
+� LXXVI. Once more, and for the last time, let me refer the reader to
+the important epoch of the death of the Doge Tomaso Mocenigo in 1423,
+long ago indicated as the commencement of the decline of the Venetian
+power. That commencement is marked, not merely by the words of the dying
+Prince, but by a great and clearly legible sign. It is recorded, that on
+the accession of his successor, Foscari, to the throne, "SI FESTEGGIO
+DALLA CITTA UNO ANNO INTERO:" "The city kept festival for a whole year."
+Venice had in her childhood sown, in tears, the harvest she was to reap
+in rejoicing. She now sowed in laughter the seeds of death.
+
+Thenceforward, year after year, the nation drank with deeper thirst from
+the fountains of forbidden pleasure, and dug for springs, hitherto
+unknown, in the dark places of the earth. In the ingenuity of
+indulgence, in the varieties of vanity, Venice surpassed the cities of
+Christendom, as of old she surpassed them in fortitude and devotion; and
+as once the powers of Europe stood before her judgment-seat, to receive
+the decisions of her justice, so now the youth of Europe assembled in
+the halls of her luxury, to learn from her the arts of delight.
+
+It is as needless, as it is painful, to trace the steps of her final
+ruin. That ancient curse was upon her, the curse of the cities of the
+plain, "Pride, fulness of bread, and abundance of idleness." By the
+inner burning of her own passions, as fatal as the fiery reign of
+Gomorrah, she was consumed from her place among the nations; and her
+ashes are choking the channels of the dead salt sea.
+
+
+FOOTNOTES:
+
+  [27] Mutinelli, Annali Urbani, lib. i. p. 24; and the Chronicle of
+    1738, quoted by Galliciolli: "attrovandosi allora la giesia de Sta.
+    Maria Formosa sola giesia del nome della gloriosa Vergine Maria."
+
+  [28] Or from the brightness of the cloud, according to the Padre who
+    arranged the "Memorie delle Chiese di Venezia," vol. iii. p. 7.
+    Compare Corner, p. 42. This first church was built in 639.
+
+  [29] Perhaps both Corner and the Padre founded their diluted
+    information on the short sentence of Sansovino: "Finalmente, l'anno
+    1075, fu ridotta a perfezione da Paolo Barbetta, sul modello del
+    corpo di mezzo della chiesa di S. Marco." Sansovino, however, gives
+    842, instead of 864, as the date of the first rebuilding.
+
+  [30] Or at least for its principal families. Vide Appendix 8, "Early
+    Venetian Marriages."
+
+  [31] "Nazionale quasi la ceremonia, perciocche per essa nuovi
+    difensori ad acquistar andava la patria, sostegni nuovi le leggi, la
+    Liberta."--_Mutinelli._
+
+  [32] "Vestita, _per antico uso_, di bianco, e con chiome sparse gi�
+    per le spalle, conteste con fila d'oro." "Dressed according to
+    ancient usage in white, and with her hair thrown down upon her
+    shoulders, interwoven with threads of gold." This was when she was
+    first brought out of her chamber to be seen by the guests invited to
+    the espousals. "And when the form of the espousal has been gone
+    through, she is led, to the sound of pipes and trumpets, and other
+    musical instruments, round the room, _dancing serenely all the time,
+    and bowing herself before the guests_ (ballando placidamente, e
+    facendo inchini ai convitati); and so she returns to her chamber:
+    and when other guests have arrived, she again comes forth, and makes
+    the circuit of the chamber. And this is repeated for an hour or
+    somewhat more; and then, accompanied by many ladies who wait for
+    her, she enters a gondola without its felze (canopy), and, seated on
+    a somewhat raised seat covered with carpets, with a great number of
+    gondolas following her, she goes to visit the monasteries and
+    convents, wheresoever she has any relations."
+
+  [33] Sansovino.
+
+  [34] English, "Malmsey." The reader will find a most amusing account
+    of the negotiations between the English and Venetians, touching the
+    supply of London with this wine, in Mr. Brown's translation of the
+    Giustiniani papers. See Appendix IX.
+
+  [35] "XV. diebus et octo diebus ante festum Mariarum omni
+    anno."--_Galliciolli._ The same precautions were taken before the
+    feast of the Ascension.
+
+  [36] Casa Vittura.
+
+  [37] The keystone of the arch on its western side, facing the canal.
+
+  [38] The inscriptions are as follows:
+
+    To the left of the reader.
+
+      "VINCENTIUS CAPELLUS MARITIMARUM
+       RERUM PERITISSIMUS ET ANTIQUORUM
+       LAUDIBUS PAR, TRIREMIUM ONERARIA
+       RUM PR�FECTUS, AB HENRICO VII. BRI
+       TANNI� REGE INSIGNE DONATUS CLAS
+       SIS LEGATUS V. IMP. DESIG. TER CLAS
+       SEM DEDUXIT, COLLAPSAM NAVALEM DIS
+       CIPLINAM RESTITUIT, AD ZACXINTHUM
+       AURI� C�SARIS LEGATO PRISCAM
+       VENETAM VIRTUTEM OSTENDIT."
+
+    To the right of the reader.
+
+      "IN AMBRACIO SINU BARBARUSSUM OTTHO
+       MANIC� CLASSIS DUCEM INCLUSIT
+       POSTRIDIE AD INTERNITIONEM DELETU
+       RUS NISI FATA CHRISTIANIS ADVERSA
+       VETUISSENT. IN RYZONICO SINU CASTRO NOVO
+       EXPUGNATO DIVI MARCI PROCUR
+       UNIVERSO REIP CONSENSU CREATUS
+       IN PATRIA MORITUR TOTIUS CIVITATIS
+       MOERORE, ANNO �TATIS LXXIV. MDCXLII. XIV. KAL SEPT."
+
+  [39] The Love of God is, however, always shown by the predominance,
+    or greater sum, of good, in the end; but never by the annihilation
+    of evil. The modern doubts of eternal punishment are not so much the
+    consequence of benevolence as of feeble powers of reasoning. Every
+    one admits that God brings finite good out of finite evil. Why not,
+    therefore, infinite good out of infinite evil?
+
+  [40] Let the reader examine, with special reference to this subject,
+    the general character of the language of Iago.
+
+  [41] This opposition of art to inspiration is long and gracefully
+    dwelt upon by Plato, in his "Ph�drus," using, in the course of his
+    argument, almost the words of St Paul: [Greek: kallion marturousin
+    oi palaioi manian s�phrosyn�s t�n ek Theou t�s par anthr�p�n
+    gignomen�s]: "It is the testimony of the ancients, that _the madness
+    which is of God is a nobler thing than the wisdom which is of men_;"
+    and again, "He who sets himself to any work with which the Muses
+    have to do," (i. e. to any of the fine arts,) "without madness,
+    thinking that by art alone he can do his work sufficiently, will be
+    found vain and incapable, and the work of temperance and rationalism
+    will be thrust aside and obscured by that of inspiration." The
+    passages to the same effect, relating especially to poetry, are
+    innumerable in nearly all ancient writers; but in this of Plato, the
+    entire compass of the fine arts is intended to be embraced.
+
+    No one acquainted with other parts of my writings will suppose me to
+    be an advocate of idle trust in the imagination. But it is in these
+    days just as necessary to allege the supremacy of genius as the
+    necessity of labor; for there never was, perhaps, a period in which
+    the peculiar gift of the painter was so little discerned, in which
+    so many and so vain efforts have been made to replace it by study
+    and toil. This has been peculiarly the case with the German school,
+    and there are few exhibitions of human error more pitiable than the
+    manner in which the inferior members of it, men originally and for
+    ever destitute of the painting faculty, force themselves into an
+    unnatural, encumbered, learned fructification of tasteless fruit,
+    and pass laborious lives in setting obscurely and weakly upon canvas
+    the philosophy, if such it be, which ten minutes' work of a strong
+    man would have put into healthy practice, or plain words. I know not
+    anything more melancholy than the sight of the huge German cartoon,
+    with its objective side, and subjective side; and mythological
+    division, and symbolical division, and human and Divine division;
+    its allegorical sense, and literal sense; and ideal point of view,
+    and intellectual point of view; its heroism of well-made armor and
+    knitted brows; its heroinism of graceful attitude and braided hair;
+    its inwoven web of sentiment, and piety, and philosophy, and
+    anatomy, and history, all profound: and twenty innocent dashes of
+    the hand of one God-made painter, poor old Bassan or Bonifazio, were
+    worth it all, and worth it ten thousand times over.
+
+    Not that the sentiment or the philosophy is base in itself. They
+    will make a good man, but they will not make a good painter,--no,
+    nor the millionth part of a painter. They would have been good in
+    the work and words of daily life; but they are good for nothing in
+    the cartoon, if they are there alone. And the worst result of the
+    system is the intense conceit into which it cultivates a weak mind.
+    Nothing is so hopeless, so intolerable, as the pride of a foolish
+    man who has passed through a process of thinking, so as actually to
+    have found something out. He believes there is nothing else to be
+    found out in the universe. Whereas the truly great man, on whom the
+    Revelations rain till they bear him to the earth with their weight,
+    lays his head in the dust, and speaks thence--often in broken
+    syllables. Vanity is indeed a very equally divided inheritance among
+    mankind; but I think that among the first persons, no emphasis is
+    altogether so strong as that on the German _Ich_. I was once
+    introduced to a German philosopher-painter before Tintoret's
+    "Massacre of the Innocents." He looked at it superciliously, and
+    said it "wanted to be restored." He had been himself several years
+    employed in painting a "Faust" in a red jerkin and blue fire; which
+    made Tintoret appear somewhat dull to him.
+
+  [42] I have before stated ("Modern Painters" vol. ii.) that the
+    first function of the imagination is the apprehension of ultimate
+    truth.
+
+  [43] Note especially, in connexion with what was advanced in Vol. II.
+    respecting our English neatness of execution, how the base workman
+    has cut the lines of the architecture neatly and precisely round the
+    abominable head: but the noble workman has used his chisel like a
+    painter's pencil, and sketched the glory with a few irregular lines,
+    anything rather than circular; and struck out the whole head in the
+    same frank and fearless way, leaving the sharp edges of the stone as
+    they first broke, and flinging back the crest of hair from the
+    forehead with half a dozen hammer-strokes, while the poor wretch who
+    did the other was half a day in smoothing its vapid and vermicular
+    curls.
+
+  [44] The decree is quoted by Mutinelli, lib. i. p. 46.
+
+  [45] See Appendix 9.
+
+
+
+
+CHAPTER IV.
+
+CONCLUSION.
+
+
+� I. I fear this chapter will be a rambling one, for it must be a kind
+of supplement to the preceding pages, and a general recapitulation of
+the things I have too imperfectly and feebly said.
+
+The grotesques of the seventeenth and eighteenth centuries, the nature
+of which we examined in the last chapter, close the career of the
+architecture of Europe. They were the last evidences of any feeling
+consistent with itself, and capable of directing the efforts of the
+builder to the formation of anything worthy the name of a style or
+school. From that time to this, no resuscitation of energy has taken
+place, nor does any for the present appear possible. How long this
+impossibility may last, and in what direction with regard to art in
+general, as well as to our lifeless architecture, our immediate efforts
+may most profitably be directed, are the questions I would endeavor
+briefly to consider in the present chapter.
+
+� II. That modern science, with all its additions to the comforts of
+life, and to the fields of rational contemplation, has placed the
+existing races of mankind on a higher platform than any that preceded
+them, none can doubt for an instant; and I believe the position in which
+we find ourselves is somewhat analogous to that of thoughtful and
+laborious youth succeeding a restless and heedless infancy. Not long
+ago, it was said to me by one of the masters of modern science: "When
+men invented the locomotive, the child was learning to go; when they
+invented the telegraph, it was learning to speak." He looked forward to
+the manhood of mankind, as assuredly the nobler in proportion to the
+slowness of its developement. What might not be expected from the prime
+and middle strength of the order of existence whose infancy had lasted
+six thousand years? And, indeed, I think this the truest, as well as the
+most cheering, view that we can take of the world's history. Little
+progress has been made as yet. Base war, lying policy, thoughtless
+cruelty, senseless improvidence,--all things which, in nations, are
+analogous to the petulance, cunning, impatience, and carelessness of
+infancy,--have been, up to this hour, as characteristic of mankind as
+they were in the earliest periods; so that we must either be driven to
+doubt of human progress at all, or look upon it as in its very earliest
+stage. Whether the opportunity is to be permitted us to redeem the hours
+that we have lost; whether He, in whose sight a thousand years are as
+one day, has appointed us to be tried by the continued possession of the
+strange powers with which He has lately endowed us; or whether the
+periods of childhood and of probation are to cease together, and the
+youth of mankind is to be one which shall prevail over death, and bloom
+for ever in the midst of a new heaven and a new earth, are questions
+with which we have no concern. It is indeed right that we should look
+for, and hasten, so far as in us lies, the coming of the Day of God; but
+not that we should check any human efforts by anticipations of its
+approach. We shall hasten it best by endeavoring to work out the tasks
+that are appointed for us here; and, therefore, reasoning as if the
+world were to continue under its existing dispensation, and the powers
+which have just been granted to us were to be continued through myriads
+of future ages.
+
+� III. It seems to me, then, that the whole human race, so far as their
+own reason can be trusted, may at present be regarded as just emergent
+from childhood; and beginning for the first time to feel their strength,
+to stretch their limbs, and explore the creation around them. If we
+consider that, till within the last fifty years, the nature of the
+ground we tread on, of the air we breathe, and of the light by which we
+see, were not so much as conjecturally conceived by us; that the
+duration of the globe, and the races of animal life by which it was
+inhabited, are just beginning to be apprehended; and that the scope of
+the magnificent science which has revealed them, is as yet so little
+received by the public mind, that presumption and ignorance are still
+permitted to raise their voices against it unrebuked; that perfect
+veracity in the representation of general nature by art has never been
+attempted until the present day, and has in the present day been
+resisted with all the energy of the popular voice;[46] that the simplest
+problems of social science are yet so little understood, as that
+doctrines of liberty and equality can be openly preached, and so
+successfully as to affect the whole body of the civilized world with
+apparently incurable disease; that the first principles of commerce were
+acknowledged by the English Parliament only a few months ago, in its
+free trade measures, and are still so little understood by the million,
+that no nation dares to abolish its custom-houses;[47] that the simplest
+principles of policy are still not so much as stated, far less received,
+and that civilized nations persist in the belief that the subtlety and
+dishonesty which they know to be ruinous in dealings between man and
+man, are serviceable in dealings between multitude and multitude;
+finally, that the scope of the Christian religion, which we have been
+taught for two thousand years, is still so little conceived by us, that
+we suppose the laws of charity and of self-sacrifice bear upon
+individuals in all their social relations, and yet do not bear upon
+nations in any of their political relations;--when, I say, we thus
+review the depth of simplicity in which the human race are still
+plunged with respect to all that it most profoundly concerns them to
+know, and which might, by them, with most ease have been ascertained, we
+can hardly determine how far back on the narrow path of human progress
+we ought to place the generation to which we belong, how far the
+swaddling clothes are unwound from us, and childish things beginning to
+be put away.
+
+On the other hand, a power of obtaining veracity in the representation
+of material and tangible things, which, within certain limits and
+conditions, is unimpeachable, has now been placed in the hands of all
+men,[48] almost without labor. The foundation of every natural science
+is now at last firmly laid, not a day passing without some addition of
+buttress and pinnacle to their already magnificent fabric. Social
+theorems, if fiercely agitated, are therefore the more likely to be at
+last determined, so that they never can be matters of question more.
+Human life has been in some sense prolonged by the increased powers of
+locomotion, and an almost limitless power of converse. Finally, there is
+hardly any serious mind in Europe but is occupied, more or less, in the
+investigation of the questions which have so long paralyzed the strength
+of religious feeling, and shortened the dominion of religious faith. And
+we may therefore at least look upon ourselves as so far in a definite
+state of progress, as to justify our caution in guarding against the
+dangers incident to every period of change, and especially to that from
+childhood into youth.
+
+� IV. Those dangers appear, in the main, to be twofold; consisting
+partly in the pride of vain knowledge, partly in the pursuit of vain
+pleasure. A few points are still to be noticed with respect to each of
+these heads.
+
+Enough, it might be thought, had been said already, touching the pride
+of knowledge; but I have not yet applied the principles, at which we
+arrived in the third chapter, to the practical questions of modern art.
+And I think those principles, together with what were deduced from the
+consideration of the nature of Gothic in the second volume, so necessary
+and vital, not only with respect to the progress of art, but even to the
+happiness of society, that I will rather run the risk of tediousness
+than of deficiency, in their illustration and enforcement.
+
+In examining the nature of Gothic, we concluded that one of the chief
+elements of power in that, and in _all good_ architecture, was the
+acceptance of uncultivated and rude energy in the workman. In examining
+the nature of Renaissance, we concluded that its chief element of
+weakness was that pride of knowledge which not only prevented all
+rudeness in expression, but gradually quenched all energy which could
+only be rudely expressed; nor only so, but, for the motive and matter of
+the work itself, preferred science to emotion, and experience to
+perception.
+
+� V. The modern mind differs from the Renaissance mind in that its
+learning is more substantial and extended, and its temper more humble;
+but its errors, with respect to the cultivation of art, are precisely
+the same,--nay, as far as regards execution, even more aggravated. We
+require, at present, from our general workmen, more perfect finish than
+was demanded in the most skilful Renaissance periods, except in their
+very finest productions; and our leading principles in teaching, and in
+the patronage which necessarily gives tone to teaching, are, that the
+goodness of work consists primarily in firmness of handling and accuracy
+of science, that is to say, in hand-work and head-work; whereas
+heart-work, which is the _one_ work we want, is not only independent of
+both, but often, in great degree, inconsistent with either.
+
+� VI. Here, therefore, let me finally and firmly enunciate the great
+principle to which all that has hitherto been stated is
+subservient:--that art is valuable or otherwise, only as it expresses
+the personality, activity, and living perception of a good and great
+human soul; that it may express and contain this with little help from
+execution, and less from science; and that if it have not this, if it
+show not the vigor, perception, and invention of a mighty human spirit,
+it is worthless. Worthless, I mean, as _art_; it may be precious in some
+other way, but, as art, it is nugatory. Once let this be well understood
+among us, and magnificent consequences will soon follow. Let me repeat
+it in other terms, so that I may not be misunderstood. All art is great,
+and good, and true, only so far as it is distinctively the work of
+_manhood_ in its entire and highest sense; that is to say, not the work
+of limbs and fingers, but of the soul, aided, according to her
+necessities, by the inferior powers; and therefore distinguished in
+essence from all products of those inferior powers unhelped by the soul.
+For as a photograph is not a work of art, though it requires certain
+delicate manipulations of paper and acid, and subtle calculations of
+time, in order to bring out a good result; so, neither would a drawing
+_like_ a photograph, made directly from nature, be a work of art,
+although it would imply many delicate manipulations of the pencil and
+subtle calculations of effects of color and shade. It is no more art[49]
+to manipulate a camel's hair pencil, than to manipulate a china tray and
+a glass vial. It is no more art to lay on color delicately, than to lay
+on acid delicately. It is no more art to use the cornea and retina for
+the reception of an image, than to use a lens and a piece of silvered
+paper. But the moment that inner part of the man, or rather that entire
+and only being of the man, of which cornea and retina, fingers and
+hands, pencils and colors, are all the mere servants and
+instruments;[50] that manhood which has light in itself, though the
+eyeball be sightless, and can gain in strength when the hand and the
+foot are hewn off and cast into the fire; the moment this part of the
+man stands forth with its solemn "Behold, it is I," then the work
+becomes art indeed, perfect in honor, priceless in value, boundless in
+power.
+
+� VII. Yet observe, I do not mean to speak of the body and soul as
+separable. The man is made up of both: they are to be raised and
+glorified together, and all art is an expression of the one, by and
+through the other. All that I would insist upon is, the necessity of the
+whole man being in his work; the body _must_ be in it. Hands and habits
+must be in it, whether we will or not; but the nobler part of the man
+may often not be in it. And that nobler part acts principally in love,
+reverence, and admiration, together with those conditions of thought
+which arise out of them. For we usually fall into much error by
+considering the intellectual powers as having dignity in themselves, and
+separable from the heart; whereas the truth is, that the intellect
+becomes noble and ignoble according to the food we give it, and the kind
+of subjects with which it is conversant. It is not the reasoning power
+which, of itself, is noble, but the reasoning power occupied with its
+proper objects. Half of the mistakes of metaphysicians have arisen from
+their not observing this; namely, that the intellect, going through the
+same processes, is yet mean or noble according to the matter it deals
+with, and wastes itself away in mere rotatory motion, if it be set to
+grind straws and dust. If we reason only respecting words, or lines, or
+any trifling and finite things, the reason becomes a contemptible
+faculty; but reason employed on holy and infinite things, becomes
+herself holy and infinite. So that, by work of the soul, I mean the
+reader always to understand the work of the entire immortal creature,
+proceeding from a quick, perceptive, and eager heart, perfected by the
+intellect, and finally dealt with by the hands, under the direct
+guidance of these higher powers.
+
+� VIII. And now observe, the first important consequence of our fully
+understanding this pre�minence of the soul, will be the due
+understanding of that subordination of knowledge respecting which so
+much has already been said. For it must be felt at once, that the
+increase of knowledge, merely as such, does not make the soul larger or
+smaller; that, in the sight of God, all the knowledge man can gain is as
+nothing: but that the soul, for which the great scheme of redemption was
+laid, be it ignorant or be it wise, is all in all; and in the activity,
+strength, health, and well-being of this soul, lies the main difference,
+in His sight, between one man and another. And that which is all in all
+in God's estimate is also, be assured, all in all in man's labor; and to
+have the heart open, and the eyes clear, and the emotions and thoughts
+warm and quick, and not the knowing of this or the other fact, is the
+state needed for all mighty doing in this world. And therefore finally,
+for this, the weightiest of all reasons, let us take no pride in our
+knowledge. We may, in a certain sense, be proud of being immortal; we
+may be proud of being God's children; we may be proud of loving,
+thinking, seeing, and of all that we are by no human teaching: but not
+of what we have been taught by rote; not of the ballast and freight of
+the ship of the spirit, but only of its pilotage, without which all the
+freight will only sink it faster, and strew the sea more richly with
+its ruin. There is not at this moment a youth of twenty, having received
+what we moderns ridiculously call education, but he knows more of
+everything, except the soul, than Plato or St. Paul did; but he is not
+for that reason a greater man, or fitter for his work, or more fit to be
+heard by others, than Plato or St. Paul. There is not at this moment a
+junior student in our schools of painting, who does not know fifty times
+as much about the art as Giotto did; but he is not for that reason
+greater than Giotto; no, nor his work better, nor fitter for our
+beholding. Let him go on to know all that the human intellect can
+discover and contain in the term of a long life, and he will not be one
+inch, one line, nearer to Giotto's feet. But let him leave his academy
+benches, and, innocently, as one knowing nothing, go out into the
+highways and hedges, and there rejoice with them that rejoice, and weep
+with them that weep; and in the next world, among the companies of the
+great and good, Giotto will give his hand to him, and lead him into
+their white circle, and say, "This is our brother."
+
+� IX. And the second important consequence of our feeling the soul's
+pre�minence will be our understanding the soul's language, however
+broken, or low, or feeble, or obscure in its words; and chiefly that
+great symbolic language of past ages, which has now so long been
+unspoken. It is strange that the same cold and formal spirit which the
+Renaissance teaching has raised amongst us, should be equally dead to
+the languages of imitation and of symbolism; and should at once disdain
+the faithful rendering of real nature by the modern school of the
+Pre-Raphaelites, and the symbolic rendering of imagined nature in the
+work of the thirteenth century. But so it is; and we find the same body
+of modern artists rejecting Pre-Raphaelitism because it is not ideal!
+and thirteenth century work, because it is not real!--their own practice
+being at once false and un-ideal, and therefore equally opposed to both.
+
+� X. It is therefore, at this juncture, of much importance to mark for
+the reader the exact relation of healthy symbolism and of healthy
+imitation; and, in order to do so, let us return to one of our Venetian
+examples of symbolic art, to the central cupola of St. Mark's. On that
+cupola, as has been already stated, there is a mosaic representing the
+Apostles on the Mount of Olives, with an olive-tree separating each from
+the other; and we shall easily arrive at our purpose, by comparing the
+means which would have been adopted by a modern artist bred in the
+Renaissance schools,--that is to say, under the influence of Claude and
+Poussin, and of the common teaching of the present day,--with those
+adopted by the Byzantine mosaicist to express the nature of these trees.
+
+� XI. The reader is doubtless aware that the olive is one of the most
+characteristic and beautiful features of all Southern scenery. On the
+slopes of the northern Apennines, olives are the usual forest timber;
+the whole of the Val d'Arno is wooded with them, every one of its
+gardens is filled with them, and they grow in orchard-like ranks out of
+its fields of maize, or corn, or vine; so that it is physically
+impossible, in most parts of the neighborhood of Florence, Pistoja,
+Lucca, or Pisa, to choose any site of landscape which shall not owe its
+leading character to the foliage of these trees. What the elm and oak
+are to England, the olive is to Italy; nay, more than this, its presence
+is so constant, that, in the case of at least four fifths of the
+drawings made by any artist in North Italy, he must have been somewhat
+impeded by branches of olive coming between him and the landscape. Its
+classical associations double its importance in Greece; and in the Holy
+Land the remembrances connected with it are of course more touching than
+can ever belong to any other tree of the field. Now, for many years
+back, at least one third out of all the landscapes painted by English
+artists have been chosen from Italian scenery; sketches in Greece and in
+the Holy Land have become as common as sketches on Hampstead Heath; our
+galleries also are full of sacred subjects, in which, if any background
+be introduced at all, the foliage of the olive ought to have been a
+prominent feature.
+
+And here I challenge the untravelled English reader to tell me what an
+olive-tree is like?
+
+� XII. I know he cannot answer my challenge. He has no more idea of an
+olive-tree than if olives grew only in the fixed stars. Let him meditate
+a little on this one fact, and consider its strangeness, and what a
+wilful and constant closing of the eyes to the most important truths it
+indicates on the part of the modern artist. Observe, a want of
+perception, not of science. I do not want painters to tell me any
+scientific facts about olive-trees. But it had been well for them to
+have felt and seen the olive-tree; to have loved it for Christ's sake,
+partly also for the helmed Wisdom's sake which was to the heathen in
+some sort as that nobler Wisdom which stood at God's right hand, when He
+founded the earth and established the heavens. To have loved it, even to
+the hoary dimness of its delicate foliage, subdued and faint of hue, as
+if the ashes of the Gethsemane agony had been cast upon it for ever; and
+to have traced, line by line, the gnarled writhing of its intricate
+branches, and the pointed fretwork of its light and narrow leaves,
+inlaid on the blue field of the sky, and the small rosy-white stars of
+its spring blossoming, and the beads of sable fruit scattered by autumn
+along its topmost boughs--the right, in Israel, of the stranger, the
+fatherless, and the widow,--and, more than all, the softness of the
+mantle, silver grey, and tender like the down on a bird's breast, with
+which, far away, it veils the undulation of the mountains;--these it had
+been well for them to have seen and drawn, whatever they had left
+unstudied in the gallery.
+
+� XIII. And if the reader would know the reason why this has not been
+done (it is one instance only out of the myriads which might be given of
+sightlessness in modern art), and will ask the artists themselves, he
+will be informed of another of the marvellous contradictions and
+inconsistencies in the base Renaissance art; for it will be answered
+him, that it is not right, nor according to law, to draw trees so that
+one should be known from another, but that trees ought to be generalized
+into a universal idea of a tree: that is to say, that the very school
+which carries its science in the representation of man down to the
+dissection of the most minute muscle, refuses so much science to the
+drawing of a tree as shall distinguish one species from another; and
+also, while it attends to logic, and rhetoric, and perspective, and
+atmosphere, and every other circumstance which is trivial, verbal,
+external, or accidental, in what it either says or sees, it will _not_
+attend to what is essential and substantial,--being intensely
+solicitous, for instance, if it draws two trees, one behind the other,
+that the farthest off shall be as much smaller as mathematics show that
+it should be, but totally unsolicitous to show, what to the spectator is
+a far more important matter, whether it is an apple or an orange tree.
+
+� XIV. This, however, is not to our immediate purpose. Let it be granted
+that an idea of an olive-tree is indeed to be given us in a special
+manner; how, and by what language, this idea is to be conveyed, are
+questions on which we shall find the world of artists again divided; and
+it was this division which I wished especially to illustrate by
+reference to the mosaics of St. Mark's.
+
+Now the main characteristics of an olive-tree are these. It has sharp
+and slender leaves of a greyish green, nearly grey on the under surface,
+and resembling, but somewhat smaller than, those of our common willow.
+Its fruit, when ripe, is black and lustrous; but of course so small,
+that, unless in great quantity, it is not conspicuous upon the tree. Its
+trunk and branches are peculiarly fantastic in their twisting, showing
+their fibres at every turn; and the trunk is often hollow, and even rent
+into many divisions like separate stems, but the extremities are
+exquisitely graceful, especially in the setting on of the leaves; and
+the notable and characteristic effect of the tree in the distance is of
+a rounded and soft mass or ball of downy foliage.
+
+� XV. Supposing a modern artist to address himself to the rendering of
+this tree with his best skill: he will probably draw accurately the
+twisting of the branches, but yet this will hardly distinguish the tree
+from an oak: he will also render the color and intricacy of the foliage,
+but this will only confuse the idea of an oak with that of a willow. The
+fruit, and the peculiar grace of the leaves at the extremities, and the
+fibrous structure of the stems, will all be too minute to be rendered
+consistently with his artistical feeling of breadth, or with the amount
+of labor which he considers it dexterous and legitimate to bestow upon
+the work: but, above all, the rounded and monotonous form of the head of
+the tree will be at variance with his ideas of "composition;" he will
+assuredly disguise or break it, and the main points of the olive-tree
+will all at last remain untold.
+
+� XVI. Now observe, the old Byzantine mosaicist begins his work at
+enormous disadvantage. It is to be some one hundred and fifty feet above
+the eye, in a dark cupola; executed not with free touches of the pencil,
+but with square pieces of glass; not by his own hand, but by various
+workmen under his superintendence; finally, not with a principal purpose
+of drawing olive-trees, but mainly as a decoration of the cupola. There
+is to be an olive-tree beside each apostle, and their stems are to be
+the chief lines which divide the dome. He therefore at once gives up the
+irregular twisting of the boughs hither and thither, but he will not
+give up their fibres. Other trees have irregular and fantastic branches,
+but the knitted cordage of fibres is the olive's own. Again, were he to
+draw the leaves of their natural size, they would be so small that their
+forms would be invisible in the darkness; and were he to draw them so
+large as that their shape might be seen, they would look like laurel
+instead of olive. So he arranges them in small clusters of five each,
+nearly of the shape which the Byzantines give to the petals of the lily,
+but elongated so as to give the idea of leafage upon a spray; and these
+clusters,--his object always, be it remembered, being _decoration_ not
+less than _representation_,--he arranges symmetrically on each side of
+his branches, laying the whole on a dark ground most truly suggestive of
+the heavy rounded mass of the tree, which, in its turn, is relieved
+against the gold of the cupola. Lastly, comes the question respecting
+the fruit. The whole power and honor of the olive is in its fruit; and,
+unless that be represented, nothing is represented. But if the berries
+were colored black or green, they would be totally invisible; if of
+any other color, utterly unnatural, and violence would be done to the
+whole conception. There is but one conceivable means of showing them,
+namely to represent them as golden. For the idea of golden fruit of
+various kinds was already familiar to the mind, as in the apples of the
+Hesperides, without any violence to the distinctive conception of the
+fruit itself.[51] So the mosaicist introduced small round golden berries
+into the dark ground between each leaf, and his work was done.
+
+[Illustration: Plate IV.
+               Mosaics of Olive-tree and Flowers.]
+
+� XVII. On the opposite plate, the uppermost figure on the left is a
+tolerably faithful representation of the general effect of one of these
+decorative olive-trees; the figure on the right is the head of the tree
+alone, showing the leaf clusters, berries, and _interlacing_ of the
+boughs as they leave the stem. Each bough is connected with a separate
+line of fibre in the trunk, and the junctions of the arms and stem are
+indicated, down to the very root of the tree, with a truth in structure
+which may well put to shame the tree anatomy of modern times.
+
+� XVIII. The white branching figures upon the serpentine band below are
+two of the clusters of flowers which form the foreground of a mosaic in
+the atrium. I have printed the whole plate in blue, because that color
+approaches more nearly than black to the distant effect of the mosaics,
+of which the darker portions are generally composed of blue, in greater
+quantity than any other color. But the waved background in this
+instance, is of various shades of blue and green alternately, with one
+narrow black band to give it force; the whole being intended to
+represent the distant effect and color of deep grass, and the wavy line
+to _express its bending motion_, just as the same symbol is used to
+represent the waves of water. Then the two white clusters are
+representative of the distinctly visible herbage close to the
+spectator, having buds and flowers of two kinds, springing in one case
+out of the midst of twisted grass, and in the other out of their own
+proper leaves; the clusters being kept each so distinctly symmetrical,
+as to form, when set side by side, an ornamental border of perfect
+architectural severity; and yet each cluster different from the next,
+and every flower, and bud, and knot of grass, varied in form and
+thought. The way the mosaic tesser� are arranged, so as to give the
+writhing of the grass blades round the stalks of the flowers, is
+exceedingly fine.
+
+The tree circles below are examples of still more severely conventional
+forms, adopted, on principle, when the decoration is to be in white and
+gold, instead of color; these ornaments being cut in white marble on the
+outside of the church, and the ground laid in with gold, though
+necessarily here represented, like the rest of the plate, in blue. And
+it is exceedingly interesting to see how the noble workman, the moment
+he is restricted to more conventional materials, retires into more
+conventional forms, and reduces his various leafage into symmetry, now
+nearly perfect; yet observe, in the central figure, where the symbolic
+meaning of the vegetation beside the cross required it to be more
+distinctly indicated, he has given it life and growth by throwing it
+into unequal curves on the opposite sides.
+
+� XIX. I believe the reader will now see, that in these mosaics, which
+the careless traveller is in the habit of passing by with contempt,
+there is a depth of feeling and of meaning greater than in most of the
+best sketches from nature of modern times; and, without entering into
+any question whether these conventional representations are as good as,
+under the required limitations, it was possible to render them, they are
+at all events good enough completely to illustrate that mode of
+symbolical expression which appeals altogether to thought, and in no
+wise trusts to realization. And little as, in the present state of our
+schools, such an assertion is likely to be believed, the fact is that
+this kind of expression is the _only one allowable in noble art_.
+
+� XX. I pray the reader to have patience with me for a few moments. I do
+not mean that no art is noble but Byzantine mosaic; but no art is noble
+which in any wise depends upon direct imitation for its effect upon the
+mind. This was asserted in the opening chapters of "Modern Painters,"
+but not upon the highest grounds; the results at which we have now
+arrived in our investigation of early art, will enable me to place it on
+a loftier and firmer foundation.
+
+� XXI. We have just seen that all great art is the work of the whole
+living creature, body and soul, and chiefly of the soul. But it is not
+only _the work_ of the whole creature, it likewise _addresses_ the whole
+creature. That in which the perfect being speaks, must also have the
+perfect being to listen. I am not to spend my utmost spirit, and give
+all my strength and life to my work, while you, spectator or hearer,
+will give me only the attention of half your soul. You must be all mine,
+as I am all yours; it is the only condition on which we can meet each
+other. All your faculties, all that is in you of greatest and best, must
+be awake in you, or I have no reward. The painter is not to cast the
+entire treasure of his human nature into his labor, merely to please a
+part of the beholder: not merely to delight his senses, not merely to
+amuse his fancy, not merely to beguile him into emotion, not merely to
+lead him into thought, but to do _all_ this. Senses, fancy, feeling,
+reason, the whole of the beholding spirit, must be stilled in attention
+or stirred with delight; else the laboring spirit has not done its work
+well. For observe, it is not merely its _right_ to be thus met, face to
+face, heart to heart; but it is its _duty_ to evoke its answering of the
+other soul; its trumpet call must be so clear, that though the challenge
+may by dulness or indolence be unanswered, there shall be no error as to
+the meaning of the appeal; there must be a summons in the work, which it
+shall be our own fault if we do not obey. We require this of it, we
+beseech this of it. Most men do not know what is in them, till they
+receive this summons from their fellows: their hearts die within them,
+sleep settles upon them, the lethargy of the world's miasmata; there is
+nothing for which they are so thankful as for that cry, "Awake, thou
+that sleepest." And this cry must be most loudly uttered to their
+noblest faculties; first of all to the imagination, for that is the most
+tender, and the soonest struck into numbness by the poisoned air; so
+that one of the main functions of art in its service to man, is to
+arouse the imagination from its palsy, like the angel troubling the
+Bethesda pool; and the art which does not do this is false to its duty,
+and degraded in its nature. It is not enough that it be well imagined,
+it must task the beholder also to imagine well; and this so
+imperatively, that if he does not choose to rouse himself to meet the
+work, he shall not taste it, nor enjoy it in any wise. Once that he is
+well awake, the guidance which the artist gives him should be full and
+authoritative: the beholder's imagination must not be suffered to take
+its own way, or wander hither and thither; but neither must it be left
+at rest; and the right point of realization, for any given work of art,
+is that which will enable the spectator to complete it for himself, in
+the exact way the artist would have him, but not that which will save
+him the trouble of effecting the completion. So soon as the idea is
+entirely conveyed, the artist's labor should cease; and every touch
+which he adds beyond the point when, with the help of the beholder's
+imagination, the story ought to have been told, is a degradation to his
+work. So that the art is wrong, which either realizes its subject
+completely, or fails in giving such definite aid as shall enable it to
+be realized by the beholding imagination.
+
+� XXII. It follows, therefore, that the quantity of finish or detail
+which may rightly be bestowed upon any work, depends on the number and
+kind of ideas which the artist wishes to convey, much more than on the
+amount of realization necessary to enable the imagination to grasp them.
+It is true that the differences of judgment formed by one or another
+observer are in great degree dependent on their unequal imaginative
+powers, as well as their unequal efforts in following the artist's
+intention; and it constantly happens that the drawing which appears
+clear to the painter in whose mind the thought is formed, is slightly
+inadequate to suggest it to the spectator. These causes of false
+judgment, or imperfect achievement, must always exist, but they are of
+no importance. For, in nearly every mind, the imaginative power, however
+unable to act independently, is so easily helped and so brightly
+animated by the most obscure suggestion, that there is no form of
+artistical language which will not readily be seized by it, if once it
+set itself intelligently to the task; and even without such effort there
+are few hieroglyphics of which, once understanding that it is to take
+them as hieroglyphics, it cannot make itself a pleasant picture.
+
+� XXIII. Thus, in the case of all sketches, etchings, unfinished
+engravings, &c., no one ever supposes them to be imitations. Black
+outlines on white paper cannot produce a deceptive resemblance of
+anything; and the mind, understanding at once that it is to depend on
+its own powers for great part of its pleasure, sets itself so actively
+to the task that it can completely enjoy the rudest outline in which
+meaning exists. Now, when it is once in this temper, the artist is
+infinitely to be blamed who insults it by putting anything into his work
+which is not suggestive: having summoned the imaginative power, he must
+turn it to account and keep it employed, or it will run against him in
+indignation. Whatever he does merely to realize and substantiate an idea
+is impertinent; he is like a dull story-teller, dwelling on points which
+the hearer anticipates or disregards. The imagination will say to him:
+"I knew all that before; I don't want to be told that. Go on; or be
+silent, and let me go on in my own way. I can tell the story better than
+you."
+
+Observe, then, whenever finish is given for the sake of realization, it
+is wrong; whenever it is given for the sake of adding ideas it is right.
+All true finish consists in the addition of ideas, that is to say, in
+giving the imagination more food; for once well awaked, it is ravenous
+for food: but the painter who finishes in order to substantiate takes
+the food out of its mouth, and it will turn and rend him.
+
+� XXIV. Let us go back, for instance, to our olive grove,--or, lest the
+reader should be tired of olives, let it be an oak copse,--and consider
+the difference between the substantiating and the imaginative methods of
+finish in such a subject. A few strokes of the pencil, or dashes of
+color, will be enough to enable the imagination to conceive a tree; and
+in those dashes of color Sir Joshua Reynolds would have rested, and
+would have suffered the imagination to paint what more it liked for
+itself, and grow oaks, or olives, or apples, out of the few dashes of
+color at its leisure. On the other hand, Hobbima, one of the worst of
+the realists, smites the imagination on the mouth, and bids it be
+silent, while he sets to work to paint his oak of the right green, and
+fill up its foliage laboriously with jagged touches, and furrow the bark
+all over its branches, so as, if possible, to deceive us into supposing
+that we are looking at a real oak; which, indeed, we had much better do
+at once, without giving any one the trouble to deceive us in the matter.
+
+� XXV. Now, the truly great artist neither leaves the imagination to
+itself, like Sir Joshua, nor insults it by realization, like Hobbima,
+but finds it continual employment of the happiest kind. Having summoned
+it by his vigorous first touches, he says to it: "Here is a tree for
+you, and it is to be an oak. Now I know that you can make it green and
+intricate for yourself, but that is not enough: an oak is not only green
+and intricate, but its leaves have most beautiful and fantastic forms
+which I am very sure you are not quite able to complete without help; so
+I will draw a cluster or two perfectly for you, and then you can go on
+and do all the other clusters. So far so good: but the leaves are not
+enough; the oak is to be full of acorns, and you may not be quite able
+to imagine the way they grow, nor the pretty contrast of their glossy
+almond-shaped nuts with the chasing of their cups; so I will draw a
+bunch or two of acorns for you, and you can fill up the oak with others
+like them. Good: but that is not enough; it is to be a bright day in
+summer, and all the outside leaves are to be glittering in the sunshine
+as if their edges were of gold: I cannot paint this, but you can; so I
+will really gild some of the edges nearest you,[52] and you can turn
+the gold into sunshine, and cover the tree with it. Well done: but still
+this is not enough; the tree is so full foliaged and so old that the
+wood birds come in crowds to build there; they are singing, two or three
+under the shadow of every bough. I cannot show you them all; but here is
+a large one on the outside spray, and you can fancy the others inside."
+
+� XXVI. In this way the calls upon the imagination are multiplied as a
+great painter finishes; and from these larger incidents he may proceed
+into the most minute particulars, and lead the companion imagination to
+the veins in the leaves and the mosses on the trunk, and the shadows of
+the dead leaves upon the grass, but always multiplying thoughts, or
+subjects of thought, never working for the sake of realization; the
+amount of realization actually reached depending on his space, his
+materials, and the nature of the thoughts he wishes to suggest. In the
+sculpture of an oak-tree, introduced above an Adoration of the Magi on
+the tomb of the Doge Marco Dolfino (fourteenth century), the sculptor
+has been content with a few leaves, a single acorn, and a bird; while,
+on the other hand, Millais' willow-tree with the robin, in the
+background of his "Ophelia," or the foreground of Hunt's "Two Gentlemen
+of Verona," carries the appeal to the imagination into particulars so
+multiplied and minute, that the work nearly reaches realization. But it
+does not matter how near realization the work may approach in its
+fulness, or how far off it may remain in its slightness, so long as
+realization is not the end proposed, but the informing one spirit of the
+thoughts of another. And in this greatness and simplicity of purpose all
+noble art is alike, however slight its means, or however perfect, from
+the rudest mosaics of St. Mark's to the most tender finishing of the
+"Huguenot" or the "Ophelia."
+
+� XXVII. Only observe, in this matter, that a greater degree of
+realization is often allowed, for the sake of color, than would be right
+without it. For there is not any distinction between the artists of the
+inferior and the nobler schools more definite than this; that the first
+_color for the sake of realization_, and the second _realize for the
+sake of color_. I hope that, in the fifth chapter, enough has been said
+to show the nobility of color, though it is a subject on which I would
+fain enlarge whenever I approach it: for there is none that needs more
+to be insisted upon, chiefly on account of the opposition of the persons
+who have no eye for color, and who, being therefore unable to understand
+that it is just as divine and distinct in its power as music (only
+infinitely more varied in its harmonies), talk of it as if it were
+inferior and servile with respect to the other powers of art;[53]
+whereas it is so far from being this, that wherever it enters it must
+take the mastery, and, whatever else is sacrificed for its sake, _it_,
+at least, must be right. This is partly the case even with music: it is
+at our choice, whether we will accompany a poem with music, or not; but,
+if we do, the music _must_ be right, and neither discordant nor
+inexpressive. The goodness and sweetness of the poem cannot save it, if
+the music be harsh or false; but, if the music be right, the poem may be
+insipid or inharmonious, and still saved by the notes to which it is
+wedded. But this is far more true of color. If that be wrong, all is
+wrong. No amount of expression or invention can redeem an ill-colored
+picture; while, on the other hand, if the color be right, there is
+nothing it will not raise or redeem; and, therefore, wherever color
+enters at all, anything _may_ be sacrificed to it, and, rather than it
+should be false or feeble, everything _must_ be sacrificed to it: so
+that, when an artist touches color, it is the same thing as when a poet
+takes up a musical instrument; he implies, in so doing, that he is a
+master, up to a certain point, of that instrument, and can produce sweet
+sound from it, and is able to fit the course and measure of his words to
+its tones, which, if he be not able to do, he had better not have
+touched it. In like manner, to add color to a drawing is to undertake
+for the perfection of a visible music, which, if it be false, will
+utterly and assuredly mar the whole work; if true, proportionately
+elevate it, according to its power and sweetness. But, in no case ought
+the color to be added in order to increase the realization. The drawing
+or engraving is all that the imagination needs. To "paint" the subject
+merely to make it more real, is only to insult the imaginative power and
+to vulgarize the whole. Hence the common, though little understood
+feeling, among men of ordinary cultivation, that an inferior sketch is
+always better than a bad painting; although, in the latter, there may
+verily be more skill than in the former. For the painter who has
+presumed to touch color without perfectly understanding it, not for the
+color's sake, nor because he loves it, but for the sake of completion
+merely, has committed two sins against us; he has dulled the imagination
+by not trusting it far enough, and then, in this languid state, he
+oppresses it with base and false color; for all color that is not
+lovely, is discordant; there is no mediate condition. So, therefore,
+when it is permitted to enter at all, it must be with the
+predetermination that, cost what it will, the color shall be right and
+lovely: and I only wish that, in general, it were better understood that
+a _painter's_ business is _to paint_, primarily; and that all
+expression, and grouping, and conceiving, and what else goes to
+constitute design, _are of less importance than color, in a colored
+work_. And so they were always considered in the noble periods; and
+sometimes all resemblance to nature whatever (as in painted windows,
+illuminated manuscripts, and such other work) is sacrificed to the
+brilliancy of color; sometimes distinctness of form to its richness, as
+by Titian, Turner, and Reynolds; and, which is the point on which we are
+at present insisting, sometimes, in the pursuit of its utmost
+refinements on the surfaces of objects, an amount of realization becomes
+consistent with noble art, which would otherwise be altogether
+inadmissible, that is to say, which no great mind could otherwise have
+either produced or enjoyed. The extreme finish given by the
+Pre-Raphaelites is rendered noble chiefly by their love of color.
+
+� XXVIII. So then, whatever may be the means, or whatever the more
+immediate end of any kind of art, all of it that is good agrees in this,
+that it is the expression of one soul talking to another, and is
+precious according to the greatness of the soul that utters it. And
+consider what mighty consequences follow from our acceptance of this
+truth! what a key we have herein given us for the interpretation of the
+art of all time! For, as long as we held art to consist in any high
+manual skill, or successful imitation of natural objects, or any
+scientific and legalized manner of performance whatever, it was
+necessary for us to limit our admiration to narrow periods and to few
+men. According to our own knowledge and sympathies, the period chosen
+might be different, and our rest might be in Greek statues, or Dutch
+landscapes, or Italian Madonnas; but, whatever our choice, we were
+therein captive, barred from all reverence but of our favorite masters,
+and habitually using the language of contempt towards the whole of the
+human race to whom it had not pleased Heaven to reveal the arcana of the
+particular craftsmanship we admired, and who, it might be, had lived
+their term of seventy years upon the earth, and fitted themselves
+therein for the eternal world, without any clear understanding,
+sometimes even with an insolent disregard, of the laws of perspective
+and chiaroscuro.
+
+But let us once comprehend the holier nature of the art of man, and
+begin to look for the meaning of the spirit, however syllabled, and the
+scene is changed; and we are changed also. Those small and dexterous
+creatures whom once we worshipped, those fur-capped divinities with
+sceptres of camel's hair, peering and poring in their one-windowed
+chambers over the minute preciousness of the labored canvas; how are
+they swept away and crushed into unnoticeable darkness! And in their
+stead, as the walls of the dismal rooms that enclosed them, and us, are
+struck by the four winds of Heaven, and rent away, and as the world
+opens to our sight, lo! far back into all the depths of time, and forth
+from all the fields that have been sown with human life, how the harvest
+of the dragon's teeth is springing! how the companies of the gods are
+ascending out of the earth! The dark stones that have so long been the
+sepulchres of the thoughts of nations, and the forgotten ruins wherein
+their faith lay charnelled, give up the dead that were in them; and
+beneath the Egyptian ranks of sultry and silent rock, and amidst the dim
+golden lights of the Byzantine dome, and out of the confused and cold
+shadows of the Northern cloister, behold, the multitudinous souls come
+forth with singing, gazing on us with the soft eyes of newly
+comprehended sympathy, and stretching their white arms to us across the
+grave, in the solemn gladness of everlasting brotherhood.
+
+� XXIX. The other danger to which, it was above said, we were primarily
+exposed under our present circumstances of life, is the pursuit of vain
+pleasure, that is to say, false pleasure; delight, which is not indeed
+delight; as knowledge vainly accumulated, is not indeed knowledge. And
+this we are exposed to chiefly in the fact of our ceasing to be
+children. For the child does not seek false pleasure; its pleasures are
+true, simple, and instinctive: but the youth is apt to abandon his early
+and true delight for vanities,--seeking to be like men, and sacrificing
+his natural and pure enjoyments to his pride. In like manner, it seems
+to me that modern civilization sacrifices much pure and true pleasure to
+various forms of ostentation from which it can receive no fruit.
+Consider, for a moment, what kind of pleasures are open to human nature,
+undiseased. Passing by the consideration of the pleasures of the higher
+affections, which lie at the root of everything, and considering the
+definite and practical pleasures of daily life, there is, first, the
+pleasure of doing good; the greatest of all, only apt to be despised
+from not being often enough tasted: and then, I know not in what order
+to put them, nor does it matter,--the pleasure of gaining knowledge; the
+pleasure of the excitement of imagination and emotion (or poetry and
+passion); and, lastly, the gratification of the senses, first of the
+eye, then of the ear, and then of the others in their order.
+
+� XXX. All these we are apt to make subservient to the desire of praise;
+nor unwisely, when the praise sought is God's and the conscience's: but
+if the sacrifice is made for man's admiration, and knowledge is only
+sought for praise, passion repressed or affected for praise, and the
+arts practised for praise, we are feeding on the bitterest apples of
+Sodom, suffering always ten mortifications for one delight. And it seems
+to me, that in the modern civilized world we make such sacrifice doubly:
+first, by laboring for merely ambitious purposes; and secondly, which is
+the main point in question, by being ashamed of simple pleasures, more
+especially of the pleasure in sweet color and form, a pleasure evidently
+so necessary to man's perfectness and virtue, that the beauty of color
+and form has been given lavishly throughout the whole of creation, so
+that it may become the food of all, and with such intricacy and subtlety
+that it may deeply employ the thoughts of all. If we refuse to accept
+the natural delight which the Deity has thus provided for us, we must
+either become ascetics, or we must seek for some base and guilty
+pleasures to replace those of Paradise, which we have denied ourselves.
+
+Some years ago, in passing through some of the cells of the Grand
+Chartreuse, noticing that the window of each apartment looked across the
+little garden of its inhabitant to the wall of the cell opposite, and
+commanded no other view, I asked the monk beside me, why the window was
+not rather made on the side of the cell whence it would open to the
+solemn fields of the Alpine valley. "We do not come here," he replied,
+"to look at the mountains."
+
+� XXXI. The same answer is given, practically, by the men of this
+century, to every such question; only the walls with which they enclose
+themselves are those of pride, not of prayer. But in the middle ages it
+was otherwise. Not, indeed, in landscape itself, but in the art which
+can take the place of it, in the noble color and form with which they
+illumined, and into which they wrought, every object around them that
+was in any wise subjected to their power, they obeyed the laws of their
+inner nature, and found its proper food. The splendor and fantasy even
+of dress, which in these days we pretend to despise, or in which, if we
+even indulge, it is only for the sake of vanity, and therefore to our
+infinite harm, were in those early days studied for love of their true
+beauty and honorableness, and became one of the main helps to dignity of
+character, and courtesy of bearing. Look back to what we have been told
+of the dress of the early Venetians, that it was so invented "that in
+clothing themselves with it, they might clothe themselves also with
+modesty and honor;"[54] consider what nobleness of expression there is
+in the dress of any of the portrait figures of the great times, nay,
+what perfect beauty, and more than beauty, there is in the folding of
+the robe round the imagined form even of the saint or of the angel; and
+then consider whether the grace of vesture be indeed a thing to be
+despised. We cannot despise it if we would; and in all our highest
+poetry and happiest thought we cling to the magnificence which in daily
+life we disregard. The essence of modern romance is simply the return of
+the heart and fancy to the things in which they naturally take pleasure;
+and half the influence of the best romances, of Ivanhoe, or Marmion, or
+the Crusaders, or the Lady of the Lake, is completely dependent upon the
+accessaries of armor and costume. Nay, more than this, deprive the Iliad
+itself of its costume, and consider how much of its power would be lost.
+And that delight and reverence which we feel in, and by means of, the
+mere imagination of these accessaries, the middle ages had in the vision
+of them; the nobleness of dress exercising, as I have said, a perpetual
+influence upon character, tending in a thousand ways to increase
+dignity and self-respect, and together with grace of gesture, to induce
+serenity of thought.
+
+� XXXII. I do not mean merely in its magnificence; the most splendid
+time was not the best time. It was still in the thirteenth
+century,--when, as we have seen, simplicity and gorgeousness were justly
+mingled, and the "leathern girdle and clasp of bone" were worn, as well
+as the embroidered mantle,--that the manner of dress seems to have been
+noblest. The chain mail of the knight, flowing and falling over his form
+in lapping waves of gloomy strength, was worn under full robes of one
+color in the ground, his crest quartered on them, and their borders
+enriched with subtle illumination. The women wore first a dress close to
+the form in like manner, and then long and flowing robes, veiling them
+up to the neck, and delicately embroidered around the hem, the sleeves,
+and the girdle. The use of plate armor gradually introduced more
+fantastic types; the nobleness of the form was lost beneath the steel;
+the gradually increasing luxury and vanity of the age strove for
+continual excitement in more quaint and extravagant devices; and in the
+fifteenth century, dress reached its point of utmost splendor and fancy,
+being in many cases still exquisitely graceful, but now, in its morbid
+magnificence, devoid of all wholesome influence on manners. From this
+point, like architecture, it was rapidly degraded; and sank through the
+buff coat, and lace collar, and jack-boot, to the bag-wig, tailed coat,
+and high-heeled shoes; and so to what it is now.
+
+� XXXIII. Precisely analogous to this destruction of beauty in dress,
+has been that of beauty in architecture; its color, and grace, and
+fancy, being gradually sacrificed to the base forms of the Renaissance,
+exactly as the splendor of chivalry has faded into the paltriness of
+fashion. And observe the form in which the necessary reaction has taken
+place; necessary, for it was not possible that one of the strongest
+instincts of the human race could be deprived altogether of its natural
+food. Exactly in the degree that the architect withdrew from his
+buildings the sources of delight which in early days they had so richly
+possessed, demanding, in accordance with the new principles of taste,
+the banishment of all happy color and healthy invention, in that degree
+the minds of men began to turn to landscape as their only resource. The
+picturesque school of art rose up to address those capacities of
+enjoyment for which, in sculpture, architecture, or the higher walks of
+painting, there was employment no more; and the shadows of Rembrandt,
+and savageness of Salvator, arrested the admiration which was no longer
+permitted to be rendered to the gloom or the grotesqueness of the Gothic
+aisle. And thus the English school of landscape, culminating in Turner,
+is in reality nothing else than a healthy effort to fill the void which
+the destruction of Gothic architecture has left.
+
+� XXXIV. But the void cannot thus be completely filled; no, nor filled
+in any considerable degree. The art of landscape-painting will never
+become thoroughly interesting or sufficing to the minds of men engaged
+in active life, or concerned principally with practical subjects. The
+sentiment and imagination necessary to enter fully into the romantic
+forms of art are chiefly the characteristics of youth; so that nearly
+all men as they advance in years, and some even from their childhood
+upwards, must be appealed to, if at all, by a direct and substantial
+art, brought before their daily observation and connected with their
+daily interests. No form of art answers these conditions so well as
+architecture, which, as it can receive help from every character of mind
+in the workman, can address every character of mind in the spectator;
+forcing itself into notice even in his most languid moments, and
+possessing this chief and peculiar advantage, that it is the property of
+all men. Pictures and statues may be jealously withdrawn by their
+possessors from the public gaze, and to a certain degree their safety
+requires them to be so withdrawn; but the outsides of our houses belong
+not so much to us as to the passer-by, and whatever cost and pains we
+bestow upon them, though too often arising out of ostentation, have at
+least the effect of benevolence.
+
+� XXXV. If, then, considering these things, any of my readers should
+determine, according to their means, to set themselves to the revival
+of a healthy school of architecture in England, and wish to know in few
+words how this may be done, the answer is clear and simple. First, let
+us cast out utterly whatever is connected with the Greek, Roman, or
+Renaissance architecture, in principle or in form. We have seen above,
+that the whole mass of the architecture, founded on Greek and Roman
+models, which we have been in the habit of building for the last three
+centuries, is utterly devoid of all life, virtue, honorableness, or
+power of doing good. It is base, unnatural, unfruitful, unenjoyable, and
+impious. Pagan in its origin, proud and unholy in its revival, paralyzed
+in its old age, yet making prey in its dotage of all the good and living
+things that were springing around it in their youth, as the dying and
+desperate king, who had long fenced himself so strongly with the towers
+of it, is said to have filled his failing veins with the blood of
+children;[55] an architecture invented, as it seems, to make plagiarists
+of its architects, slaves of its workmen, and Sybarites of its
+inhabitants; an architecture in which intellect is idle, invention
+impossible, but in which all luxury is gratified, and all insolence
+fortified;--the first thing we have to do is to cast it out, and shake
+the dust of it from our feet for ever. Whatever has any connexion with
+the five orders, or with any one of the orders,--whatever is Doric, or
+Ionic, or Tuscan, or Corinthian, or Composite, or in any way Grecized or
+Romanized; whatever betrays the smallest respect for Vitruvian laws, or
+conformity with Palladian work,--that we are to endure no more. To
+cleanse ourselves of these "cast clouts and rotten rags" is the first
+thing to be done in the court of our prison.
+
+� XXXVI. Then, to turn our prison into a palace is an easy thing. We
+have seen above, that exactly in the degree in which Greek and Roman
+architecture is lifeless, unprofitable, and unchristian, in that same
+degree our own ancient Gothic is animated, serviceable, and faithful. We
+have seen that it is flexible to all duty, enduring to all time,
+instructive to all hearts, honorable and holy in all offices. It is
+capable alike of all lowliness and all dignity, fit alike for cottage
+porch or castle gateway; in domestic service familiar, in religious,
+sublime; simple, and playful, so that childhood may read it, yet clothed
+with a power that can awe the mightiest, and exalt the loftiest of human
+spirits: an architecture that kindles every faculty in its workman, and
+addresses every emotion in its beholder; which, with every stone that is
+laid on its solemn walls, raises some human heart a step nearer heaven,
+and which from its birth has been incorporated with the existence, and
+in all its form is symbolical of the faith, of Christianity. In this
+architecture let us henceforward build, alike the church, the palace,
+and the cottage; but chiefly let us use it for our civil and domestic
+buildings. These once ennobled, our ecclesiastical work will be exalted
+together with them: but churches are not the proper scenes for
+experiments in untried architecture, nor for exhibitions of unaccustomed
+beauty. It is certain that we must often fail before we can again build
+a natural and noble Gothic: let not our temples be the scenes of our
+failures. It is certain that we must offend many deep-rooted prejudices,
+before ancient Christian architecture[56] can be again received by all
+of us: let not religion be the first source of such offence. We shall
+meet with difficulties in applying Gothic architecture to churches,
+which would in no wise affect the designs of civil buildings, for the
+most beautiful forms of Gothic chapels are not those which are best
+fitted for Protestant worship. As it was noticed in the second volume,
+when speaking of the Cathedral of Torcello it seems not unlikely, that
+as we study either the science of sound, or the practice of the early
+Christians, we may see reason to place the pulpit generally at the
+extremity of the apse or chancel; an arrangement entirely destructive of
+the beauty of a Gothic church, as seen in existing examples, and
+requiring modifications of its design in other parts with which we
+should be unwise at present to embarrass ourselves; besides, that the
+effort to introduce the style exclusively for ecclesiastical purposes,
+excites against it the strong prejudices of many persons who might
+otherwise be easily enlisted among its most ardent advocates. I am quite
+sure, for instance, that if such noble architecture as has been employed
+for the interior of the church just built in Margaret Street[57] had
+been seen in a civil building, it would have decided the question with
+many men at once; whereas, at present, it will be looked upon with fear
+and suspicion, as the expression of the ecclesiastical principles of a
+particular party. But, whether thus regarded or not, this church
+assuredly decides one question conclusively, that of our present
+capability of Gothic design. It is the first piece of architecture I
+have seen, built in modern days, which is free from all signs of
+timidity or incapacity. In general proportion of parts, in refinement
+and piquancy of mouldings, above all, in force, vitality, and grace of
+floral ornament, worked in a broad and masculine manner, it challenges
+fearless comparison with the noblest work of any time. Having done this,
+we may do anything; there need be no limits to our hope or our
+confidence; and I believe it to be possible for us, not only to equal,
+but far to surpass, in some respects, any Gothic yet seen in Northern
+countries. In the introduction of figure-sculpture, we must, indeed, for
+the present, remain utterly inferior, for we have no figures to study
+from. No architectural sculpture was ever good for anything which did
+not represent the dress and persons of the people living at the time;
+and our modern dress will _not_ form decorations for spandrils and
+niches. But in floral sculpture we may go far beyond what has yet been
+done, as well as in refinement of inlaid work and general execution.
+For, although the glory of Gothic architecture is to receive the rudest
+work, it refuses not the best; and, when once we have been content to
+admit the handling of the simplest workman, we shall soon be rewarded by
+finding many of our simple workmen become cunning ones: and, with the
+help of modern wealth and science, we may do things like Giotto's
+campanile, instead of like our own rude cathedrals; but better than
+Giotto's campanile, insomuch as we may adopt the pure and perfect forms
+of the Northern Gothic, and work them out with the Italian refinement.
+It is hardly possible at present to imagine what may be the splendor of
+buildings designed in the forms of English and French thirteenth century
+_surface_ Gothic, and wrought out with the refinement of Italian art in
+the details, and with a deliberate resolution, since we cannot have
+figure sculpture, to display in them the beauty of every flower and herb
+of the English fields, each by each; doing as much for every tree that
+roots itself in our rocks, and every blossom that drinks our summer
+rains, as our ancestors did for the oak, the ivy, and the rose. Let this
+be the object of our ambition, and let us begin to approach it, not
+ambitiously, but in all humility, accepting help from the feeblest
+hands; and the London of the nineteenth century may yet become as Venice
+without her despotism, and as Florence without her dispeace.
+
+
+FOOTNOTES:
+
+  [46] In the works of Turner and the Pre-Raphaelites.
+
+  [47] Observe, I speak of these various principles as self-evident,
+    only under the present circumstances of the world, not as if they
+    had always been so; and I call them now self-evident, not merely
+    because they seem so to myself, but because they are felt to be so
+    likewise by all the men in whom I place most trust. But granting
+    that they are not so, then their very disputability proves the state
+    of infancy above alleged, as characteristic of the world. For I do
+    not suppose that any Christian reader will doubt the first great
+    truth, that whatever facts or laws are important to mankind, God has
+    made ascertainable by mankind; and that as the decision of all these
+    questions is of vital importance to the race, that decision must
+    have been long ago arrived at, unless they were still in a state of
+    childhood.
+
+  [48] I intended to have given a sketch in this place (above referred
+    to) of the probable results of the daguerreotype and calotype within
+    the next few years, in modifying the application of the engraver's
+    art, but I have not had time to complete the experiments necessary
+    to enable me to speak with certainty. Of one thing, however, I have
+    little doubt, that an infinite service will soon be done to a large
+    body of our engravers; namely, the making them draughtsmen (in black
+    and white) on paper instead of steel.
+
+  [49] I mean art in its highest sense. All that men do ingeniously is
+    art, in one sense. In fact, we want a definition of the word "art"
+    much more accurate than any in our minds at present. For, strictly
+    speaking, there is no such thing as "fine" or "high" art. All _art_
+    is a low and common thing, and what we indeed respect is not art at
+    all, but _instinct_ or _inspiration_ expressed by the help of art.
+
+  [50] "_Socrates_. This, then, was what I asked you; whether that
+    which puts anything else to service, and the thing which is put to
+    service by it, are always two different things?
+
+    _Alcibiades._ I think so.
+
+    _Socrates._ What shall we then say of the leather-cutter? Does he
+    cut his leather with his instruments only, or with his hands also?
+
+    _Alcibiades._ With his hands also.
+
+    _Socrates._ Does he not use his eyes as well as his hands?
+
+    _Alcibiades._ Yes.
+
+    _Socrates._ And we agreed that the thing which uses and the thing
+    which is used, were different things?
+
+    _Alcibiades._ Yes.
+
+    _Socrates._ Then the leather-cutter is not the same thing as his
+    eyes or hands?
+
+    _Alcibiades._ So it appears.
+
+    _Socrates._ Does not, then, man make use of his whole body?
+
+    _Alcibiades._ Assuredly.
+
+    _Socrates._ Then the man is not the same thing as his body?
+
+    _Alcibiades._ It seems so.
+
+    _Socrates._ What, then, _is_ the man?
+
+    _Alcibiades._ I know not."
+
+    _Plato_, Alcibiades I.
+
+  [51] Thus the grapes pressed by Excesse are partly golden (Spenser,
+    book ii. cant. 12.):
+
+            "Which did themselves amongst the leaves enfold,
+             As lurking from the view of covetous guest,
+             That the weake boughes, with so rich load opprest
+             Did bow adowne as overburdened."
+
+  [52] The reader must not suppose that the use of gold, in this manner,
+    is confined to early art. Tintoret, the greatest master of pictorial
+    effect that ever existed, has gilded the ribs of the fig-leaves in
+    his "Resurrection," in the Scuola di San Rocco.
+
+  [53] Nothing is more wonderful to me than to hear the pleasure of the
+    eye, in color, spoken of with disdain as "sensual," while people
+    exalt that of the ear in music. Do they really suppose the eye is a
+    less noble bodily organ than the ear,--that the organ by which
+    nearly all our knowledge of the external universe is communicated to
+    us, and through which we learn the wonder and the love, can be less
+    exalted in its own peculiar delight than the ear, which is only for
+    the communication of the ideas which owe to the eye their very
+    existence? I do not mean to depreciate music: let it be loved and
+    reverenced as is just; only let the delight of the eye be reverenced
+    more. The great power of music over the multitude is owing, not to
+    its being less but _more_ sensual than color; it is so distinctly
+    and so richly sensual, that it can be idly enjoyed; it is exactly at
+    the point where the lower and higher pleasures of the senses and
+    imagination are balanced; so that pure and great minds love it for
+    its invention and emotion, and lower minds for its sensual power.
+
+  [54] Vol. II. Appendix 7.
+
+  [55] Louis the Eleventh. "In the month of March, 1481, Louis was
+    seized with a fit of apoplexy at _St. B�noit-du-lac-mort_, near
+    Chinon. He remained speechless and bereft of reason three days; and
+    then but very imperfectly restored, he languished in a miserable
+    state.... To cure him," says a contemporary historian, "wonderful
+    and terrible medicines were compounded. It was reported among the
+    people that his physicians opened the veins of little children, and
+    made him drink their blood, to correct the poorness of his
+    own."--_Bussey's History of France._ London, 1850.
+
+  [56] Observe, I call Gothic "Christian" architecture, not
+    "ecclesiastical." There is a wide difference. I believe it is the
+    only architecture which Christian men should build, but not at all
+    an architecture necessarily connected with the services of their
+    church.
+
+  [57] Mr. Hope's Church, in Margaret Street, Portland Place. I do not
+    altogether like the arrangements of color in the brickwork; but
+    these will hardly attract the eye, where so much has been already
+    done with precious and beautiful marble, and is yet to be done in
+    fresco. Much will depend, however, upon the coloring of this latter
+    portion. I wish that either Holman Hunt or Millais could be
+    prevailed upon to do at least some of these smaller frescoes.
+
+
+
+
+APPENDIX.
+
+
+1. ARCHITECT OF THE DUCAL PALACE.
+
+Popular tradition and a large number of the chroniclers ascribe the
+building of the Ducal Palace to that Filippo Calendario who suffered
+death for his share in the conspiracy of Faliero. He was certainly one
+of the leading architects of the time, and had for several years the
+superintendence of the works of the Palace; but it appears, from the
+documents collected by the Abb� Cadorin, that the first designer of the
+Palace, the man to whom we owe the adaptation of the Frari traceries to
+civil architecture, was Pietro Baseggio, who is spoken of expressly as
+"formerly the Chief Master of our New Palace,"[58] in the decree of
+1361, quoted by Cadorin, and who, at his death, left Calendario his
+executor. Other documents collected by Zanotto, in his work on "Venezia
+e le sue Lagune," show that Calendario was for a long time at sea, under
+the commands of the Signory, returning to Venice only three or four
+years before his death; and that therefore the entire management of the
+works of the Palace, in the most important period, must have been
+entrusted to Baseggio.
+
+It is quite impossible, however, in the present state of the Palace, to
+distinguish one architect's work from another in the older parts; and I
+have not in the text embarrassed the reader by any attempt at close
+definition of epochs before the great junction of the Piazzetta Fa�ade
+with the older palace in the fifteenth century. Here, however, it is
+necessary that I should briefly state the observations I was able to
+make on the relative dates of the earlier portions.
+
+In the description of the Fig-tree angle, given in the eighth chapter of
+Vol. II., I said that it seemed to me somewhat earlier than that of the
+Vine, and the reader might be surprised at the apparent opposition of
+this statement to my supposition that the Palace was built gradually
+round from the Rio Fa�ade to the Piazzetta. But in the two great open
+arcades there is no succession of work traceable; from the Vine angle to
+the junction with the fifteenth century work, above and below, all seems
+nearly of the same date, the only question being of the accidental
+precedence of workmanship of one capital or another; and I think, from
+its style, that the Fig-tree angle must have been first completed. But
+in the upper stories of the Palace there are enormous differences of
+style. On the Rio Fa�ade, in the upper story, are several series of
+massive windows of the third order, corresponding exactly in mouldings
+and manner of workmanship to those of the chapter-house of the Frari,
+and consequently carrying us back to a very early date in the fourteenth
+century: several of the capitals of these windows, and two richly
+sculptured string-courses in the wall below, are of Byzantine
+workmanship, and in all probability fragments of the Ziani Palace. The
+traceried windows on the Rio Fa�ade, and the two eastern windows on the
+Sea Fa�ade, are all of the finest early fourteenth century work,
+masculine and noble in their capitals and bases to the highest degree,
+and evidently contemporary with the very earliest portions of the lower
+arcades. But the moment we come to the windows of the Great Council
+Chamber the style is debased. The mouldings are the same, but they are
+coarsely worked, and the heads set amidst the leafage of the capitals
+quite valueless and vile.
+
+I have not the least doubt that these window-jambs and traceries were
+restored after the great fire;[59] and various other restorations have
+taken place since, beginning with the removal of the traceries from all
+the windows except the northern one of the Sala del Scrutinio, behind
+the Porta della Carta, where they are still left. I made out four
+periods of restoration among these windows, each baser than the
+preceding. It is not worth troubling the reader about them, but the
+traveller who is interested in the subject may compare two of them in
+the same window; the one nearer the sea of the two belonging to the
+little room at the top of the Palace on the Piazzetta Fa�ade, between
+the Sala del Gran Consiglio and that of the Scrutinio. The seaward jamb
+of that window is of the first, and the opposite jamb of the second,
+period of these restorations. These are all the points of separation in
+date which I could discover by internal evidence. But much more might be
+made out by any Venetian antiquary whose time permitted him thoroughly
+to examine any existing documents which allude to or describe the parts
+of the Palace spoken of in the important decrees of 1340, 1342, and
+1344; for the first of these decrees speaks of certain "columns looking
+towards the Canal"[60] or sea, as then existing, and I presume these
+columns to have been part of the Ziani Palace, corresponding to the part
+of that palace on the Piazzetta where were the "red columns" between
+which Calendario was executed; and a great deal more might be determined
+by any one who would thoroughly unravel the obscure language of those
+decrees.
+
+Meantime, in order to complete the evidence respecting the main dates
+stated in the text, I have collected here such notices of the building
+of the Ducal Palace as appeared to me of most importance in the various
+chronicles I examined. I could not give them all in the text, as they
+repeat each other, and would have been tedious; but they will be
+interesting to the antiquary, and it is to be especially noted in all of
+them how the Palazzo _Vecchio_ is invariably distinguished, either
+directly or by implication, from the Palazzo Nuovo. I shall first
+translate the piece of the Zancarol Chronicle given by Cadorin, which
+has chiefly misled the Venetian antiquaries. I wish I could put the rich
+old Italian into old English, but must be content to lose its raciness,
+as it is necessary that the reader should be fully acquainted with its
+facts.
+
+"It was decreed that none should dare to propose to the Signory of
+Venice to ruin the _old_ palace and rebuild it new and more richly, and
+there was a penalty of one thousand ducats against any one who should
+break it. Then the Doge, wishing to set forward the public good, said to
+the Signory, ... that they ought to rebuild the fa�ades of the _old_
+palace, and that it ought to be restored, to do honor to the nation: and
+so soon as he had done speaking, the Avogadori demanded the penalty from
+the Doge, for having disobeyed the law; and the Doge with ready mind
+paid it, remaining in his opinion that the said fabric ought to be
+built. And so, in the year 1422, on the 20th day of September, it was
+passed in the Council of the Pregadi that the said new palace should be
+begun, and the expense should be borne by the Signori del Sal; and so,
+on the 24th day of March, 1424, it was begun to throw down the _old_
+palace, and to build it anew."--_Cadorin_, p. 129.
+
+The day of the month, and the council in which the decree was passed,
+are erroneously given by this Chronicle. Cadorin has printed the words
+of the decree itself, which passed in the Great Council on the 27th
+September: and these words are, fortunately, much to our present
+purpose. For as more than one fa�ade is spoken of in the above extract,
+the Marchese Selvatico was induced to believe that both the front to the
+sea and that to the Piazzetta had been destroyed; whereas, the "fa�ades"
+spoken of are evidently those of the Ziani Palace. For the words of the
+decree (which are much more trustworthy than those of the Chronicle,
+even if there were any inconsistency between them) run thus: "Palatium
+nostrum fabricetur et fiat in forma decora et convenienti, quod
+respondeat _solemnissimo principio palatii nostri novi_." Thus the new
+council chamber and fa�ade to the sea are called the "most venerable
+beginning of our _New_ Palace;" and the rest was ordered to be designed
+in accordance with these, as was actually the case as far as the Porta
+della Carta. But the Renaissance architects who thenceforward proceeded
+with the fabric, broke through the design, and built everything else
+according to their own humors.
+
+The question may be considered as set at rest by these words of the
+decree, even without any internal or any farther documentary evidence.
+But rather for the sake of impressing the facts thoroughly on the
+reader's mind, than of any additional proof, I shall quote a few more of
+the best accredited Chronicles.
+
+The passage given by Bettio, from the Sivos Chronicle, is a very
+important parallel with that from the Zancarol above:
+
+"Essendo molto vecchio, e quasi rovinoso el Palazzo sopra la piazza, fo
+deliberato di far quella parte tutta da novo, et continuarla com' �
+quella della Sala grande, et cosi il Lunedi 27 Marzo 1424 fu dato
+principio a ruinare detto Palazzo vecchio dalla parte, ch' � verso
+panateria cio� della Giustizia, ch' � nelli occhi di sopra le colonne
+fino alla Chiesa et fo fatto anco la porta grande, com' � al presente,
+con la sala che si addimanda la Libraria."[61]
+
+We have here all the facts told us in so many words: the "old palace" is
+definitely stated to have been "on the piazza," and it is to be rebuilt
+"like the part of the great saloon." The very point from which the newer
+buildings commenced is told us; but here the chronicler has carried his
+attempt at accuracy too far. The point of junction is, as stated above,
+at the third pillar beyond the medallion of Venice; and I am much at a
+loss to understand what could have been the disposition of these three
+pillars where they joined the Ziani Palace, and how they were connected
+with the arcade of the inner cortile. But with these difficulties, as
+they do not bear on the immediate question, it is of no use to trouble
+the reader.
+
+The next passage I shall give is from a Chronicle in the Marcian
+Library, bearing title, "Supposta di Zancaruol;" but in which I could
+not find the passage given by Cadorin from, I believe, a manuscript of
+this Chronicle at Vienna. There occurs instead of it the following thus
+headed:--
+
+"Come _la parte nova_ del Palazzo fuo hedificata _novamente_.
+
+"El Palazzo novo de Venesia quella parte che xe verso la Chiesia de S.
+Marcho fuo prexo chel se fesse del 1422 e fosse pagado la spexa per li
+officiali del sal. E fuo fatto per sovrastante G. Nicolo Barberigo cum
+provision de ducati X doro al mexe e fuo fabricado e fatto nobelissimo.
+Come fin ancho di el sta e fuo grande honor a la Signoria de Venesia e a
+la sua Citta."
+
+This entry, which itself bears no date, but comes between others dated
+22nd July and 27th December, is interesting, because it shows the first
+transition of the idea of _newness_, from the Grand Council Chamber to
+the part built under Foscari. For when Mocenigo's wishes had been
+fulfilled, and the old palace of Ziani had been destroyed, and another
+built in its stead, the Great Council Chamber, which was "the new
+palace" compared with Ziani's, became "the old palace" compared with
+Foscari's; and thus we have, in the body of the above extract, the whole
+building called "the new palace of Venice;" but in the heading of it, we
+have "the new _part_ of the palace" applied to the part built by
+Foscari, in contradistinction to the Council Chamber.
+
+The next entry I give is important, because the writing of the MS. in
+which it occurs, No. 53 in the Correr Museum, shows it to be probably
+not later than the end of the fifteenth century:
+
+"El palazo nuovo de Venixia zoe quella parte che se sora la piazza verso
+la giesia di Miss. San Marcho del 1422 fo principiado, el qual fo fato e
+finito molto belo, chome al presente se vede nobilissimo, et a la
+fabricha de quello fo deputado Miss. Nicolo Barberigo, soprastante con
+ducati dieci doro al mexe."
+
+We have here the part built by Foscari distinctly called the Palazzo
+Nuovo, as opposed to the Great Council Chamber, which had now completely
+taken the position of the Palazzo Vecchio, and is actually so called by
+Sansovino. In the copy of the Chronicle of Paolo Morosini, and in the
+MSS. numbered respectively 57, 59, 74, and 76 in the Correr Museum, the
+passage above given from No. 53 is variously repeated with slight
+modifications and curtailments; the entry in the Morosini Chronicle
+being headed, "Come fu principiato il palazo che guarda sopra la piaza
+grande di S. Marco," and proceeding in the words, "El Palazo Nuovo di
+Venetia, cio� quella parte che e sopra la piaza," &c., the writers being
+cautious, in all these instances, to _limit their statement_ to the part
+facing the Piazza, that no reader might suppose the Council Chamber to
+have been built or begun at the same time; though, as long as to the end
+of the sixteenth century, we find the Council Chamber still included in
+the expression "Palazzo Nuovo." Thus, in the MS. No. 75 in the Correr
+Museum, which is about that date, we have "Del 1422, a di 20 Settembre
+fu preso nel consegio grando de dover _compir_ el Palazo Novo, e dovesen
+fare la spessa li officialli del Sal (61. M. 2. B.)." And, so long as
+this is the case, the "Palazzo Vecchio" always means the Ziani Palace.
+Thus, in the next page of this same MS. we have "a di 27 Marzo (1424 by
+context) fo principia a butar zosso, el _Palazzo Vecchio_ per refarlo da
+novo, e poi se he" (and so it is done); and in the MS. No. 81, "Del
+1424, fo gittado zoso el _Palazzo Vecchio_ per refarlo de nuovo, a di 27
+Marzo." But in the time of Sansovino the Ziani Palace was quite
+forgotten; the Council Chamber was then the _old_ palace, and Foscari's
+part was the new. His account of the "Palazzo Publico" will now be
+perfectly intelligible; but, as the work itself is easily accessible, I
+shall not burden the reader with any farther extracts, only noticing
+that the chequering of the fa�ade with red and white marbles, which he
+ascribes to Foscari, may or may not be of so late a date, as there is
+nothing in the style of the work which can be produced as evidence.
+
+
+2. THEOLOGY OF SPENSER.
+
+The following analysis of the first books of the "Fa�rie Queen," may be
+interesting to readers who have been in the habit of reading the noble
+poem too hastily to connect its parts completely together; and may
+perhaps induce them to more careful study of the rest of the poem.
+
+The Redcrosse Knight is Holiness,--the "Pietas" of St. Mark's, the
+"Devotio" of Orcagna,--meaning, I think, in general, Reverence and Godly
+Fear.
+
+This Virtue, in the opening of the book, has Truth (or Una) at its side,
+but presently enters the Wandering Wood, and encounters the serpent
+Error; that is to say, Error in her universal form, the first enemy of
+Reverence and Holiness; and more especially Error as founded on
+learning; for when Holiness strangles her,
+
+  "Her vomit _full of bookes and papers was_,
+   With loathly frogs and toades, which eyes did lacke."
+
+Having vanquished this first open and palpable form of Error, as
+Reverence and Religion must always vanquish it, the Knight encounters
+Hypocrisy, or Archimagus; Holiness cannot detect Hypocrisy, but
+believes him, and goes home with him; whereupon Hypocrisy succeeds in
+separating Holiness from Truth; and the Knight (Holiness) and Lady
+(Truth) go forth separately from the house of Archimagus.
+
+Now observe: the moment Godly Fear, or Holiness, is separated from
+Truth, he meets Infidelity, or the Knight Sans Foy; Infidelity having
+Falsehood, or Duesa, riding behind him. The instant the Redcrosse Knight
+is aware of the attack of Infidelity, he
+
+  "Gan fairly couch his speare, and towards ride."
+
+He vanquishes and slays Infidelity; but is deceived by his companion,
+Falsehood, and takes her for his lady: thus showing the condition of
+Religion, when, after being attacked by Doubt, and remaining victorious,
+it is nevertheless seduced, by any form of Falsehood, to pay reverence
+where it ought not. This, then, is the first fortune of Godly Fear
+separated from Truth. The poet then returns to Truth, separated from
+Godly Fear. She is immediately attended by a lion, or Violence, which
+makes her dreaded wherever she comes; and when she enters the mart of
+Superstition, this Lion tears Kirkrapine in pieces: showing how Truth,
+separated from Godliness, does indeed put an end to the abuses of
+Superstition, but does so violently and desperately. She then meets
+again with Hypocrisy, whom she mistakes for her own lord, or Godly Fear,
+and travels a little way under his guardianship (Hypocrisy thus not
+unfrequently appearing to defend the Truth), until they are both met by
+Lawlessness, or the Knight Sans Loy, whom Hypocrisy cannot resist.
+Lawlessness overthrows Hypocrisy, and seizes upon Truth, first slaying
+her lion attendant: showing that the first aim of licence is to destroy
+the force and authority of Truth. Sans Loy then takes Truth captive, and
+bears her away. Now this Lawlessness is the "unrighteousness," or
+"adikia," of St. Paul; and his bearing Truth away captive, is a type of
+those "who hold the truth in unrighteousness,"--that is to say,
+generally, of men who, knowing what is true, make the truth give way to
+their own purposes, or use it only to forward them, as is the case with
+so many of the popular leaders of the present day. Una is then delivered
+from Sans Loy by the satyrs, to show that Nature, in the end, must work
+out the deliverance of the truth, although, where it has been captive to
+Lawlessness, that deliverance can only be obtained through Savageness,
+and a return to barbarism. Una is then taken from among the satyrs by
+Satyrane, the son of a satyr and a "lady myld, fair Thyamis," (typifying
+the early steps of renewed civilization, and its rough and hardy
+character "nousled up in life and manners wilde,") who, meeting again
+with Sans Loy, enters instantly into rough and prolonged combat with
+him: showing how the early organization of a hardy nation must be
+wrought out through much discouragement from Lawlessness. This contest
+the poet leaving for the time undecided, returns to trace the adventures
+of the Redcrosse Knight, or Godly Fear, who, having vanquished
+Infidelity, presently is led by Falsehood to the house of Pride: thus
+showing how religion, separated from truth, is first tempted by doubts
+of God, and then by the pride of life. The description of this house of
+Pride is one of the most elaborate and noble pieces in the poem; and
+here we begin to get at the proposed system of Virtues and Vices. For
+Pride, as queen, has six other vices yoked in her chariot; namely,
+first, Idleness, then Gluttony, Lust, Avarice, Envy, and Anger, all
+driven on by "Sathan, with a smarting whip in hand." From these lower
+vices and their company, Godly Fear, though lodging in the house of
+Pride, holds aloof; but he is challenged, and has a hard battle to fight
+with Sans Joy, the brother of Sans Foy: showing, that though he has
+conquered Infidelity, and does not give himself up to the allurements of
+Pride, he is yet exposed, so long as he dwells in her house, to distress
+of mind and loss of his accustomed rejoicing before God. He, however,
+having partly conquered Despondency, or Sans Joy, Falsehood goes down to
+Hades, in order to obtain drugs to maintain the power or life of
+Despondency; but, meantime, the Knight leaves the house of Pride:
+Falsehood pursues and overtakes him, and finds him by a fountain side,
+of which the waters are
+
+                           "Dull and slow,
+  And all that drinke thereof do faint and feeble grow."
+
+Of which the meaning is, that Godly Fear, after passing through the
+house of Pride, is exposed to drowsiness and feebleness of watch; as,
+after Peter's boast, came Peter's sleeping, from weakness of the flesh,
+and then, last of all, Peter's fall. And so it follows: for the
+Redcrosse Knight, being overcome with faintness by drinking of the
+fountain, is thereupon attacked by the giant Orgoglio, overcome and
+thrown by him into a dungeon. This Orgoglio is Orgueil, or Carnal Pride;
+not the pride of life, spiritual and subtle, but the common and vulgar
+pride in the power of this world: and his throwing the Redcrosse Knight
+into a dungeon, is a type of the captivity of true religion under the
+temporal power of corrupt churches, more especially of the Church of
+Rome; and of its gradually wasting away in unknown places, while carnal
+pride has the pre�minence over all things. That Spenser means,
+especially, the pride of the Papacy, is shown by the 16th stanza of the
+book; for there the giant Orgoglio is said to have taken Duessa, or
+Falsehood, for his "deare," and to have set upon her head a triple
+crown, and endowed her with royal majesty, and made her to ride upon a
+seven-headed beast.
+
+In the meantime, the dwarf, the attendant of the Redcrosse Knight, takes
+his arms, and finding Una tells her of the captivity of her lord. Una,
+in the midst of her mourning, meets Prince Arthur, in whom, as Spenser
+himself tells us, is set forth generally Magnificence; but who, as is
+shown by the choice of the hero's name, is more especially the
+magnificence, or literally, "great doing" of the kingdom of England.
+This power of England, going forth with Truth, attacks Orgoglio, or the
+Pride of Papacy, slays him; strips Duessa, or Falsehood, naked; and
+liberates the Redcrosse Knight. The magnificent and well-known
+description of Despair follows, by whom the Redcrosse Knight is hard
+bested, on account of his past errors and captivity, and is only saved
+by Truth, who, perceiving him to be still feeble, brings him to the
+house of Coelia, called, in the argument of the canto, Holiness, but
+properly, Heavenly Grace, the mother of the Virtues. Her "three
+daughters, well up-brought," are Faith, Hope, and Charity. Her porter is
+Humility; because Humility opens the door of Heavenly Grace. Zeal and
+Reverence are her chamberlains, introducing the new comers to her
+presence; her groom, or servant, is Obedience; and her physician,
+Patience. Under the commands of Charity, the matron Mercy rules over
+her hospital, under whose care the Knight is healed of his sickness; and
+it is to be especially noticed how much importance Spenser, though never
+ceasing to chastise all hypocrisies and mere observances of form,
+attaches to true and faithful _penance_ in effecting this cure. Having
+his strength restored to him, the Knight is trusted to the guidance of
+Mercy, who, leading him forth by a narrow and thorny way, first
+instructs him in the seven works of Mercy, and then leads him to the
+hill of Heavenly Contemplation; whence, having a sight of the New
+Jerusalem, as Christian of the Delectable Mountains, he goes forth to
+the final victory over Satan, the old serpent, with which the book
+closes.
+
+
+3. AUSTRIAN GOVERNMENT IN ITALY.
+
+I cannot close these volumes without expressing my astonishment and
+regret at the facility with which the English allow themselves to be
+misled by any representations, however openly groundless or ridiculous,
+proceeding from the Italian Liberal party, respecting the present
+administration of the Austrian Government. I do not choose here to enter
+into any political discussion, or express any political opinion; but it
+is due to justice to state the simple facts which came under my notice
+during my residence in Italy. I was living at Venice through two entire
+winters, and in the habit of familiar association both with Italians and
+Austrians, my own antiquarian vocations rendering such association
+possible without exciting the distrust of either party. During this
+whole period, I never once was able to ascertain, from any liberal
+Italian, that he had a single _definite_ ground of complaint against the
+Government. There was much general grumbling and vague discontent; but I
+never was able to bring one of them to the point, or to discover what it
+was that they wanted, or in what way they felt themselves injured; nor
+did I ever myself witness an instance of oppression on the part of the
+Government, though several of much kindness and consideration. The
+indignation of those of my own countrymen and countrywomen whom I
+happened to see during their sojourn in Venice was always vivid, but by
+no means large in its grounds. English ladies on their first arrival
+invariably began the conversation with the same remark: "What a
+dreadful thing it was to be ground under the iron heel of despotism!"
+Upon closer inquiries it always appeared that being "ground under the
+heel of despotism" was a poetical expression for being asked for one's
+passport at San Juliano, and required to fetch it from San Lorenzo, full
+a mile and a quarter distant. In like manner, travellers, after two or
+three days' residence in the city, used to return with pitiful
+lamentations over "the misery of the Italian people." Upon inquiring
+what instances they had met with of this misery, it invariably turned
+out that their gondoliers, after being paid three times their proper
+fare, had asked for something to drink, and had attributed the fact of
+their being thirsty to the Austrian Government. The misery of the
+Italians consists in having three festa days a week, and doing in their
+days of exertion about one fourth as much work as an English laborer.
+
+There is, indeed, much true distress occasioned by the measures which
+the Government is sometimes compelled to take in order to repress
+sedition; but the blame of this lies with those whose occupation is the
+excitement of sedition. So also there is much grievous harm done to
+works of art by the occupation of the country by so large an army; but
+for the mode in which that army is quartered, the Italian municipalities
+are answerable, not the Austrians. Whenever I was shocked by finding, as
+above-mentioned at Milan, a cloister, or a palace, occupied by soldiery,
+I always discovered, on investigation, that the place had been given by
+the municipality; and that, beyond requiring that lodging for a certain
+number of men should be found in such and such a quarter of the town,
+the Austrians had nothing to do with the matter. This does not, however,
+make the mischief less: and it is strange, if we think of it, to see
+Italy, with all her precious works of art, made a continual
+battle-field; as if no other place for settling their disputes could be
+found by the European powers, than where every random shot may destroy
+what a king's ransom cannot restore.[62] It is exactly as if the
+tumults in Paris could he settled no otherwise than by fighting them out
+in the Gallery of the Louvre.
+
+
+4. DATE OF THE PALACES OF THE BYZANTINE RENAISSANCE.
+
+In the sixth article of the Appendix to the first volume, the question
+of the date of the Casa Dario and Casa Trevisan was deferred until I
+could obtain from my friend Mr. Rawdon Brown, to whom the former palace
+once belonged, some more distinct data respecting this subject than I
+possessed myself.
+
+Speaking first of the Casa Dario, he says: "Fontana dates it from about
+the year 1450, and considers it the earliest specimen of the
+architecture founded by Pietro Lombardo, and followed by his sons,
+Tullio and Antonio. In a Sanuto autograph miscellany, purchased by me
+long ago, and which I gave to St. Mark's Library, are two letters from
+Giovanni Dario, dated 10th and 11th July, 1485, in the neighborhood of
+Adrianople; where the Turkish camp found itself, and Bajazet II.
+received presents from the Soldan of Egypt, from the Schah of the Indies
+(query Grand Mogul), and from the King of Hungary: of these matters,
+Dario's letters give many curious details. Then, in the _printed_
+Malipiero Annals, page 136 (which err, I think, by a year), the
+Secretary Dario's negotiations at the Porte are alluded to; and in date
+of 1484 he is stated to have returned to Venice, having quarrelled with
+the Venetian bailiff at Constantinople: the annalist adds, that
+'Giovanni Dario was a native of Candia, and that the Republic was so
+well satisfied with him for having concluded peace with Bajazet, that he
+received, as a gift from his country, an estate at Noventa, in the
+Paduan territory, worth 1500 ducats, and 600 ducats in cash for the
+dower of one of his daughters.' These largesses probably enabled him to
+build his house about the year 1486, and are doubtless hinted at in the
+inscription, which I restored A.D. 1837; _it had no date_, and ran thus,
+URBIS . GENIO . JOANNES . DARIVS. In the Venetian history of Paolo
+Morosini, page 594, it is also mentioned, that Giovanni Dario was,
+moreover, the Secretary who concluded the peace between Mahomet, the
+conqueror of Constantinople, and Venice, A.D. 1478; but, unless he build
+his house by proxy, that date has nothing to do with it; and in my mind,
+the fact of the present, and the inscription, warrant one's dating it
+1486, and not 1450.
+
+"The Trevisan-Cappello House, in Canonica, was once the property (A.D.
+1578) of a Venetian dame, fond of cray-fish, according to a letter of
+hers in the archives, whereby she thanks one of her lovers for some
+which he had sent her from Treviso to Florence, of which she was then
+Grand Duchess. Her name has perhaps found its way into the English
+annuals. Did you ever hear of Bianca Cappello? She bought that house of
+the Trevisana family, by whom Selva (in Cicognara) and Fontana
+(following Selva) say it was ordered of the Lombardi, at the
+commencement of the sixteenth century: but the inscription on its
+fa�ade, thus,
+
+  SOLI  | |  HONOR. ET
+  DEO   | |  GLORIA.
+
+reminding one both of the Dario House, and of the words NON NOBIS DOMINE
+inscribed on the fa�ade of the Loredano Vendramin Palace at S. Marcuola
+(now the property of the Duchess of Berri), of which Selva found proof
+in the Vendramin Archives that it was commenced by Sante Lombardo, A.D.
+1481, is in favor of its being classed among the works of the fifteenth
+century."
+
+
+5. RENAISSANCE SIDE OF DUCAL PALACE.
+
+In passing along the Rio del Palazzo the traveller ought especially to
+observe the base of the Renaissance building, formed by alternately
+depressed and raised pyramids, the depressed portions being _casts_ of
+the projecting ones, which are truncated on the summits. The work cannot
+be called rustication, for it is cut as sharply and delicately as a
+piece of ivory, but it thoroughly answers the end which rustication
+proposes, and misses: it gives the base of the building a look of
+crystalline hardness, actually resembling, and that very closely, the
+appearance presented by the fracture of a piece of cap quartz; while yet
+the light and shade of its alternate recesses and projections are so
+varied as to produce the utmost possible degree of delight to the eye,
+attainable by a geometrical pattern so simple. Yet, with all this high
+merit, it is not a base which could be brought into general use. Its
+brilliancy and piquancy are here set off with exquisite skill by its
+opposition to mouldings, in the upper part of the building, of an almost
+effeminate delicacy, and its complexity is rendered delightful by its
+contrast with the ruder bases of the other buildings of the city; but it
+would look meagre if it were employed to sustain bolder masses above,
+and would become wearisome if the eye were once thoroughly familiarized
+with it by repetition.
+
+
+6. CHARACTER OF THE DOGE MICHELE MOROSINI.
+
+The following extracts from the letter of Count Charles Morosini, above
+mentioned, appear to set the question at rest.
+
+"It is our unhappy destiny that, during the glory of the Venetian
+republic, no one took the care to leave us a faithful and conscientious
+history: but I hardly know whether this misfortune should be laid to the
+charge of the historians themselves, or of those commentators who have
+destroyed their trustworthiness by new accounts of things, invented by
+themselves. As for the poor Morosini, we may perhaps save his honor by
+assembling a conclave of our historians, in order to receive their
+united sentence; for, in this case, he would have the absolute majority
+on his side, nearly all the authors bearing testimony to his love for
+his country and to the magnanimity of his heart. I must tell you that
+the history of Daru is not looked upon with esteem by well-informed men;
+and it is said that he seems to have no other object in view than to
+obscure the glory of all actions. I know not on what authority the
+English writer depends; but he has, perhaps, merely copied the statement
+of Daru.... I have consulted an ancient and authentic MS. belonging to
+the Venieri family, a MS. well known, and certainly better worthy of
+confidence than Daru's history, and it says nothing of M. Morosini but
+that he was elected Doge to the delight and joy of all men. Neither do
+the Savina or Dolfin Chronicles say a word of the shameful speculation;
+and our best informed men say that the reproach cast by some historians
+against the Doge perhaps arose from a mistaken interpretation of the
+words pronounced by him, and reported by Marin Sanuto, that 'the
+speculation would sooner or later have been advantageous to the
+country.' But this single consideration is enough to induce us to form a
+favorable conclusion respecting the honor of this man, namely, that he
+was not elected Doge until after he had been entrusted with many
+honorable embassies to the Genoese and Carrarese, as well as to the King
+of Hungary and Amadeus of Savoy; and if in these embassies he had not
+shown himself a true lover of his country, the republic not only would
+not again have entrusted him with offices so honorable, but would never
+have rewarded him with the dignity of Doge, therein to succeed such a
+man as Andrea Contarini; and the war of Chioggia, during which it is
+said that he tripled his fortune by speculations, took place during the
+reign of Contarini, 1379, 1380, while Morosini was absent on foreign
+embassies."
+
+
+7. MODERN EDUCATION.
+
+The following fragmentary notes on this subject have been set down at
+different times. I have been accidentally prevented from arranging them
+properly for publication, but there are one or two truths in them which
+it is better to express insufficiently than not at all.
+
+       *       *       *       *       *
+
+By a large body of the people of England and of Europe a man is called
+educated if he can write Latin verses and construe a Greek chorus. By
+some few more enlightened persons it is confessed that the construction
+of hexameters is not in itself an important end of human existence; but
+they say, that the general discipline which a course of classical
+reading gives to the intellectual powers, is the final object of our
+scholastical institutions.
+
+But it seems to me, there is no small error even in this last and more
+philosophical theory. I believe, that what it is most honorable to know,
+it is also most profitable to learn; and that the science which it is
+the highest power to possess, it is also the best exercise to acquire.
+
+And if this be so, the question as to what should be the materiel of
+education, becomes singularly simplified. It might be matter of dispute
+what processes have the greatest effect in developing the intellect; but
+it can hardly be disputed what facts it is most advisable that a man
+entering into life should accurately know.
+
+I believe, in brief, that he ought to know three things:
+
+  First.   Where he is.
+  Secondly.   Where he is going.
+  Thirdly.   What he had best do, under those circumstances.
+
+First. Where he is.--That is to say, what sort of a world he has got
+into; how large it is; what kind of creatures live in it, and how; what
+it is made of, and what may be made of it.
+
+Secondly. Where he is going.--That is to say, what chances or reports
+there are of any other world besides this; what seems to be the nature
+of that other world; and whether, for information respecting it, he had
+better consult the Bible, Koran, or Council of Trent.
+
+Thirdly. What he had best do under those circumstances.--That is to say,
+what kind of faculties he possesses; what are the present state and
+wants of mankind; what is his place in society; and what are the
+readiest means in his power of attaining happiness and diffusing it. The
+man who knows these things, and who has had his will so subdued in the
+learning them, that he is ready to do what he knows he ought, I should
+call educated; and the man who knows them not,--uneducated, though he
+could talk all the tongues of Babel.
+
+Our present European system of so-called education ignores, or despises,
+not one, nor the other, but all the three, of these great branches of
+human knowledge.
+
+First: It despises Natural History.--Until within the last year or two,
+the instruction in the physical sciences given at Oxford consisted of a
+course of twelve or fourteen lectures on the Elements of Mechanics or
+Pneumatics, and permission to ride out to Shotover with the Professor of
+Geology. I do not know the specialties of the system pursued in the
+academies of the Continent; but their practical result is, that unless a
+man's natural instincts urge him to the pursuit of the physical sciences
+too strongly to be resisted, he enters into life utterly ignorant of
+them. I cannot, within my present limits, even so much as count the
+various directions in which this ignorance does evil. But the main
+mischief of it is, that it leaves the greater number of men without the
+natural food which God intended for their intellects. For one man who is
+fitted for the study of words, fifty are fitted for the study of things,
+and were intended to have a perpetual, simple, and religious delight in
+watching the processes, or admiring the creatures, of the natural
+universe. Deprived of this source of pleasure, nothing is left to them
+but ambition or dissipation; and the vices of the upper classes of
+Europe are, I believe, chiefly to be attributed to this single cause.
+
+Secondly: It despises Religion.--I do not say it despises "Theology,"
+that is to say, _Talk_ about God. But it despises "Religion;" that is to
+say, the "binding" or training to God's service. There is much talk and
+much teaching in all our academies, of which the effect is not to bind,
+but to loosen, the elements of religious faith. Of the ten or twelve
+young men who, at Oxford, were my especial friends, who sat with me
+under the same lectures on Divinity, or were punished with me for
+missing lecture by being sent to evening prayers,[63] four are now
+zealous Romanists,--a large average out of twelve; and while thus our
+own universities profess to teach Protestantism, and do not, the
+universities on the Continent profess to teach Romanism, and do
+not,--sending forth only rebels and infidels. During long residence on
+the Continent, I do not remember meeting with above two or three young
+men, who either believed in revelation, or had the grace to hesitate in
+the assertion of their infidelity.
+
+Whence, it seems to me, we may gather one of two things; either that
+there is nothing in any European form of religion so reasonable or
+ascertained, as that it can be taught securely to our youth, or fastened
+in their minds by any rivets of proof which they shall not be able to
+loosen the moment they begin to think; or else, that no means are taken
+to train them in such demonstrable creeds.
+
+It seems to me the duty of a rational nation to ascertain (and to be at
+some pains in the matter) which of these suppositions is true; and, if
+indeed no proof can be given of any supernatural fact, or Divine
+doctrine, stronger than a youth just out of his teens can overthrow in
+the first stirrings of serious thought, to confess this boldly; to get
+rid of the expense of an Establishment, and the hypocrisy of a Liturgy;
+to exhibit its cathedrals as curious memorials of a by-gone
+superstition, and, abandoning all thoughts of the next world, to set
+itself to make the best it can of this.
+
+But if, on the other hand, there _does_ exist any evidence by which the
+probability of certain religious facts may be shown, as clearly, even,
+as the probabilities of things not absolutely ascertained in
+astronomical or geological science, let this evidence be set before all
+our youth so distinctly, and the facts for which it appears inculcated
+upon them so steadily, that although it may be possible for the evil
+conduct of after life to efface, or for its earnest and protracted
+meditation to modify, the impressions of early years, it may not be
+possible for our young men, the instant they emerge from their
+academies, to scatter themselves like a flock of wild fowl risen out of
+a marsh, and drift away on every irregular wind of heresy and apostasy.
+
+Lastly: Our system of European education despises Politics.--That is to
+say, the science of the relations and duties of men to each other. One
+would imagine, indeed, by a glance at the state of the world, that there
+was no such science. And, indeed, it is one still in its infancy.
+
+It implies, in its full sense, the knowledge of the operations of the
+virtues and vices of men upon themselves and society; the understanding
+of the ranks and offices of their intellectual and bodily powers in
+their various adaptations to art, science, and industry; the
+understanding of the proper offices of art, science, and labor
+themselves, as well as of the foundations of jurisprudence, and broad
+principles of commerce; all this being coupled with practical knowledge
+of the present state and wants of mankind.
+
+What, it will be said, and is all this to be taught to schoolboys? No;
+but the first elements of it, all that are necessary to be known by an
+individual in order to his acting wisely in any station of life, might
+be taught, not only to every schoolboy, but to every peasant. The
+impossibility of equality among men; the good which arises from their
+inequality; the compensating circumstances in different states and
+fortunes; the honorableness of every man who is worthily filling his
+appointed place in society, however humble; the proper relations of poor
+and rich, governor and governed; the nature of wealth, and mode of its
+circulation; the difference between productive and unproductive labor;
+the relation of the products of the mind and hand; the true value of
+works of the higher arts, and the possible amount of their production;
+the meaning of "Civilization," its advantages and dangers; the meaning
+of the term "Refinement;" the possibilities of possessing refinement in
+a low station, and of losing it in a high one; and, above all, the
+significance of almost every act of a man's daily life, in its ultimate
+operation upon himself and others;--all this might be, and ought to be,
+taught to every boy in the kingdom, so completely, that it should be
+just as impossible to introduce an absurd or licentious doctrine among
+our adult population, as a new version of the multiplication table. Nor
+am I altogether without hope that some day it may enter into the heads
+of the tutors of our schools to try whether it is not as easy to make an
+Eton boy's mind as sensitive to falseness in policy, as his ear is at
+present to falseness in prosody.
+
+I know that this is much to hope. That English ministers of religion
+should ever come to desire rather to make a youth acquainted with the
+powers of nature and of God, than with the powers of Greek particles;
+that they should ever think it more useful to show him how the great
+universe rolls upon its course in heaven, than how the syllables are
+fitted in a tragic metre; that they should hold it more advisable for
+him to be fixed in the principles of religion than in those of syntax;
+or, finally, that they should ever come to apprehend that a youth likely
+to go straight out of college into parliament, might not unadvisably
+know as much of the Peninsular as of the Peloponnesian War, and be as
+well acquainted with the state of Modern Italy as of old Etruria;--all
+this however unreasonably, I _do_ hope, and mean to work for. For though
+I have not yet abandoned all expectation of a better world than this, I
+believe this in which we live is not so good as it might be. I know
+there are many people who suppose French revolutions, Italian
+insurrections, Caffre wars, and such other scenic effects of modern
+policy, to be among the normal conditions of humanity. I know there are
+many who think the atmosphere of rapine, rebellion, and misery which
+wraps the lower orders of Europe more closely every day, is as natural a
+phenomenon as a hot summer. But God forbid! There are ills which flesh
+is heir to, and troubles to which man is born; but the troubles which he
+is born to are as sparks which fly _upward_, not as flames burning to
+the nethermost Hell. The Poor we must have with us always, and sorrow is
+inseparable from any hour of life; but we may make their poverty such as
+shall inherit the earth, and the sorrow, such as shall be hallowed by
+the hand of the Comforter, with everlasting comfort. We _can_, if we
+will but shake off this lethargy and dreaming that is upon us, and take
+the pains to think and act like men, we can, I say, make kingdoms to be
+like well-governed households, in which, indeed, while no care or
+kindness can prevent occasional heart-burnings, nor any foresight or
+piety anticipate all the vicissitudes of fortune, or avert every stroke
+of calamity, yet the unity of their affection and fellowship remains
+unbroken, and their distress is neither embittered by division,
+prolonged by imprudence, nor darkened by dishonor.
+
+       *       *       *       *       *
+
+The great leading error of modern times is the mistaking erudition for
+education. I call it the leading error, for I believe that, with little
+difficulty, nearly every other might be shown to have root in it; and,
+most assuredly, the worst that are fallen into on the subject of art.
+
+Education then, briefly, is the leading human souls to what is best, and
+making what is best out of them; and these two objects are always
+attainable together, and by the same means; the training which makes men
+happiest in themselves, also makes them most serviceable to others. True
+education, then, has respect, first to the ends which are proposable to
+the man, or attainable by him; and, secondly, to the material of which
+the man is made. So far as it is able, it chooses the end according to
+the material: but it cannot always choose the end, for the position of
+many persons in life is fixed by necessity; still less can it choose
+the material; and, therefore, all it can do, is to fit the one to the
+other as wisely as may be.
+
+But the first point to be understood, is that the material is as various
+as the ends; that not only one man is unlike another, but _every_ man is
+essentially different from _every_ other, so that no training, no
+forming, nor informing, will ever make two persons alike in thought or
+in power. Among all men, whether of the upper or lower orders, the
+differences are eternal and irreconcilable, between one individual and
+another, born under absolutely the same circumstances. One man is made
+of agate, another of oak; one of slate, another of clay. The education
+of the first is polishing; of the second, seasoning; of the third,
+rending; of the fourth, moulding. It is of no use to season the agate;
+it is vain to try to polish the slate; but both are fitted, by the
+qualities they possess, for services in which they may be honored.
+
+Now the cry for the education of the lower classes, which is heard every
+day more widely and loudly, is a wise and a sacred cry, provided it be
+extended into one for the education of _all_ classes, with definite
+respect to the work each man has to do, and the substance of which he is
+made. But it is a foolish and vain cry, if it be understood, as in the
+plurality of cases it is meant to be, for the expression of mere craving
+after knowledge, irrespective of the simple purposes of the life that
+now is, and blessings of that which is to come.
+
+One great fallacy into which men are apt to fall when they are reasoning
+on this subject is: that light, as such, is always good; and darkness,
+as such, always evil. Far from it. Light untempered would be
+annihilation. It is good to them that sit in darkness and in the shadow
+of death; but, to those that faint in the wilderness, so also is the
+shadow of the great rock in a weary land. If the sunshine is good, so
+also the cloud of the latter rain. Light is only beautiful, only
+available for life, when it is tempered with shadow; pure light is
+fearful, and unendurable by humanity. And it is not less ridiculous to
+say that the light, as such, is good in itself, than to say that the
+darkness is good in itself. Both are rendered safe, healthy, and useful
+by the other; the night by the day, the day by the night; and we could
+just as easily live without the dawn as without the sunset, so long as
+we are human. Of the celestial city we are told there shall be "no night
+there," and then we shall know even as also we are known: but the night
+and the mystery have both their service here; and our business is not to
+strive to turn the night into day, but to be sure that we are as they
+that watch for the morning.
+
+Therefore, in the education either of lower or upper classes, it matters
+not the least how much or how little they know, provided they know just
+what will fit them to do their work, and to be happy in it. What the sum
+or the nature of their knowledge ought to be at a given time or in a
+given case, is a totally different question: the main thing to be
+understood is, that a man is not educated, in any sense whatsoever,
+because he can read Latin, or write English, or can behave well in a
+drawingroom; but that he is only educated if he is happy, busy,
+beneficent, and effective in the world; that millions of peasants are
+therefore at this moment better educated than most of those who call
+themselves gentlemen; and that the means taken to "educate" the lower
+classes in any other sense may very often be productive of a precisely
+opposite result.
+
+Observe: I do not say, nor do I believe, that the lower classes ought
+not to be better educated, in millions of ways, than they are. I believe
+_every man in a Christian kingdom ought to be equally well educated_.
+But I would have it education to purpose; stern, practical,
+irresistible, in moral habits, in bodily strength and beauty, in all
+faculties of mind capable of being developed under the circumstances of
+the individual, and especially in the technical knowledge of his own
+business; but yet, infinitely various in its effort, directed to make
+one youth humble, and another confident; to tranquillize this mind, to
+put some spark of ambition into that; now to urge, and now to restrain:
+and in the doing of all this, considering knowledge as one only out of
+myriads of means in its hands, or myriads of gifts at its disposal; and
+giving it or withholding it as a good husbandman waters his garden,
+giving the full shower only to the thirsty plants, and at times when
+they are thirsty, whereas at present we pour it upon the heads of our
+youth as the snow falls on the Alps, on one and another alike, till they
+can bear no more, and then take honor to ourselves because here and
+there a river descends from their crests into the valleys, not
+observing that we have made the loaded hills themselves barren for ever.
+
+Finally: I hold it for indisputable, that the first duty of a state is
+to see that every child born therein shall be well housed, clothed, fed,
+and educated, till it attain years of discretion. But in order to the
+effecting this, the government must have an authority over the people of
+which we now do not so much as dream; and I cannot in this place pursue
+the subject farther.
+
+
+8. EARLY VENETIAN MARRIAGES.
+
+Galliciolli, lib. ii. � 1757, insinuates a doubt of the general custom,
+saying "it would be more reasonable to suppose that only twelve maidens
+were married in public on St. Mark's day;" and Sandi also speaks of
+twelve only. All evidence, however, is clearly in favor of the popular
+tradition; the most curious fact connected with the subject being the
+mention, by Herodotus, of the mode of marriage practised among the
+Illyrian "Veneti" of his time, who presented their maidens for marriage
+on one day in each year; and, with the price paid for those who were
+beautiful, gave dowries to those who had no personal attractions.
+
+It is very curious to find the traces of this custom existing, though in
+a softened form, in Christian times. Still, I admit that there is little
+confidence to be placed in the mere concurrence of the Venetian
+Chroniclers, who, for the most part, copied from each other: but the
+best and most complete account I have read, is that quoted by
+Galliciolli from the "Matricola de' Casseleri," written in 1449; and, in
+that account, the words are quite unmistakable. "It was anciently the
+custom of Venice, that _all the brides_ (novizze) of Venice, when they
+married, should be married by the bishop, in the Church of S. Pietro di
+Castello, on St. Mark's day, which is the 31st of January." Rogers quotes
+Navagiero to the same effect; and Sansovino is more explicit still. "It
+was the custom to contract marriages openly; and when the deliberations
+were completed, the damsels assembled themselves in St. Pietro di
+Castello, for the feast of St. Mark, in February."
+
+
+9. CHARACTER OF THE VENETIAN ARISTOCRACY.
+
+The following noble answer of a Venetian ambassador, Giustiniani, on the
+occasion of an insult offered him at the court of Henry the Eighth, is
+as illustrative of the dignity which there yet remained in the character
+and thoughts of the Venetian noble, as descriptive, in few words, of the
+early faith and deeds of his nation. He writes thus to the Doge, from
+London, on the 15th of April, 1516:
+
+"By my last, in date of the 30th ult., I informed you that the
+countenances of some of these lords evinced neither friendship nor
+goodwill, and that much language had been used to me of a nature
+bordering not merely on arrogance, but even on outrage; and not having
+specified this in the foregoing letters, I think fit now to mention it
+in detail. Finding myself at the court, and talking familiarly about
+other matters, two lay lords, great personages in this kingdom, inquired
+of me 'whence it came that your Excellency was of such slippery faith,
+now favoring one party and then the other?' Although these words ought
+to have irritated me, I answered them with all discretion, 'that you did
+keep, and ever had kept your faith; the maintenance of which has placed
+you in great trouble, and subjected you to wars of longer duration than
+you would otherwise have experienced; descending to particulars in
+justification of your Sublimity.' Whereupon one of them replied, '_Isti
+Veneti sunt piscatores._'[64] Marvellous was the command I then had over
+myself in not giving vent to expressions which might have proved
+injurious to your Signory; and with extreme moderation I rejoined, 'that
+had he been at Venice, and seen our Senate, and the Venetian nobility,
+he perhaps would not speak thus; and moreover, were he well read in our
+history, both concerning the origin of our city and the grandeur of your
+Excellency's feats, neither the one nor the other would seem to him
+those of fishermen; yet,' said I, 'did fishermen found the Christian
+faith, and we have been those fishermen who defended it against the
+forces of the Infidel, our fishing-boats being galleys and ships, our
+hooks the treasure of St. Mark, and our bait the life-blood of our
+citizens, who died for the Christian faith.'"
+
+I take this most interesting passage from a volume of despatches
+addressed from London to the Signory of Venice, by the ambassador
+Giustiniani, during the years 1516-1519; despatches not only full of
+matters of historical interest, but of the most delightful every-day
+description of all that went on at the English court. They were
+translated by Mr. Brown from the original letters, and will, I believe,
+soon be published, and I hope also, read and enjoyed: for I cannot close
+these volumes without expressing a conviction, which has long been
+forcing itself upon my mind, that _restored_ history is of little more
+value than restored painting or architecture; that the only history
+worth reading is that written at the time of which it treats, the
+history of what was done and seen, heard out of the mouths of the men
+who did and saw. One fresh draught of such history is worth more than a
+thousand volumes of abstracts, and reasonings, and suppositions, and
+theories; and I believe that, as we get wiser, we shall take little
+trouble about the history of nations who have left no distinct records
+of themselves, but spend our time only in the examination of the
+faithful documents which, in any period of the world, have been left,
+either in the form of art or literature, portraying the scenes, or
+recording the events, which in those days were actually passing before
+the eyes of men.
+
+
+10. FINAL APPENDIX.
+
+The statements respecting the dates of Venetian buildings made
+throughout the preceding pages, are founded, as above stated, on careful
+and personal examination of all the mouldings, or other features
+available as evidence, of every palace of importance in the city. Three
+parts, at least, of the time occupied in the completion of the work have
+been necessarily devoted to the collection of these evidences, of which
+it would be quite useless to lay the mass before the reader; but of
+which the leading points must be succinctly stated, in order to show the
+nature of my authority for any of the conclusions expressed in the text.
+
+I have therefore collected in the plates which illustrate this article
+of the Appendix, for the examination of any reader who may be interested
+by them, as many examples of the evidence-bearing details as are
+sufficient for the proof required, especially including all the
+exceptional forms; so that the reader may rest assured that if I had
+been able to lay before him all the evidence in my possession, it would
+have been still more conclusive than the portion now submitted to him.
+
+[Illustration: Plate V.
+               BYZANTINE BASES.]
+
+We must examine in succession the Bases, Doorways and Jambs, Capitals,
+Archivolts, Cornices, and Tracery Bars, of Venetian architecture.
+
+
+  _I. Bases._
+
+The principal points we have to notice are the similarity and simplicity
+of the Byzantine bases in general, and the distinction between those of
+Torcello and Murano, and of St. Mark's, as tending to prove the early
+dates attributed in the text to the island churches. I have sufficiently
+illustrated the forms of the Gothic bases in Plates X., XI., and XIII.
+of the first volume, so that I here note chiefly the Byzantine or
+Romanesque ones, adding two Gothic forms for the sake of comparison.
+
+The most characteristic examples, then, are collected in Plate V.
+opposite; namely:
+
+            1, 2, 3, 4. In the upper gallery of apse of Murano.
+            5. Lower shafts of apse. Murano.
+            6. Casa Falier.
+            7. Small shafts of panels. Casa Farsetti.
+            8. Great shafts and plinth. Casa Farsetti.
+            9. Great lower shafts. Fondaco de' Turchi.
+           10. Ducal Palace, upper arcade.
+ PLATE V.  11. General late Gothic form.
+ Vol. III. 12. Tomb of Dogaressa Vital Michele, in St. Mark's atrium.
+           13. Upper arcade of Madonnetta House.
+           14. Rio-Foscari House.
+           15. Upper arcade. Terraced House.
+           16, 17, 18. Nave. Torcello.
+           19, 20. Transepts. St. Mark's.
+           21. Nave. St. Mark's.
+           22. External pillars of northern portico. St. Mark's.
+           23, 24. Clustered pillars of northern portico. St. Mark's.
+           25, 26. Clustered pillars of southern portico. St. Mark's.
+
+Now, observe, first, the enormous difference in style between the bases
+1 to 5, and the rest in the upper row, that is to say, between the bases
+of Murano and the twelfth and thirteenth century bases of Venice; and,
+secondly, the difference between the bases 16 to 20 and the rest in the
+lower row, that is to say, between the bases of Torcello (with those of
+St. Mark's which belong to the nave, and which may therefore be supposed
+to be part of the earlier church), and the later ones of the St. Mark's
+Fa�ade.
+
+Secondly: Note the fellowship between 5 and 6, one of the evidences of
+the early date of the Casa Falier.
+
+Thirdly: Observe the slurring of the upper roll into the cavetto, in 13,
+14, and 15, and the consequent relationship established between three
+most important buildings, the Rio-Foscari House, Terraced House, and
+Madonnetta House.
+
+Fourthly: Byzantine bases, if they have an incision between the upper
+roll and cavetto, are very apt to approach the form of fig. 23, in which
+the upper roll is cut out of the flat block, and the ledge beneath it is
+sloping. Compare Nos. 7, 8, 9, 21, 22, 23, 24, 25, 26. On the other
+hand, the later Gothic base, 11, has always its upper roll well
+developed, and, generally, the fillet between it and the cavetto
+vertical. The sloping fillet is indeed found down to late periods; and
+the vertical fillet, as in No. 12, in Byzantine ones; but still, when a
+base has such a sloping fillet and peculiarly graceful sweeping cavetto,
+as those of No. 10, looking as if they would run into one line with each
+other, it is strong presumptive evidence of its belonging to an early,
+rather than a late period.
+
+The base 12 is the boldest example I could find of the exceptional form
+in early times; but observe, in this, that the upper roll is larger than
+the lower. This is _never_ the case in late Gothic, where the proportion
+is always as in fig. 11. Observe that in Nos. 8 and 9 the upper rolls
+are at least as large as the lower, an important evidence of the dates
+of the Casa Farsetti and Fondaco de' Turchi.
+
+Lastly: Note the peculiarly steep profile of No. 22, with reference to
+what is said of this base in Vol. II. Appendix 9.
+
+
+  _II. Doorways and Jambs._
+
+The entrances to St. Mark's consist, as above mentioned, of great
+circular or ogee porches; underneath which the real open entrances, in
+which the valves of the bronze doors play, are square headed.
+
+[Illustration: Fig. I.]
+
+The mouldings of the jambs of these doors are highly curious, and the
+most characteristic are therefore represented in one view. The outsides
+of the jambs are lowest.
+
+  _a_. Northern lateral door.
+  _b_. First northern door of the fa�ade.
+  _c_. Second door of the fa�ade.
+  _d_. Fourth door of the fa�ade.
+  _e_. Central door of the fa�ade.
+
+I wish the reader especially to note the arbitrary character of the
+curves and incisions; all evidently being drawn by hand, none being
+segments of circles, none like another, none influenced by any visible
+law. I do not give these mouldings as beautiful; they are, for the most
+part, very poor in effect, but they are singularly characteristic of the
+free work of the time.
+
+The kind of door to which these mouldings belong, is shown, with the
+other groups of doors, in Plate XIV. Vol. II. fig. 6 _a_. Then 6 _b_, 6
+_c_, 6 _d_ represent the groups of doors in which the Byzantine
+influence remained energetic, admitting slowly the forms of the pointed
+Gothic; 7 _a_, with the gable above, is the intermediate group between
+the Byzantine and Gothic schools; 7 _b_, 7 _c_, 7 _d_, 7 _e_ are the
+advanced guards of the Gothic and Lombardic invasions, representative of
+a large number of thirteenth century arcades and doors. Observe that 6
+_d_ is shown to be of a late school by its finial, and 6 _e_ of the
+latest school by its finial, complete ogee arch (instead of round or
+pointed), and abandonment of the lintel.
+
+These examples, with the exception of 6 _a_, which is a general form,
+are all actually existing doors; namely:
+
+  6 _b._ In the Fondamenta Venier, near St. Maria della Salute.
+  6 _c._ In the Calle delle Botteri, between the Rialto and San Cassan.
+  6 _d._ Main door of San Gregorio.
+  6 _e._ Door of a palace in Rio San Paternian.
+  7 _a._ Door of a small courtyard near house of Marco Polo.
+  7 _b._ Arcade in narrow canal, at the side of Casa Barbaro.
+  7 _c._ At the turn of the canal, close to the Ponte dell' Angelo.
+  7 _d._ In Rio San Paternian (a ruinous house).
+  7 _e._ At the turn of the canal on which the Sotto Portico della Stua
+           opens, near San Zaccaria.
+
+If the reader will take a magnifying glass to the figure 6 _d_, he will
+see that its square ornaments, of which, in the real door, each contains
+a rose, diminish to the apex of the arch; a very interesting and
+characteristic circumstance, showing the subtle feeling of the Gothic
+builders. They must needs diminish the ornamentation, in order to
+sympathize with the delicacy of the point of the arch. The magnifying
+glass will also show the Bondumieri shield in No. 7 _d_, and the Leze
+shield in No. 7 _e_, both introduced on the keystones in the grand early
+manner. The mouldings of these various doors will be noticed under the
+head Archivolt.
+
+[Illustration: Plate VI.
+               BYZANTINE JAMBS.]
+
+Now, throughout the city we find a number of doors resembling the square
+doors of St. Mark, and occurring with rare exceptions either in
+buildings of the Byzantine period, or imbedded in restored houses;
+never, in a single instance, forming a connected portion of any late
+building; and they therefore furnish a most important piece of evidence,
+wherever they are part of the original structure of a _Gothic_ building,
+that such building is one of the advanced guards of the Gothic school,
+and belongs to its earliest period.
+
+On Plate VI., opposite, are assembled all the important examples I could
+find in Venice of these mouldings. The reader will see at a glance their
+peculiar character, and unmistakable likeness to each other. The
+following are the references:
+
+            1. Door in Calle Mocenigo.
+            2. Angle of tomb of Dogaressa Vital Michele.
+            3. Door in Sotto Portico, St. Apollonia (near Ponte di
+                  Canonica).
+            4. Door in Calle della Verona (another like it is close by).
+            5. Angle of tomb of Doge Marino Morosini.
+            6, 7. Door in Calle Mocenigo.
+            8. Door in Campo S. Margherita.
+ Plate VI.  9. Door at Traghetto San Samuele, on south side of Grand
+ Vol. III.       Canal.
+           10. Door at Ponte St. Toma.
+           11. Great door of Church of Servi.
+           12. In Calle della Chiesa, Campo San Filippo e Giacomo.
+           13. Door of house in Calle di Rimedio (Vol. II.).
+           14. Door in Fondaco de' Turchi.
+           15. Door in Fondamenta Malcanton, near Campo S. Margherita.
+           16. Door in south side of Canna Reggio.
+           17, 18. Doors in Sotto Portico dei Squellini.
+
+The principal points to be noted in these mouldings are their curious
+differences of level, as marked by the dotted lines, more especially in
+14, 15, 16, and the systematic projection of the outer or lower
+mouldings in 16, 17, 18. Then, as points of evidence, observe that 1 is
+the jamb and 6 the archivolt (7 the angle on a larger scale) of the
+brick door given in my folio work from Ramo di rimpetto Mocenigo, one of
+the evidences of the early date of that door; 8 is the jamb of the door
+in Campo Santa Margherita (also given in my folio work), fixing the
+early date of that also; 10 is from a Gothic door opening off the Ponte
+St. Toma; and 11 is also from a Gothic building. All the rest are from
+Byzantine work, or from ruins. The angle of the tomb of Marino Morosini
+(5) is given for comparison only.
+
+The doors with the mouldings 17, 18, are from the two ends of a small
+dark passage, called the Sotto Portico dei Squellini, opening near Ponte
+Cappello, on the Rio-Marin: 14 is the outside one, arranged as usual,
+and at _a_, in the rough stone, are places for the staples of the door
+valve; 15, at the other end of the passage, opening into the little
+Corte dei Squellini, is set with the part _a_ outwards, it also having
+places for hinges; but it is curious that the rich moulding should be
+set in towards the dark passage, though natural that the doors should
+both open one way.
+
+[Illustration: Plate VII.
+               GOTHIC JAMBS.]
+
+The next Plate, VII., will show the principal characters of the Gothic
+jambs, and the total difference between them and the Byzantine ones. Two
+more Byzantine forms, 1 and 2, are given here for the sake of
+comparison; then 3, 4, and 5 are the common profiles of simple jambs of
+doors in the Gothic period; 6 is one of the jambs of the Frari windows,
+continuous into the archivolt, and meeting the traceries, where the line
+is set upon it at the extremity of its main slope; 7 and 8 are jambs of
+the Ducal Palace windows, in which the great semicircle is the half
+shaft which sustains the traceries, and the rest of the profile is
+continuous in the archivolt; 17, 18, and 19 are the principal piers of
+the Ducal Palace; and 20, from St. Fermo of Verona, is put with them in
+order to show the step of transition from the Byzantine form 2 to the
+Gothic chamfer, which is hardly represented at Venice. The other
+profiles on the plate are all late Gothic, given to show the gradual
+increase of complexity without any gain of power. The open lines in 12,
+14, 16, etc., are the parts of the profile cut into flowers or cable
+mouldings; and so much incised as to show the constant outline of the
+cavetto or curve beneath them. The following are the references:
+
+             1. Door in house of Marco Polo.
+             2. Old door in a restored church of St. Cassan.
+             3, 4, 5. Common jambs of Gothic doors.
+             6. Frari windows.
+             7, 8. Ducal Palace windows.
+             9. Casa Priuli, great entrance.
+            10. San Stefano, great door.
+ PLATE VII. 11. San Gregorio, door opening to the water.
+ Vol. III.  12. Lateral door, Frari.
+            13. Door of Campo San Zaccaria.
+            14. Madonna dell'Orto.
+            15. San Gregorio, door in the fa�ade.
+            16. Great lateral door, Frari.
+            17. Pilaster at Vine angle, Ducal Palace.
+            18. Pier, inner cortile, Ducal Palace.
+            19. Pier, under the medallion of Venice, on the Piazetta
+                  fa�ade of the Ducal Palace.
+
+
+  _III. Capitals._
+
+I shall here notice the various facts I have omitted in the text of the
+work.
+
+First, with respect to the Byzantine Capitals represented in Plate VII.
+Vol. II., I omitted to notice that figs. 6 and 7 represent two sides of
+the same capital at Murano (though one is necessarily drawn on a smaller
+scale than the other). Fig. 7 is the side turned to the light, and fig.
+6 to the shade, the inner part, which is quite concealed, not being
+touched at all.
+
+We have here a conclusive proof that these capitals were cut for their
+place in the apse; therefore I have always considered them as tests of
+Venetian workmanship, and, on the strength of that proof, have
+occasionally spoken of capitals as of true Venetian work, which M.
+Lazari supposes to be of the Lower Empire. No. 11, from St. Mark's, was
+not above noticed. The way in which the cross is gradually left in
+deeper relief as the sides slope inwards and away from it, is highly
+picturesque and curious.
+
+No. 9 has been reduced from a larger drawing, and some of the life and
+character of the curves lost in consequence. It is chiefly given to show
+the irregular and fearless freedom of the Byzantine designers, no two
+parts of the foliage being correspondent; in the original it is of white
+marble, the ground being colored blue.
+
+Plate X. Vol. II. represents the four principal orders of Venetian
+capitals in their greatest simplicity, and the profiles of the most
+interesting examples of each. The figures 1 and 4 are the two great
+concave and convex groups, and 2 and 3 the transitional. Above each type
+of form I have put also an example of the group of flowers which
+represent it in nature: fig. 1 has a lily; fig. 2 a variety of the
+Tulipa sylvestris; figs. 3 and 4 forms of the magnolia. I prepared this
+plate in the early spring, when I could not get any other examples,[65]
+or I would rather have had two different species for figs. 3 and 4; but
+the half-open magnolia will answer the purpose, showing the beauty of
+the triple curvature in the sides.
+
+I do not say that the forms of the capitals are actually taken from
+flowers, though assuredly so in some instances, and partially so in the
+decoration of nearly all. But they were designed by men of pure and
+natural feeling for beauty, who therefore instinctively adopted the
+forms represented, which are afterwards proved to be beautiful by their
+frequent occurrence in common flowers.
+
+The convex forms, 3 and 4, are put lowest in the plate only because they
+are heaviest; they are the earliest in date, and have already been
+enough examined.
+
+I have added a plate to this volume (Plate XII.), which should have
+appeared in illustration of the fifth chapter of Vol. II., but was not
+finished in time. It represents the central capital and two of the
+lateral ones of the Fondaco de' Turchi, the central one drawn very
+large, in order to show the excessive simplicity of its chiselling,
+together with the care and sharpness of it, each leaf being expressed by
+a series of sharp furrows and ridges. Some slight errors in the large
+tracings from which the engraving was made have, however, occasioned a
+loss of spring in the curves, and the little fig. 4 of Plate X. Vol. II.
+gives a truer idea of the distant effect of the capital.
+
+The profiles given in Plate X. Vol. II. are the following:
+
+       1. _a._ Main capitals, upper arcade, Madonnetta House.
+          _b._ Main capitals, upper arcade, Casa Falier.
+          _c._ Lateral capitals, upper arcade, Fondaco de' Turchi.
+          _d._ Small pillars of St. Mark's Pulpit.
+          _e._ Casa Farsetti.
+          _f._ Inner capitals of arcade of Ducal Palace.
+          _g._ Plinth of the house[66] at Apostoli.
+          _h._ Main capitals of house at Apostoli.
+          _i._ Main capitals, upper arcade, Fondaco de' Turchi.
+       2. _a._ Lower arcade, Fondaco de' Turchi.
+          _b, c._ Lower pillars, house at Apostoli.
+          _d._ San Simeon Grande.
+ PLATE X. _e._ Restored house on Grand Canal. Three of the old arches left.
+ vol. II. _f._ Upper arcade, Ducal Palace.
+          _g._ Windows of third order, central shaft, Ducal Palace.
+          _h._ Windows of third order, lateral shaft, Ducal Palace.
+          _i._ Ducal Palace, main shafts.
+          _k._ Piazzetta shafts.
+       3. _a._ St. Mark's Nave.
+          _b, c._ Lily capitals, St. Mark's.
+       4. _a._ Fondaco de' Turchi, central shaft, upper arcade.
+          _b._ Murano, upper arcade.
+          _c._ Murano, lower arcade.
+          _d._ Tomb of St. Isidore.
+          _e._ General late Gothic profile.
+
+The last two sections are convex in effect, though not in reality; the
+bulging lines being carved into bold flower-work.
+
+The capitals belonging to the groups 1 and 2, in the Byzantine times,
+have already been illustrated in Plate VIII. Vol. II.; we have yet to
+trace their succession in the Gothic times. This is done in Plate II. of
+this volume, which we will now examine carefully. The following are the
+capitals represented in that plate:
+
+           1. Small shafts of St. Mark's Pulpit.
+           2. From the transitional house in the Calle di Rimedio (conf.
+                Vol. II.).
+           3. General simplest form of the middle Gothic capital.
+           4. Nave of San Giacomo de Lorio.
+           5. Casa Falier.
+           6. Early Gothic house in Campo Sta. M^a. Mater Domini.
+ PLATE II. 7. House at the Apostoli.
+ Vol. III. 8. Piazzetta shafts.
+           9. Ducal Palace, upper arcade.
+          10. Palace of Marco Querini.
+          11. Fondaco de' Turchi.
+          12. Gothic palaces in Campo San Polo.
+          13. Windows of fourth order, Plate XVI. Vol. II.
+          14. Nave of Church of San Stefano.
+          15. Late Gothic Palace at the Miracoli.
+
+The two lateral columns form a consecutive series: the central column is
+a group of exceptional character, running parallel with both. We will
+take the lateral ones first. 1. Capital of pulpit of St. Mark's
+(representative of the simplest concave forms of the Byzantine period).
+Look back to Plate VIII. Vol. II., and observe that while all the forms
+in that plate are contemporaneous, we are now going to follow a series
+_consecutive_ in time, which begins from fig. 1, either in that plate or
+in this; that is to say, with the simplest possible condition to be
+found at the time; and which proceeds to develope itself into gradually
+increasing richness, while the _already rich_ capitals of the old school
+die at its side. In the forms 14 and 15 (Plate VIII.) the Byzantine
+school expired; but from the Byzantine simple capital (1, Plate II.
+above) which was coexistent with them, sprang another hardy race of
+capitals, whose succession we have now to trace.
+
+The form 1, Plate II. is evidently the simplest conceivable condition of
+the truncated capital, long ago represented generally in Vol. I., being
+only rounded a little on its side to fit it to the shaft. The next step
+was to place a leaf beneath each of the truncations (fig. 4, Plate II.,
+San Giacomo de Lorio), the end of the leaf curling over at the top in a
+somewhat formal spiral, partly connected with the traditional volute of
+the Corinthian capital. The sides are then enriched by the addition of
+some ornament, as a shield (fig. 7) or rose (fig. 10), and we have the
+formed capital of the early Gothic. Fig. 10, being from the palace of
+Marco Querini, is certainly not later than the middle of the thirteenth
+century (see Vol. II.), and fig. 7, is, I believe, of the same date; it
+is one of the bearing capitals of the lower story of the palace at the
+Apostoli, and is remarkably fine in the treatment of its angle leaves,
+which are not deeply under-cut, but show their magnificent sweeping
+under surface all the way down, not as a leaf surface, but treated like
+the gorget of a helmet, with a curved line across it like that where the
+gorget meets the mail. I never saw anything finer in simple design. Fig.
+10 is given chiefly as a certification of date, and to show the
+treatment of the capitals of this school on a small scale. Observe the
+more expansive head in proportion to the diameter of the shaft, the
+leaves being drawn from the angles, as if gathered in the hand, till
+their edges meet; and compare the rule given in Vol. I. Chap. IX. � XIV.
+The capitals of the remarkable house, of which a portion is represented
+in Fig. XXXI. Vol. II., are most curious and pure examples of this
+condition; with experimental trefoils, roses, and leaves introduced
+between their volutes. When compared with those of the Querini Palace,
+they form one of the most important evidences of the date of the
+building.
+
+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 medi�val 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.
+
+Nothing can be more beautiful or original than the adaptation of these
+broad bearing abaci; but as they have nothing to do with the capital
+itself, and could not easily be brought into the space, they are omitted
+in Plate II., where fig. 8 shows the bell of the capital only. Its
+profile is curiously subtle,--apparently concave everywhere, but in
+reality concave (all the way down) only on the angles, and slightly
+convex at the sides (the profile through the side being 2 _k_, Plate X.
+Vol. II.); in this subtlety of curvature, as well as in the simple
+cross, showing the influence of early times.
+
+The leaf on the angle, of which more presently, is fig. 5, Plate XX.
+Vol. II.
+
+Connected with this school of transitional capitals we find a form in
+the later Gothic, such as fig. 14, from the Church of San Stefano; but
+which appears in part derived from an old and rich Byzantine type, of
+which fig. 11, from the Fondaco de' Turchi, is a characteristic example.
+
+I must now take the reader one step farther, and ask him to examine,
+finally, the treatment of the leaves, down to the cutting of their most
+minute lobes, in the series of capitals of which we have hitherto only
+sketched the general forms.
+
+In all capitals with nodding leaves, such as 6 and 9 in Plate II., the
+real form of the leaf is not to be seen, except in perspective; but, in
+order to render the comparison more easy, I have in Plate XX. Vol. II.
+opened all the leaves out, as if they were to be dried in a herbarium,
+only leaving the furrows and sinuosities of surface, but laying the
+outside contour nearly flat upon the page, except for a particular
+reason in figs. 2, 10, 11, and 15.
+
+I shall first, as usual, give the references, and then note the points
+of interest.
+
+           1, 2, 3. Fondaco de' Turchi, upper arcade.
+           4. Greek pillars brought from St. Jean d'Acre.
+           5. Piazzetta shafts.
+           6. Madonnetta House.
+ PLATE XX. 7. Casa Falier.
+  Vol. II. 8. Palace near St. Eustachio.
+           9. Tombs, outside of St. John and Paul.
+          10. Tomb of Giovanni Soranzo.
+          11. Tomb of Andrea Dandolo.
+          12, 13, 14. Ducal Palace.
+
+N.B. The upper row, 1 to 4, is Byzantine, the next transitional, the
+last two Gothic.
+
+Fig. 1. The leaf of the capital No. 6, Plate VIII. Vol. II. Each lobe of
+the leaf has a sharp furrow up to its point, from its root.
+
+Fig. 2. The leaf of the capital on the right hand, at the top of Plate
+XII. in this volume. The lobes worked in the same manner, with deep
+black drill holes between their points.
+
+Fig. 3. One of the leaves of fig. 14, Plate VIII. Vol. II. fully
+unfolded. The lobes worked in the same manner, but left shallow, so as
+not to destroy the breadth of light; the central line being drawn by
+drill holes, and the interstices between lobes cut black and deep.
+
+Fig. 4. Leaf with flower; pure Byzantine work, showing whence the
+treatment of all the other leaves has been derived.
+
+Fig. 6. For the sake of symmetry, this is put in the centre: it is the
+earliest of the three in this row; taken from the Madonnetta House,
+where the capitals have leaves both at their sides and angles. The tall
+angle leaf, with its two lateral ones, is given in the plate; and there
+is a remarkable distinction in the mode of workmanship of these leaves,
+which, though found in a palace of the Byzantine period, is indicative
+of a tendency to transition; namely, that the sharp furrow is now drawn
+_only to the central lobe_ of each division of the leaf, and the rest of
+the surface of the leaf is left nearly flat, a slight concavity only
+marking the division of the extremities. At the base of these leaves
+they are perfectly flat, only cut by the sharp and narrow furrow, as an
+elevated table-land is by ravines.
+
+Fig. 5. A more advanced condition; the fold at the recess, between each
+division of the leaf, carefully expressed, and the concave or depressed
+portions of the extremities marked more deeply, as well as the central
+furrow, and a rib added in the centre.
+
+Fig. 7. A contemporary, but more finished form; the sharp furrows
+becoming softer, and the whole leaf more flexible.
+
+Fig. 8. An exquisite form of the same period, but showing still more
+advanced naturalism, from a very early group of third order windows,
+near the Church of St. Eustachio on the Grand Canal.
+
+Fig. 9. Of the same time, from a small capital of an angle shaft of the
+sarcophagi at the _side_ of St. John and Paul, in the little square
+which is adorned by the Colleone statue. This leaf is very quaint and
+pretty in giving its midmost lateral divisions only two lobes each,
+instead of the usual three or four.
+
+Fig. 10. Leaf employed in the cornice of the tomb of the Doge Giovanni
+Soranzo, who died in 1312. It nods over, and has three ribs on its upper
+surface; thus giving us the completed ideal form of the leaf, but its
+execution is still very archaic and severe.
+
+Now the next example, fig. 11, is from the tomb of the Doge Andrea
+Dandolo, and therefore executed between 1354 and 1360; and this leaf
+shows the Gothic naturalism and refinement of curvature fully developed.
+In this forty years' interval, then, the principal advance of Gothic
+sculpture is to be placed.
+
+I had prepared a complete series of examples, showing this advance, and
+the various ways in which the separations of the ribs, a most
+characteristic feature, are more and more delicately and scientifically
+treated, from the beginning to the middle of the fourteenth century, but
+I feared that no general reader would care to follow me into these
+minuti�, and have cancelled this portion of the work, at least for the
+present, the main point being, that the reader should feel the full
+extent of the change, which he can hardly fail to do in looking from
+fig. 10 to figs. 11 and 12. I believe that fig. 12 is the earlier of the
+two; and it is assuredly the finer, having all the elasticity and
+simplicity of the earliest forms, with perfect flexibility added. In
+fig. 11 there is a perilous element beginning to develope itself into
+one feature, namely, the extremities of the leaves, which, instead of
+merely nodding over, now curl completely round into a kind of ball. This
+occurs early, and in the finest Gothic work, especially in cornices and
+other running mouldings: but it is a fatal symptom, a beginning of the
+intemperance of the later Gothic, and it was followed out with singular
+avidity; the ball of coiled leafage increasing in size and complexity,
+and at last becoming the principal feature of the work; the light
+striking on its vigorous projection, as in fig. 14. Nearly all the
+Renaissance Gothic of Venice depends upon these balls for effect, a late
+capital being generally composed merely of an upper and lower range of
+leaves terminating in this manner.
+
+It is very singular and notable how, in this loss of _temperance_, there
+is loss of _life_. For truly healthy and living leaves do not bind
+themselves into knots at the extremities. They bend, and wave, and nod,
+but never curl. It is in disease, or in death, by blight, or frost, or
+poison only, that leaves in general assume this ingathered form. It is
+the flame of autumn that has shrivelled them, or the web of the
+caterpillar that has bound them: and thus the last forms of the Venetian
+leafage set forth the fate of Venetian pride; and, in their utmost
+luxuriance and abandonment, perish as if eaten of worms.
+
+And now, by glancing back to Plate X. Vol. II, the reader will see in a
+moment the kind of evidence which is found of the date of capitals in
+their profiles merely. Observe: we have seen that the treatment of the
+leaves in the Madonnetta House seemed "indicative of a tendency to
+transition." Note their profile, 1_a_, and its close correspondence with
+1 _h_, which is actually of a transitional capital from the upper arcade
+of second order windows in the Apostoli Palace; yet both shown to be
+very close to the Byzantine period, if not belonging to it, by their
+fellowship with the profile _i_, from the Fondaco de' Turchi. Then note
+the close correspondence of all the other profiles in that line, which
+belong to the concave capitals or plinths of the Byzantine palaces, and
+note their composition, the abacus being, in idea, merely an echo or
+reduplication of the capital itself; as seen in perfect simplicity in
+the profile _f_, which is a roll under a _tall_ concave curve forming
+the bell of the capital, with a roll and _short_ concave curve for its
+abacus. This peculiar abacus is an unfailing test of early date; and our
+finding this simple profile used for the Ducal Palace (_f_), is strongly
+confirmatory of all our former conclusions.
+
+Then the next row, 2, are the Byzantine and early Gothic semi-convex
+curves, in their pure forms, having no roll below; but often with a roll
+added, as at _f_, and in certain early Gothic conditions curiously fused
+into it, with a cavetto between, as _b_, _c_, _d_. But the more archaic
+form is as at _f_ and _k_; and as these two profiles are from the Ducal
+Palace and Piazzetta shafts, they join again with the rest of the
+evidence of their early date. The profiles _i_ and _k_ are both most
+beautiful; _i_ is that of the great capitals of the Ducal Palace, and
+the small profiles between it and _k_ are the varieties used on the
+fillet at its base. The profile _i_ should have had leaves springing
+from it, as 1 _h_ has, only more boldly, but there was no room for them.
+
+The reader cannot fail to discern at a glance the fellowship of the
+whole series of profiles, 2 _a_ to _k_, nor can he but with equal ease
+observe a marked difference in 4 _d_ and 4 _e_ from any others in the
+plate; the bulging outlines of leafage being indicative of the luxuriant
+and flowing masses, no longer expressible with a simple line, but to be
+considered only as confined within it, of the later Gothic. Now _d_ is a
+dated profile from the tomb of St. Isidore, 1355, which by its dog-tooth
+abacus and heavy leafage distinguishes itself from all the other
+profiles, and therefore throws them back into the first half of the
+century. But, observe, it still retains the noble swelling root. This
+character soon after vanishes; and, in 1380, the profile _e_, at once
+heavy, feeble, and ungraceful, with a meagre and valueless abacus hardly
+discernible, is characteristic of all the capitals of Venice.
+
+Note, finally, this contraction of the abacus. Compare 4 _c_, which is
+the earliest form in the plate, from Murano, with 4 _e_, which is the
+latest. The other profiles show the gradual process of change; only
+observe, in 3_a_ the abacus is not drawn; it is so bold that it would
+not come into the plate without reducing the bell curve to too small a
+scale.
+
+So much for the evidence derivable from the capitals; we have next to
+examine that of the archivolts or arch mouldings.
+
+[Illustration: Plate VIII.
+               BYZANTINE ARCHIVOLTS.]
+
+
+  _IV. Archivolts._
+
+In Plate VIII., opposite, are arranged in one view all the conditions of
+Byzantine archivolt employed in Venice, on a large scale. It will be
+seen in an instant that there can be no mistaking the manner of their
+masonry. The soffit of the arch is the horizontal line at the bottom of
+all these profiles, and each of them (except 13, 14) is composed of two
+slabs of marble, one for the soffit, another for the face of the arch;
+the one on the soffit is worked on the edge into a roll (fig. 10) or
+dentil (fig. 9), and the one on the face is bordered on the other side
+by another piece let edgeways into the wall, and also worked into a roll
+or dentil: in the richer archivolts a cornice is added to this roll, as
+in figs. 1 and 4, or takes its place, as in figs. 1, 3, 5, and 6; and in
+such richer examples the facestone, and often the soffit, are
+sculptured, the sculpture being cut into their surfaces, as indicated in
+fig. 11. The concavities cut in the facestones of 1, 2, 4, 5, 6 are all
+indicative of sculpture in effect like that of Fig. XXVI. Vol. II., of
+which archivolt fig. 5, here, is the actual profile. The following are
+the references to the whole:
+
+             1. Rio-Foscari House.
+             2. Terraced House, entrance door.
+             3. Small Porticos of St. Mark's, external arches.
+             4. Arch on the canal at Ponte St. Toma.
+             5. Arch of Corte del Remer.
+             6. Great outermost archivolt of central door, St. Mark's.
+ PLATE VIII. 7. Inner archivolt of southern porch, St. Mark's Fa�ade.
+  Vol. III.  8. Inner archivolt of central entrance, St. Mark's.
+             9. Fondaco de' Turchi, main arcade.
+            10. Byzantine restored house on Grand Canal, lower arcade.
+            11. Terraced House, upper arcade.
+            12. Inner archivolt of northern porch of fa�ade, St. Mark's.
+            13 and 14. Transitional forms.
+
+[Illustration: Plate IX.
+               GOTHIC ARCHIVOLTS.]
+
+There is little to be noted respecting these forms, except that, in fig.
+1, the two lower rolls, with the angular projections between, represent
+the fall of the mouldings of two proximate arches on the abacus of the
+bearing shaft; their two cornices meeting each other, and being
+gradually narrowed into the little angular intermediate piece, their
+sculptures being slurred into the contracted space, a curious proof of
+the earliness of the work. The real archivolt moulding is the same as
+fig. 4 _c c_, including only the midmost of the three rolls in fig. 1.
+
+It will be noticed that 2, 5, 6, and 8 are sculptured on the soffits as
+well as the faces; 9 is the common profile of arches decorated only with
+colored marble, the facestone being colored, the soffit white. The
+effect of such a moulding is seen in the small windows at the right hand
+of Fig. XXVI. Vol. II.
+
+The reader will now see that there is but little difficulty in
+identifying Byzantine work, the archivolt mouldings being so similar
+among themselves, and so unlike any others. We have next to examine the
+Gothic forms.
+
+Figs. 13 and 14 in Plate VIII. represent the first brick mouldings of
+the transitional period, occurring in such instances as Fig. XXIII. or
+Fig. XXXIII. Vol. II. (the soffit stone of the Byzantine mouldings being
+taken away), and this profile, translated into solid stone, forms the
+almost universal moulding of the windows of the second order. These two
+brick mouldings are repeated, for the sake of comparison, at the top of
+Plate IX. opposite; and the upper range of mouldings which they
+commence, in that plate, are the brick mouldings of Venice in the early
+Gothic period. All the forms below are in stone; and the moulding 2,
+translated into stone, forms the universal archivolt of the early
+pointed arches of Venice, and windows of second and third orders. The
+moulding 1 is much rarer, and used for the most part in doors only.
+
+The reader will see at once the resemblance of character in the various
+flat brick mouldings, 3 to 11. They belong to such arches as 1 and 2 in
+Plate XVII. Vol. II.; or 6 _b_, 6 _c_, in Plate XIV. Vol. II., 7 and 8
+being actually the mouldings of those two doors; the whole group being
+perfectly defined, and separate from all the other Gothic work in
+Venice, and clearly the result of an effort to imitate, in brickwork,
+the effect of the flat sculptured archivolts of the Byzantine times.
+(See Vol. II. Chap. VII. � XXXVII.)
+
+Then comes the group 14 to 18 in stone, derived from the mouldings 1 and
+2; first by truncation, 14; then by beading the truncated angle, 15, 16.
+The occurrence of the profile 16 in the three beautiful windows
+represented in the uppermost figure of Plate XVIII. Vol. I. renders that
+group of peculiar interest, and is strong evidence of its antiquity.
+Then a cavetto is added, 17; first shallow and then deeper, 18, which is
+the common archivolt moulding of the central Gothic door and window:
+but, in the windows of the early fourth order, this moulding is
+complicated by various additions of dog-tooth mouldings under the
+dentil, as in 20; or the _gabled_ dentil (see fig. 20, Plate IX. Vol.
+I), as fig. 21; or both, as figs 23, 24. All these varieties expire in
+the advanced period, and the established moulding for windows is 29. The
+intermediate group, 25 to 28, I found only in the high windows of the
+third order in the Ducal Palace, or in the Chapter-house of the Frari,
+or in the arcades of the Ducal Palace; the great outside lower arcade of
+the Ducal Palace has the profile 31, the left-hand side being the
+innermost.
+
+Now observe, all these archivolts, without exception, assume that the
+spectator looks from the outside only: none are complete on both sides;
+they are essentially _window_ mouldings, and have no resemblance to
+those of our perfect Gothic arches prepared for traceries. If they were
+all completely drawn in the plate, they should be as fig. 25, having a
+great depth of wall behind the mouldings, but it was useless to
+represent this in every case. The Ducal Palace begins to show mouldings
+on both sides, 28, 31; and 35 is a _complete_ arch moulding from the
+apse of the Frari. That moulding, though so perfectly developed, is
+earlier than the Ducal Palace, and with other features of the building,
+indicates the completeness of the Gothic system, which made the
+architect of the Ducal Palace found his work principally upon that
+church.
+
+The other examples in this plate show the various modes of combination
+employed in richer archivolts. The triple change of slope in 38 is very
+curious. The references are as follows:
+
+            1. Transitional to the second order.
+            2. Common second order.
+            3. Brick, at Corte del Forno, Round arch.
+            4. Door at San Giovanni Grisostomo.
+            5. Door at Sotto Portico della Stua.
+            6. Door in Campo St. Luca, of rich brickwork.
+            7. Round door at Fondamenta Venier.
+            8. Pointed door. Fig. 6_c_, Plate XIV. Vol. II.
+            9. Great pointed arch, Salizzada San Lio.
+           10. Round door near Fondaco de' Turchi.
+           11. Door with Lion, at Ponte della Corona.
+           12. San Gregorio, Fa�ade.
+           13. St. John and Paul, Nave.
+           14. Rare early fourth order, at San Cassan.
+           15. General early Gothic archivolt.
+           16. Same, from door in Rio San G. Grisostomo.
+           17. Casa Vittura.
+           18. Casa Sagredo, Unique thirds. Vol. II.
+           19. Murano Palace, Unique fourths.[67]
+ PLATE IX. 20. Pointed door of Four-Evangelist House.[68]
+ Vol. III. 21. Keystone door in Campo St. M. Formosa.
+           22. Rare fourths, at St. Pantaleon.
+           23. Rare fourths, Casa Papadopoli.
+           24. Rare fourths, Chess house.[69]
+           25. Thirds of Frari Cloister.
+           26. Great pointed arch of Frari Cloister.
+           27. Unique thirds, Ducal Palace.
+           28. Inner Cortile, pointed arches, Ducal Palace.
+           29. Common fourth and fifth order Archivolt.
+           30. Unique thirds, Ducal Palace.
+           31. Ducal Palace, lower arcade.
+           32. Casa Priuli, arches in the inner court.
+           33. Circle above the central window, Ducal Palace.
+           34. Murano apse.
+           35. Acute-pointed arch, Frari.
+           36. Door of Accademia delle belle Arti.
+           37. Door in Calle Tiossi, near Four-Evangelist House.
+           38. Door in Campo San Polo.
+           39. Door of palace at Ponte Marcello.
+           40. Door of a palace close to the Church of the Miracoli.
+
+
+  _V. Cornices._
+
+Plate X. represents, in one view, the cornices or string-courses of
+Venice, and the abaci of its capitals, early and late; these two
+features being inseparably connected, as explained in Vol. I.
+
+The evidence given by these mouldings is exceedingly clear. The two
+upper lines in the Plate, 1-11, 12-24, are all plinths from Byzantine
+buildings. The reader will at once observe their unmistakable
+resemblances. The row 41 to 50 are contemporary abaci of capitals; 52,
+53, 54, 56, are examples of late Gothic abaci; and observe, especially,
+these are all rounded at the _top_ of the cavetto, but the Byzantine
+abaci are rounded, if at all, at the _bottom_ of the cavetto (see 7, 8,
+9, 10, 20, 28, 46). Consider what a valuable test of date this is, in
+any disputable building.
+
+Again, compare 28, 29, one from St. Mark's, the other from the Ducal
+Palace, and observe the close resemblance, giving farther evidence of
+early date in the palace.
+
+25 and 50 are drawn to the same scale. The former is the wall-cornice,
+the latter the abacus of the great shafts, in the Casa Loredan; the one
+passing into the other, as seen in Fig. XXVIII. Vol. I. It is curious to
+watch the change in proportion, while the moulding, all but the lower
+roll, remains the same.
+
+[Illustration: Plate X.
+               CORNICES AND ABACI.]
+
+The following are the references:
+
+            1. Common plinth of St. Mark's.
+            2. Plinth above lily capitals, St. Mark's.
+            3, 4. Plinths in early surface Gothic.
+            5. Plinth of door in Campo St. Luca.
+            6. Plinth of treasury door, St. Mark's.
+            7. Archivolts of nave, St. Mark's.
+            8. Archivolts of treasury door, St. Mark's.
+            9. Moulding of circular window in St. John and Paul.
+           10. Chief decorated narrow plinth, St. Mark's.
+           11. Plinth of door, Campo St. Margherita.
+           12. Plinth of tomb of Doge Vital Falier.
+           13. Lower plinth, Fondaco de' Turchi, and Terraced House.
+           14. Running plinth of Corte del Remer.
+           15. Highest plinth at top of Fondaco de' Turchi.
+           16. Common Byzantine plinth.
+           17. Running plinth of Casa Falier.
+           18. Plinth of arch at Ponte St. Toma.
+           19, 20, 21. Plinths of tomb of Doge Vital Falier.
+           22. Plinth of window in Calle del Pistor.
+           23. Plinth of tomb of Dogaressa Vital Michele.
+           24. Archivolt in the Frari.
+           25. Running plinth, Casa Loredan.
+           26. Running plinth, under pointed arch, in Salizzada San Lio.
+           27. Running plinth, Casa Erizzo.
+ PLATE X.  28. Circles in portico of St. Mark's.
+ Vol. III. 29. Ducal Palace cornice, lower arcade.
+           30. Ducal Palace cornice, upper arcade.
+           31. Central Gothic plinth.
+           32. Late Gothic plinth.
+           33. Late Gothic plinth, Casa degli Ambasciatori.
+           34. Late Gothic plinth, Palace near the Jesuiti.
+           35, 36. Central balcony cornice.
+           37. Plinth of St. Mark's balustrade.
+           38. Cornice of the Frari, in brick, cabled.
+           39. Central balcony plinth.
+           40. Uppermost cornice, Ducal Palace.
+           41. Abacus of lily capitals, St. Mark's.
+           42. Abacus, Fondaco de' Turchi.
+           43. Abacus, large capital of Terraced House.
+           44. Abacus, Fondaco de' Turchi.
+           45. Abacus, Ducal Palace, upper arcade.
+           46. Abacus, Corte del Remer.
+           47. Abacus, small pillars, St. Mark's pulpit.
+           48. Abacus, Murano and Torcello.
+           49. Abacus, Casa Farsetti.
+           50. Abacus, Casa Loredan, lower story.
+           51. Abacus, capitals of Frari.
+           52. Abacus, Casa Cavalli (plain).
+           53. Abacus, Casa Priuli (flowered).
+           54. Abacus, Casa Foscari (plain).
+           55. Abacus, Casa Priuli (flowered).
+           56. Abacus, Plate II. fig. 15.
+           57. Abacus, St. John and Paul.
+           58. Abacus, St. Stefano.
+
+It is only farther to be noted, that these mouldings are used in various
+proportions, for all kinds of purposes: sometimes for true cornices;
+sometimes for window-sills; sometimes, 3 and 4 (in the Gothic time)
+especially, for dripstones of gables: 11 and such others form little
+plinths or abaci at the spring of arches, such as those shown at _a_,
+Fig. XXIII. Vol. II. Finally, a large number of superb Byzantine
+cornices occur, of the form shown at the top of the arch in Plate V.
+Vol. II., having a profile like 16 or 19 here; with nodding leaves of
+acanthus thrown out from it, being, in fact, merely one range of the
+leaves of a Byzantine capital unwrapped, and formed into a continuous
+line. I had prepared a large mass of materials for the illustration of
+these cornices, and the Gothic ones connected with them; but found the
+subject would take up another volume, and was forced, for the present,
+to abandon it. The lower series of profiles, 7 to 12 in Plate XV. Vol.
+I, shows how the leaf-ornament is laid on the simple early cornices.
+
+
+  _VI. Traceries._
+
+We have only one subject more to examine, the character of the early and
+late Tracery Bars.
+
+The reader may perhaps have been surprised at the small attention given
+to traceries in the course of the preceding volumes: but the reason is,
+that there are no _complicated_ traceries at Venice belonging to the
+good Gothic time, with the single exception of those of the Casa
+Cicogna; and the magnificent arcades of the Ducal Palace Gothic are so
+simple as to require little explanation.
+
+There are, however, two curious circumstances in the later traceries;
+the first, that they are universally considered by the builder (as the
+old Byzantines considered sculptured surfaces of stone) as material out
+of which a certain portion is _to be cut_, to fill his window. A fine
+Northern Gothic tracery is a complete and systematic arrangement of
+arches and foliation, _adjusted_ to the form of the window; but a
+Venetian tracery is a piece of a larger composition, cut to the shape of
+the window. In the Porta della Carta, in the Church of the Madonna
+dell'Orto, in the Casa Bernardo on the Grand Canal, in the old Church of
+the Misericordia, and wherever else there are rich traceries in Venice,
+it will always be found that a certain arrangement of quatrefoils and
+other figures has been planned as if it were to extend indefinitely into
+miles of arcade; and out of this colossal piece of marble lace, a piece
+in the shape of a window is cut, mercilessly and fearlessly: whatever
+fragments and odd shapes of interstice, remnants of this or that figure
+of the divided foliation, may occur at the edge of the window, it
+matters not; all are cut across, and shut in by the great outer
+archivolt.
+
+It is very curious to find the Venetians treating what in other
+countries became of so great individual importance, merely as a kind of
+diaper ground, like that of their chequered colors on the walls. There
+is great grandeur in the idea, though the system of their traceries was
+spoilt by it: but they always treated their buildings as masses of color
+rather than of line; and the great traceries of the Ducal Palace itself
+are not spared any more than those of the minor palaces. They are cut
+off at the flanks in the middle of the quatrefoils, and the terminal
+mouldings take up part of the breadth of the poor half of a quatrefoil
+at the extremity.
+
+One other circumstance is notable also. In good Northern Gothic the
+tracery bars are of a constant profile, the same on both sides; and if
+the plan of the tracery leaves any interstices so small that there is
+not room for the full profile of the tracery bar all round them, those
+interstices are entirely closed, the tracery bars being supposed to have
+met each other. But in Venice, if an interstice becomes anywhere
+inconveniently small, the tracery bar is sacrificed; cut away, or in
+some way altered in profile, in order to afford more room for the light,
+especially in the early traceries, so that one side of a tracery bar is
+often quite different from the other. For instance, in the bars 1 and 2,
+Plate XI., from the Frari and St. John and Paul, the uppermost side is
+towards a great opening, and there was room for the bevel or slope to
+the cusp; but in the other side the opening was too small, and the bar
+falls vertically to the cusp. In 5 the uppermost side is to the narrow
+aperture, and the lower to the small one; and in fig. 9, from the Casa
+Cicogna, the uppermost side is to the apertures of the tracery, the
+lowermost to the arches beneath, the great roll following the design of
+the tracery; while 13 and 14 are left without the roll at the base of
+their cavettos on the uppermost sides, which are turned to narrow
+apertures. The earliness of the Casa Cicogna tracery is seen in a moment
+by its being moulded on the face only. It is in fact nothing more than a
+series of quatrefoiled apertures in the solid wall of the house, with
+mouldings on their faces, and magnificent arches of pure pointed fifth
+order sustaining them below.
+
+[Illustration: Plate XI.
+               TRACERY BARS.]
+
+The following are the references to the figures in the plate:
+
+            1. Frari.
+            2. Apse, St. John and Paul.
+            3. Frari.
+            4. Ducal Palace, inner court, upper window.
+            5. Madonna dell'Orto.
+            6. St. John and Paul.
+            7. Casa Bernardo.
+            8. Casa Contarini Fasan.
+            9. Casa Cicogna.
+           10. 11. Frari.
+           12. Murano Palace (see note, p. 265).
+ PLATE XI. 13. Misericordia.
+ Vol. III. 14. Palace of the younger Foscari.[70]
+           15. Casa d'Oro; great single windows.
+           16. Hotel Danieli.
+           17. Ducal Palace.
+           18. Casa Erizzo, on Grand Canal.
+           19. Main story, Casa Cavalli.
+           20. Younger Foscari.
+           21. Ducal Palace, traceried windows.
+           22. Porta della Carta.
+           23. Casa d'Oro.
+           24. Casa d'Oro, upper story.
+           25. Casa Facanon.
+           26. Casa Cavalli, near Post-Office.
+
+It will be seen at a glance that, except in the very early fillet
+traceries of the Frari and St. John and Paul, Venetian work consists of
+roll traceries of one general pattern. It will be seen also, that 10 and
+11 from the Frari, furnish the first examples of the form afterwards
+completely developed in 17, the tracery bar of the Ducal Palace; but
+that this bar differs from them in greater strength and squareness, and
+in adding a recess between its smaller roll and the cusp. Observe, that
+this is done for strength chiefly; as, in the contemporary tracery (21)
+of the upper windows, no such additional thickness is used.
+
+Figure 17 is slightly inaccurate. The little curved recesses behind the
+smaller roll are not equal on each side; that next the cusp is smallest,
+being about 5/8 of an inch, while that next the cavetto is about 7/8; to
+such an extent of subtlety did the old builders carry their love of
+change.
+
+The return of the cavetto in 21, 23, and 26, is comparatively rare, and
+is generally a sign of later date.
+
+[Illustration: Fig. II.]
+
+[Illustration: Fig. III.]
+
+The reader must observe that the great sturdiness of the form of the
+bars, 5, 9, 17, 24, 25, is a consequence of the peculiar office of
+Venetian traceries in supporting the mass of the building above, already
+noticed in Vol. II.; and indeed the forms of the Venetian Gothic are,
+in many other ways, influenced by the difficulty of obtaining stability
+on sandy foundations. One thing is especially noticeable in all their
+arrangements of traceries; namely, the endeavor to obtain equal and
+horizontal pressure along the whole breadth of the building, not the
+divided and local pressures of Northern Gothic. This object is
+considerably aided by the structure of the balconies, which are of great
+service in knitting the shafts together, forming complete tie-beams of
+marble, as well as a kind of rivets, at their bases. For instance, at
+_b_, Fig. II., is represented the masonry of the base of the upper
+arcade of the Ducal Palace, showing the root of one of its main shafts,
+with the binding balconies. The solid stones which form the foundation
+are much broader than the balcony shafts, so that the socketed
+arrangement is not seen: it is shown as it would appear in a
+longitudinal section. The balconies are not let into the circular
+shafts, but fitted to their circular curves, so as to grasp them, and
+riveted with metal; and the bars of stone which form the tops of the
+balconies are of great strength and depth, the small trefoiled arches
+being cut out of them as in Fig. III., so as hardly to diminish their
+binding power. In the lighter independent balconies they are often cut
+deeper; but in all cases the bar of stone is nearly independent of the
+small shafts placed beneath it, and would stand firm though these were
+removed, as at _a_, Fig. II., supported either by the main shafts of
+the traceries, or by its own small pilasters with semi-shafts at their
+sides, of the plan _d_, Fig. II., in a continuous balcony, and _e_ at
+the angle of one.
+
+There is one more very curious circumstance illustrative of the Venetian
+desire to obtain horizontal pressure. In all the Gothic staircases with
+which I am acquainted, out of Venice, in which vertical shafts are used
+to support an inclined line, those shafts are connected by arches rising
+each above the other, with a little bracket above the capitals, on the
+side where it is necessary to raise the arch; or else, though less
+gracefully, with a longer curve to the lowest side of the arch.
+
+But the Venetians seem to have had a morbid horror of arches which were
+not _on a level_. They could not endure the appearance of the roof of
+one arch bearing against the side of another; and rather than introduce
+the idea of obliquity into bearing curves, they abandoned the arch
+principle altogether; so that even in their richest Gothic staircases,
+where trefoiled arches, exquisitely decorated, are used on the landings,
+they ran the shafts on the sloping stair simply into the bar of stone
+above them, and used the excessively ugly and valueless arrangement of
+Fig. II., rather than sacrifice the sacred horizontality of their arch
+system.
+
+[Illustration: Fig. IV.]
+
+It will be noted, in Plate XI., that the form and character of the
+tracery bars themselves are independent of the position or projection of
+the cusps on their flat sides. In this respect, also, Venetian traceries
+are peculiar, the example 22 of the Porta della Carta being the only one
+in the plate which is subordinated according to the Northern system. In
+every other case the form of the aperture is determined, either by a
+flat and solid cusp as in 6, or by a pierced cusp as in 4. The effect of
+the pierced cusp is seen in the uppermost figure, Plate XVIII. Vol. II.;
+and its derivation from the solid cusp will be understood, at once, from
+the woodcut Fig. IV., which represents a series of the flanking stones
+of any arch of the fifth order, such as _f_ in Plate III. Vol. I.
+
+[Illustration: Fig. V.]
+
+The first on the left shows the condition of cusp in a perfectly simple
+and early Gothic arch, 2 and 3 are those of common arches of the fifth
+order, 4 is the condition in more studied examples of the Gothic
+advanced guard, and 5 connects them all with the system of traceries.
+Introducing the common archivolt mouldings on the projecting edge of 2
+and 3, we obtain the bold and deep fifth order window, used down to the
+close of the fourteenth century or even later, and always grand in its
+depth of cusp, and consequently of shadow; but the narrow cusp 4 occurs
+also in very early work, and is piquant when set beneath a bold flat
+archivolt, as in Fig. V., from the Corte del Forno at Santa Marina. The
+pierced cusp gives a peculiar lightness and brilliancy to the window,
+but is not so sublime. In the richer buildings the surface of the flat
+and solid cusp is decorated with a shallow trefoil (see Plate VIII. Vol.
+I.), or, when the cusp is small, with a triangular incision only, as
+seen in figs. 7 and 8, Plate XI. The recesses on the sides of the other
+cusps indicate their single or double lines of foliation. The cusp of
+the Ducal Palace has a fillet only round its edge, and a ball of red
+marble on its truncated point, and is perfect in its grand simplicity;
+but in general the cusps of Venice are far inferior to those of Verona
+and of the other cities of Italy, chiefly because there was always some
+confusion in the mind of the designer between true cusps and the mere
+bending inwards of the arch of the fourth order. The two series, 4 _a_
+to 4 _e_, and 5 _a_ to 5 _e_, in Plate XIV. Vol. II., are arranged so as
+to show this connexion, as well as the varieties of curvature in the
+trefoiled arches of the fourth and fifth orders, which, though
+apparently slight on so small a scale, are of enormous importance in
+distant effect; a house in which the joints of the cusps project as much
+as in 5 _c_, being quite piquant and grotesque when compared with one in
+which the cusps are subdued to the form 5 _b_. 4 _d_ and 4 _e_ are
+Veronese forms, wonderfully effective and spirited; the latter occurs at
+Verona only, but the former at Venice also. 5 _d_ occurs in Venice, but
+is very rare; and 5 _e_ I found only once, on the narrow canal close to
+the entrance door of the Hotel Danieli. It was partly walled up, but I
+obtained leave to take down the brickwork and lay open one side of the
+arch, which may still be seen.
+
+       *       *       *       *       *
+
+The above particulars are enough to enable the reader to judge of the
+distinctness of evidence which the details of Venetian architecture bear
+to its dates. Farther explanation of the plates would be vainly tedious:
+but the architect who uses these volumes in Venice will find them of
+value, in enabling him instantly to class the mouldings which may
+interest him; and for this reason I have given a larger number of
+examples than would otherwise have been sufficient for my purpose.
+
+
+FOOTNOTES:
+
+  [58] "Olim _magistri_ prothi palatii nostri novi."--_Cadorin_, p. 127.
+
+  [59] A print, dated 1585, barbarously inaccurate, as all prints were
+    at that time, but still in some respects to be depended upon,
+    represents all the windows on the fa�ade full of traceries; and the
+    circles above, between them, occupied by quatrefoils.
+
+  [60] "Lata tanto, quantum est ambulum existens super columnis versus
+    canale respicientibus."
+
+  [61] Bettio, p. 28.
+
+  [62] In the bombardment of Venice in 1848, hardly a single palace
+    escaped without three or four balls through its roof: three came
+    into the Scuola di San Rocco, tearing their way through the pictures
+    of Tintoret, of which the ragged fragments were still hanging from
+    the ceiling in 1851; and the shells had reached to within a hundred
+    yards of St. Mark's Church itself, at the time of the capitulation.
+
+  [63] A _Mohammedan_ youth is punished, I believe, for such
+    misdemeanors, by being _kept away_ from prayers.
+
+  [64] "Those Venetians are fishermen."
+
+  [65] I am afraid that the kind friend, Lady Trevelyan, who helped me
+    to finish this plate, will not like to be thanked here; but I cannot
+    let her send into Devonshire for magnolias, and draw them for me,
+    _without_ thanking her.
+
+  [66] That is, the house in the parish of the Apostoli, on the Grand
+    Canal, noticed in Vol. II.; and see also the Venetian Index, under
+    head "Apostoli."
+
+  [67] Close to the bridge over the main channel through Murano is a
+    massive foursquare Gothic palace, containing some curious traceries,
+    and many _unique_ transitional forms of window, among which these
+    windows of the fourth order occur, with a roll within their dentil
+    band.
+
+  [68] Thus, for the sake of convenience, we may generally call the
+    palace with the emblems of the Evangelists on its spandrils, Vol.
+    II.
+
+  [69] The house with chequers like a chess-board on its spandrils,
+    given in my folio work.
+
+  [70] The palace next the Casa Foscari, on the Grand Canal, sometimes
+    said to have belonged to the son of the Doge.
+
+
+
+
+INDICES.
+
+   I. PERSONAL INDEX.  |  III. TOPICAL INDEX.
+  II. LOCAL INDEX.     |   IV. VENETIAN INDEX.
+
+The first of the following Indices contains the names of persons; the
+second those of places (not in Venice) alluded to in the body of the
+work. The third Index consists of references to the subjects touched
+upon. In the fourth, called the Venetian Index, I have named every
+building of importance in the city of Venice itself, or near it;
+supplying, for the convenience of the traveller, short notices of those
+to which I had no occasion to allude in the text of the work; and making
+the whole as complete a guide as I could, with such added directions as
+I should have given to any private friend visiting the city. As,
+however, in many cases, the opinions I have expressed differ widely from
+those usually received; and, in other instances, subjects which may be
+of much interest to the traveller have not come within the scope of my
+inquiry; the reader had better take Lazari's small Guide in his hand
+also, as he will find in it both the information I have been unable to
+furnish, and the expression of most of the received opinions upon any
+subject of art.
+
+Various inconsistencies will be noticed in the manner of indicating the
+buildings, some being named in Italian, some in English, and some half
+in one, and half in the other. But these inconsistencies are permitted
+in order to save trouble, and make the Index more practically useful.
+For instance, I believe the traveller will generally look for "Mark,"
+rather than for "Marco," when he wishes to find the reference to St.
+Mark's Church; but I think he will look for Rocco, rather than for Roch,
+when he is seeking for the account of the Scuola di San Rocco. So also I
+have altered the character in which the titles of the plates are
+printed, from the black letter in the first volume, to the plain Roman
+in the second and third; finding experimentally that the former
+character was not easily legible, and conceiving that the book would be
+none the worse for this practical illustration of its own principles, in
+a daring sacrifice of symmetry to convenience.
+
+These alphabetical Indices will, however, be of little use, unless
+another, and a very different kind of Index, be arranged in the mind of
+the reader; an Index explanatory of the principal purposes and contents
+of the various parts of this essay. It is difficult to analyze the
+nature of the reluctance with which either a writer or painter takes it
+upon him to explain the meaning of his own work, even in cases where,
+without such explanation, it must in a measure remain always disputable:
+but I am persuaded that this reluctance is, in most instances, carried
+too far; and that, wherever there really is a serious purpose in a book
+or a picture, the author does wrong who, either in modesty or vanity
+(both feelings have their share in producing the dislike of personal
+interpretation), trusts entirely to the patience and intelligence of the
+readers or spectators to penetrate into their significance. At all
+events, I will, as far as possible, spare such trouble with respect to
+these volumes, by stating here, finally and clearly, both what they
+intend and what they contain; and this the rather because I have lately
+noticed, with some surprise, certain reviewers announcing as a
+discovery, what I thought had lain palpably on the surface of the book,
+namely, that "if Mr. Ruskin be right, all the architects, and all the
+architectural teaching of the last three hundred years, must have been
+wrong." That is indeed precisely the fact; and the very thing I meant to
+say, which indeed I thought I had said over and over again. I believe
+the architects of the last three centuries to have been wrong; wrong
+without exception; wrong totally, and from the foundation. This is
+exactly the point I have been endeavoring to prove, from the beginning
+of this work to the end of it. But as it seems not yet to have been
+stated clearly enough, I will here try to put my entire theorem into an
+unmistakable form.
+
+The various nations who attained eminence in the arts before the time of
+Christ, each of them, produced forms of architecture which in their
+various degrees of merit were almost exactly indicative of the degrees
+of intellectual and moral energy of the nations which originated them;
+and each reached its greatest perfection at the time when the true
+energy and prosperity of the people who had invented it were at their
+culminating point. Many of these various styles of architecture were
+good, considered in relation to the times and races which gave birth to
+them; but none were absolutely good or perfect, or fitted for the
+practice of all future time.
+
+The advent of Christianity for the first time rendered possible the full
+development of the soul of man, and therefore the full development of
+the arts of man.
+
+Christianity gave birth to a new architecture, not only immeasurably
+superior to all that had preceded it, but demonstrably the best
+architecture that _can_ exist; perfect in construction and decoration,
+and fit for the practice of all time.
+
+This architecture, commonly called "Gothic," though in conception
+perfect, like the theory of a Christian character, never reached an
+actual perfection, having been retarded and corrupted by various adverse
+influences; but it reached its highest perfection, hitherto manifested,
+about the close of the thirteenth century, being then indicative of a
+peculiar energy in the Christian mind of Europe.
+
+In the course of the fifteenth century, owing to various causes which I
+have endeavored to trace in the preceding pages, the Christianity of
+Europe was undermined; and a Pagan architecture was introduced, in
+imitation of that of the Greeks and Romans.
+
+The architecture of the Greeks and Romans themselves was not good, but
+it was natural; and, as I said before, good in some respects, and for a
+particular time.
+
+But the imitative architecture introduced first in the fifteenth
+century, and practised ever since, was neither good nor natural. It was
+good in no respect, and for no time. All the architects who have built
+in that style have built what was worthless; and therefore the greater
+part of the architecture which has been built for the last three hundred
+years, and which we are now building, is worthless. We must give up this
+style totally, despise it and forget it, and build henceforward only in
+that perfect and Christian style hitherto called Gothic, which is
+everlastingly the best.
+
+This is the theorem of these volumes.
+
+In support of this theorem, the first volume contains, in its first
+chapter, a sketch of the actual history of Christian architecture, up to
+the period of the Reformation; and, in the subsequent chapters, an
+analysis of the entire system of the laws of architectural construction
+and decoration, deducing from those laws positive conclusions as to the
+best forms and manners of building for all time.
+
+The second volume contains, in its first five chapters, an account of
+one of the most important and least known forms of Christian
+architecture, as exhibited in Venice, together with an analysis of its
+nature in the fourth chapter; and, which is a peculiarly important part
+of this section, an account of the power of color over the human mind.
+
+The sixth chapter of the second volume contains an analysis of the
+nature of Gothic architecture, properly so called, and shows that in its
+external form it complies precisely with the abstract laws of structure
+and beauty, investigated in the first volume. The seventh and eighth
+chapters of the second volume illustrate the nature of Gothic
+architecture by various Venetian examples. The third volume
+investigates, in its first chapter, the causes and manner of the
+corruption of Gothic architecture; in its second chapter, defines the
+nature of the Pagan architecture which superseded it; in the third
+chapter, shows the connexion of that Pagan architecture with the various
+characters of mind which brought about the destruction of the Venetian
+nation; and, in the fourth chapter, points out the dangerous tendencies
+in the modern mind which the practice of such an architecture indicates.
+
+Such is the intention of the preceding pages, which I hope will no more
+be doubted or mistaken. As far as regards the manner of its fulfilment,
+though I hope, in the course of other inquiries, to add much to the
+elucidation of the points in dispute, I cannot feel it necessary to
+apologize for the imperfect handling of a subject which the labor of a
+long life, had I been able to bestow it, must still have left
+imperfectly treated.
+
+
+
+
+I.
+
+PERSONAL INDEX.
+
+
+    A
+
+  Alberti, Duccio degli, his tomb, iii. 74, 80.
+  Alexander III., his defence by Venetians, i. 7.
+  Ambrose, St., his verbal subtleties, ii. 320.
+  Angelico, Fr�, artistical power of, i. 400; his influence on
+    Protestants, ii. 105; his coloring, ii. 145.
+  Aristotle, his evil influence on the modern mind, ii. 319.
+  Averulinus, his book on architecture, iii. 63.
+
+
+    B
+
+  Barbaro, monuments of the family, iii. 125.
+  Barbarossa, Emperor, i. 7, 9.
+  Baseggio, Pietro, iii. 199.
+  Bellini, John, i. 11; his kindness to Albert Durer, i. 383; general
+    power of, see Venetian Index, under head "Giovanni Grisostomo;"
+    Gentile, his brother, iii. 21.
+  Berti, Bellincion, ii. 263.
+  Browning, Elizabeth B., her poetry, ii. 206.
+  Bunsen, Chevalier, his work on Romanesque Churches, ii. 381.
+  Bunyan, John, his portraiture of constancy, ii. 333; of patience, ii.
+    334; of vanity, ii. 346; of sin, iii. 147.
+
+
+    C
+
+  Calendario, Filippo, iii. 199.
+  Canaletto, i. 24; and see Venetian Index under head "Carit�."
+  Canova, i. 217; and see Venetian Index under head "Frari."
+  Cappello, Vincenzo, his tomb, iii. 122.
+  Caracci, school of the, i. 24.
+  Cary, his translation of Dante, ii. 264.
+  Cavalli, Jacopo, his tomb, iii. 82.
+  Cicero, influence of his philosophy, ii. 317, 318.
+  Claude Lorraine, i. 24.
+  Comnenus, Manuel, ii. 263.
+  Cornaro, Marco, his tomb, iii. 79.
+  Correggio, ii. 192.
+  Crabbe, naturalism in his poetry, ii. 195.
+
+
+    D
+
+  Dandolo, Andrea, tomb of, ii. 70; Francesco, tomb of, iii. 74;
+    character of, iii. 76; Simon, tomb of, iii. 79.
+  Dante, his central position, ii. 340, iii. 158; his system of virtue,
+    ii. 323; his portraiture of sin, iii. 147.
+  Daru, his character as a historian, iii. 213.
+  Dolci, Carlo, ii. 105.
+  Dolfino, Giovanni, tomb of, iii. 78.
+  Durer, Albert, his rank as a landscape painter, i. 383; his power in
+    grotesque, iii. 145.
+
+
+    E
+
+  Edwin, King, his conversion, iii. 62.
+
+
+    F
+
+  Faliero, Bertuccio, his tomb, iii. 94; Marino, his house, ii. 254;
+    Vitale, miracle in his time, ii. 61.
+  Fergusson, James, his system of beauty, i. 388.
+  Foscari, Francesco, his reign, i. 4, iii. 165; his tomb, iii. 84; his
+    countenance, iii. 86.
+
+
+    G
+
+  Garbett, answer to Mr., i. 403.
+  Ghiberti, his sculpture, i. 217.
+  Giotto, his system of the virtues, ii. 323, 329, 341; his rank as a
+    painter, ii. 188, iii. 172.
+  Giulio Romano, i. 23.
+  Giustiniani, Marco, his tomb, i. 315; Sebastian, ambassador to
+    England, iii. 224.
+  Godfrey of Bouillon, his piety, iii. 62.
+  Gozzoli, Benozzo, ii. 195.
+  Gradenigo, Pietro, ii. 290.
+  Grande, Can, della Scala, his tomb, i. 268 (the cornice _g_ in Plate
+    XVI. is taken from it), iii. 71.
+  Guariento, his Paradise, ii. 296.
+  Guercino, ii. 105.
+
+
+    H
+
+  Hamilton, Colonel, his paper on the Serapeum, ii. 220.
+  Hobbima, iii. 184.
+  Hunt, William, his painting of peasant boys, ii. 192; of still life,
+    ii. 394.
+  Hunt, William Holman, relation of his works to modern and ancient
+    art, iii. 185.
+
+
+    K
+
+  Knight, Gally, his work on Architecture, i. 378.
+
+
+    L
+
+  Leonardo da Vinci, ii. 171.
+  Louis XI., iii. 194.
+
+
+    M
+
+  Martin, John, ii. 104.
+  Mastino, Can, della Scala, his tomb, ii. 224, iii. 72.
+  Maynard, Miss, her poems, ii. 397.
+  Michael Angelo, ii. 134, 188, iii. 56, 90, 99, 158.
+  Millais, John E., relation of his works to older art, iii. 185;
+    aerial perspective in his "Huguenot," iii. 47.
+  Milton, how inferior to Dante, iii. 147.
+  Mocenigo, Tomaso, his character, i. 4; his speech on rebuilding the
+    Ducal Palace, ii. 299; his tomb, i. 26, iii. 84.
+  Morosini, Carlo, Count, note on Daru's History by, iii. 213.
+  Morosini, Marino, his tomb, iii. 93.
+  Morosini, Michael, his character, iii. 213;
+     his tomb, iii. 80.
+  Murillo, his sensualism, ii. 192.
+
+
+    N
+
+  Napoleon, his genius in civil administration, i. 399.
+  Niccolo Pisano, i. 215.
+
+
+    O
+
+  Orcagna, his system of the virtues, ii. 329.
+  Orseolo, Pietro (Doge), iii. 120.
+  Otho the Great, his vow at Murano, ii. 32.
+
+
+    P
+
+  Palladio, i. 24, 146; and see Venetian Index, under head "Giorgio
+    Maggiore."
+  Participazio, Angelo, founds the Ducal Palace, ii. 287.
+  Pesaro, Giovanni, tomb of, iii. 92; Jacopo, tomb of, iii. 91.
+  Philippe de Commynes, i. 12.
+  Plato, influence of his philosophy, ii. 317, 338; his playfulness,
+    iii. 127.
+  Poussin, Nicolo and Gaspar, i. 23.
+  Procaccini, Camillo, ii. 188.
+  Prout, Samuel, his style, i. 250, iii. 19, 134.
+  Pugin, Welby, his rank as an architect, i. 385.
+
+
+    Q
+
+  Querini, Marco, his palace, ii. 255.
+
+
+    R
+
+  Raffaelle, ii. 188, iii. 56, 108, 136.
+  Reynolds, Sir J., his painting at New College, ii. 323; his general
+    manner, iii. 184.
+  Rogers, Samuel, his works, ii. 195, iii. 113.
+  Rubens, intellectual rank of, i. 400;
+     coarseness of, ii. 145.
+
+
+    S
+
+  Salvator Rosa, i. 24, ii. 105, 145, 188.
+  Scaligeri, tombs of, at Verona; see "Grande," "Mastino," "Signorio;"
+    palace of, ii. 257.
+  Scott, Sir W., his feelings of romance, iii. 191.
+  Shakspeare, his "Seven Ages," whence derived, ii. 361.
+  Sharpe, Edmund, his works, i. 342, 408.
+  Signorio, Can, della Scala, his tomb, character, i. 268, iii. 73.
+  Simplicius, St., ii. 356.
+  Spenser, value of his philosophy, ii. 327, 341; his personifications
+    of the months, ii. 272; his system of the virtues, ii. 326; scheme of
+    the first book of the Fa�rie Queen, iii. 205.
+  Steno, Michael, ii. 306; his tomb, ii. 296.
+  Stothard (the painter), his works, ii. 187, 195.
+  Symmachus, St., ii. 357.
+
+
+    T
+
+  Teniers, David, ii. 188.
+  Tiepolo, Jacopo and Lorenzo, their tombs, iii. 69; Bajamonte, ii.
+    255.
+  Tintoret, i. 12; his genius and function, ii. 149; his Paradise, ii.
+    304, 372; his rank among the men of Italy, iii. 158.
+  Titian, i. 12; his function and fall, ii. 149, 187.
+  Turner, his rank as a landscape painter, i. 382, ii. 187.
+
+
+    U
+
+  Uguccione, Benedetto, destroys Giotto's fa�ade at Florence, i. 197.
+
+
+    V
+
+  Vendramin, Andrea (Doge), his tomb, i. 27, iii. 88.
+  Verocchio, Andrea, iii. 11, 13.
+  Veronese, Paul, artistical rank of, i. 400; his designs of
+    balustrades, ii. 247; and see in Venetian Index, "Ducal Palace,"
+    "Pisani," "Sebastian," "Redentore," "Accademia."
+
+
+    W
+
+  West, Benjamin, ii. 104.
+  Wordsworth, his observation of nature, i. 247 (note).
+
+
+    Z
+
+  Zeno, Carlo, i. 4, iii. 80.
+  Ziani, Sebastian (Doge), builds Ducal Palace, ii. 289.
+
+
+
+
+II.
+
+LOCAL INDEX.
+
+
+    A
+
+  Abbeville, door of church at, ii. 225; parapet at, ii. 245.
+  Alexandria, Church at, i. 381.
+  Alhambra, ornamentation of, i. 429.
+  Alps, how formed for distant effect, i. 247; how seen from Venice,
+    ii. 2, 28.
+  Amiens, pillars of Cathedral at, i. 102.
+  Arqua, hills of, how seen from Venice, ii. 2.
+  Assisi, Giotto's paintings at, ii. 323.
+
+
+    B
+
+  Beauvais, piers of Cathedral at, i. 93; grandeur of its buttress
+    structure, i. 170.
+  Bergamo, Duomo at, i. 275.
+  Bologna, Palazzo Pepoli at, i. 275.
+  Bourges, Cathedral at, i. 43, 102, 228, 271, 299; ii. 92, 186; house
+    of Jacques Coeur at, i. 346.
+
+
+    C
+
+  Chamouni, glacier forms at, i. 222.
+  Como, Broletto of, i. 141, 339.
+
+
+    D
+
+  Dijon, pillars in Church of Notre Dame at, i. 102; tombs of Dukes of
+    Burgundy, iii. 68.
+
+
+    E
+
+  Edinburgh, college at, i. 207.
+
+
+    F
+
+  Falaise (St. Gervaise at), piers of, i. 103.
+  Florence, Cathedral of, i. 197, iii. 13.
+
+
+    G
+
+  Gloucester, Cathedral of, i. 192.
+
+
+    L
+
+  Lombardy, geology of, ii. 5.
+  London, Church in Margaret Street, Portland Place, iii. 196; Temple
+    Church, i. 412; capitals in Belgrave and Grosvenor Squares, i. 330;
+    Bank of England, base of, i. 283; wall of, typical of accounts, i.
+    295; statue in King William Street, i. 210; shops in Oxford Street,
+    i. 202; Arthur Club-house, i. 295; Athen�um Club-house, i. 157, 283;
+    Duke of York's Pillar, i. 283; Treasury, i. 205; Whitehall, i. 205;
+    Westminster, fall of houses at, ii. 268; Monument, i. 82, 283; Nelson
+    Pillar, i. 216; Wellington Statue, i. 257.
+  Lucca, Cathedral of, ii. 275; San Michele at, i. 375.
+  Lyons, porch of cathedral at, i. 379.
+
+
+    M
+
+  Matterhorn (Mont Cervin), structure of, i. 58; lines of, applied to
+    architecture, i. 308, 310, 332.
+  Mestre, scene in street of, i. 355.
+  Milan, St. Ambrogio, piers of, i. 102; capital of, i. 324; St.
+    Eustachio, tomb of St. Peter Martyr, i. 218.
+  Moulins, brickwork at, i. 296.
+  Murano, general aspect of, ii. 29; Duomo of, ii. 32; balustrades of,
+    ii. 247; inscriptions at, ii. 384.
+
+
+    N
+
+  Nineveh, style of its decorations, i. 234, 239; iii. 159.
+
+
+    O
+
+  Orange (South France), arch at, i. 250.
+  Orleans, Cathedral of, i. 95.
+
+
+    P
+
+  Padua, Arena chapel at, ii. 324; St. Antonio at, i. 135; St. Sofia
+    at, i. 327; Eremitani, Church of, at, i. 135.
+  Paris, Hotel des Invalides, i. 214; Arc de l'Etoile, i. 291; Colonne
+    Vendome, i. 212.
+  Pavia, St. Michele at, piers of, i. 102, 337; ornaments of, i. 376.
+  Pisa, Baptistery of, ii. 275.
+  Pistoja, San Pietro at, i. 295.
+
+
+    R
+
+  Ravenna, situation of, ii. 6.
+  Rouen, Cathedral, piers of, i. 103, 153; pinnacles of, ii. 213; St.
+    Maclou at, sculptures of, ii. 197.
+
+
+    S
+
+  Salisbury Cathedral, piers of, i. 102; windows at, ii. 224.
+  Sens, Cathedral of, i. 135.
+  Switzerland, cottage architecture of, i. 156, 203, iii. 133.
+
+
+    V
+
+  Verona, San Fermo at, i. 136, ii. 259; Sta. Anastasia at, i. 142;
+    Duomo of, i. 373; St. Zeno at, i. 373; balconies at, ii. 247;
+    archivolt at, i. 335; tombs at, see in Personal Index, "Grande,"
+    "Mastino," "Signorio."
+  Vevay, architecture of, i. 136.
+  Vienne (South France), Cathedral of, i. 274.
+
+
+    W
+
+  Warwick, Guy's tower at, i. 168.
+  Wenlock (Shropshire), Abbey of, i. 270.
+  Winchester, Cathedral of, i. 192.
+
+
+    Y
+
+  York, Minster of, i. 205, 313.
+
+
+
+
+III.
+
+TOPICAL INDEX.
+
+
+    A
+
+  Abacus, defined, i. 107; law of its proportion, i. 111-115; its
+    connection with cornices, i. 116; its various profiles, i. 319-323;
+    iii. 243-248.
+  Acanthus, leaf of, its use in architecture, i. 233; how treated at
+    Torcello, ii. 15.
+  Alabaster, use of, in incrustation, ii. 86.
+  Anachronism, necessity of, in the best art, ii. 198.
+  Anatomy, a disadvantageous study for artists, iii. 47.
+  Angels, use of their images in Venetian heraldry, ii. 278; statues
+    of, on the Ducal Palace, ii. 311.
+  Anger, how symbolically represented, ii. 344.
+  Angles, decoration of, i. 260; ii. 305; of Gothic Palaces, ii. 238;
+    of Ducal Palace, ii. 307.
+  Animal character in northern and southern climates, ii. 156; in
+    grotesque art, iii. 149.
+  Apertures, analysis of their structure, i. 50; general forms of, i.
+    174.
+  Apse, forms of, in southern and northern churches compared, i. 170.
+  Arabesques of Raffaelle, their baseness, iii. 136.
+  Arabian architecture, i. 18, 234, 235, 429; ii. 135.
+  Arches, general structure of, i. 122; moral characters of, i. 126;
+    lancet, round, and depressed, i. 129; four-centred, i. 130; ogee, i.
+    131; non-concentric, i. 133, 341; masonry of, i. 133, ii. 218; load
+    of, i. 144; are not derived from vegetation, ii. 201.
+  Architects, modern, their unfortunate position, i. 404, 407.
+  Architecture, general view of its divisions, i. 47-51; how to judge
+    of it, ii. 173; adaptation of, to requirements of human mind, iii.
+    192; richness of early domestic, ii. 100, iii. 2; manner of its
+    debasement in general, iii. 3.
+  Archivolts, decoration of, i. 334; general families of, i. 335; of
+    Murano, ii. 49; of St. Mark's, ii. 95; in London, ii. 97; Byzantine,
+    ii. 138; profiles of, iii. 244.
+  Arts, relative dignity of, i. 395; how represented in Venetian
+    sculpture, ii. 355; what relation exists between them and their
+    materials, ii. 394; art divided into the art of facts, of design, and
+    of both, ii. 183; into purist, naturalist, and sensualist, ii. 187;
+    art opposed to inspiration, iii. 151; defined, iii. 170;
+    distinguished from science, iii. 35; how to enjoy that of the
+    ancients, iii. 188.
+  Aspiration, not the primal motive of Gothic work, i. 151.
+  Astrology, judicial, representation of its doctrines in Venetian
+    sculpture, ii. 352.
+  Austrian government in Italy, iii. 209.
+  Avarice, how represented figuratively, ii. 344.
+
+
+    B
+
+  Backgrounds, diapered, iii. 20.
+  Balconies, of Venice, ii. 243; general treatment of, iii. 254; of
+    iron, ii. 247.
+  Ballflower, its use in ornamentation, i. 279.
+  Balustrades. See "Balconies."
+  Bases, general account of, iii. 225; of walls, i. 55; of piers, i.
+    73; of shafts, i. 84; decoration of, i. 281; faults of Gothic
+    profiles of, i. 285; spurs of, i. 286; beauty of, in St. Mark's, i.
+    290; Lombardie, i. 292; ought not to be richly decorated, i. 292;
+    general effect of, ii. 387.
+  Battlements, i. 162; abuse of, in ornamentation, i. 219.
+  Beauty and ornament, relation of the terms, i. 404.
+  Bellstones of capitals defined, i. 108.
+  Birds, use of in ornamentation, i. 234, ii. 140.
+  Bishops, their ancient authority, ii. 25.
+  Body, its relation to the soul, i. 41, 395.
+  Brackets, division of, i. 161; ridiculous forms of, i. 161.
+  Breadth in Byzantine design, ii. 133.
+  Brickwork, ornamental, i. 296; in general, ii. 241, 260, 261.
+  Brides of Venice, legend of the, iii. 113, 116.
+  Buttresses, general structure of, i. 166; flying, i. 192; supposed
+    sanctity of, i. 173.
+  Bull, symbolical use of, in representing rivers, i. 418, 421, 424.
+  Byzantine style, analysis of, ii. 75; ecclesiastical fitness of, ii.
+    97; centralization in, ii. 236; palaces built in, ii. 118; sculptures
+    in, ii. 137, 140.
+
+
+    C
+
+  Candlemas, ancient symbols of, ii. 272.
+  Capitals, general structure of, i. 105; bells of, i. 107; just
+    proportions of, i. 114; various families of, i. 13, 65, 324, ii. 129,
+    iii. 231; are necessary to shafts in good architecture, i. 119;
+    Byzantine, ii. 131, iii. 231; Lily, of St. Mark's, ii. 137; of
+    Solomon's temple, ii. 137.
+  Care, how symbolized, ii. 348. See "Sorrow."
+  Caryatides, i. 302.
+  Castles, English, entrances of, i. 177.
+  Cathedrals, English, effect of, ii. 63.
+  Ceilings, old Venetian, ii. 280.
+  Centralization in design, ii. 237.
+  Chalet of Switzerland, its character, i. 203.
+  Chamfer defined, i. 263; varieties of, i. 262, 429.
+  Changefulness, an element of Gothic, ii. 172.
+  Charity, how symbolized, ii. 327, 339.
+  Chartreuse, Grande, morbid life in, iii. 190.
+  Chastity, how symbolized, ii. 328.
+  Cheerfulness, how symbolized, ii. 326, 348; virtue of, ii. 326.
+  Cherries, cultivation of, at Venice, ii. 361.
+  Christianity, how mingled with worldliness, iii. 109; how imperfectly
+    understood, iii. 168; influence of, in liberating workmen, ii. 159,
+    i. 243; influence of, on forms, i. 99.
+  Churches, wooden, of the North, i. 381; considered as ships, ii. 25;
+    decoration of, how far allowable, ii. 102.
+  Civilization, progress of, iii. 168; twofold danger of, iii. 169.
+  Classical literature, its effect on the modern mind, iii. 12.
+  Climate, its influence on architecture, i. 151, ii. 155, 203.
+  Color, its importance in early work, ii. 38, 40, 78, 91; its
+    spirituality, ii. 145, 396; its relation to music, iii. 186;
+    quartering of, iii. 20; how excusing realization, iii. 186.
+  Commerce, how regarded by Venetians, i. 6.
+  Composition, definition of the term, ii. 182.
+  Constancy, how symbolized, ii. 333.
+  Construction, architectural, how admirable, i. 36.
+  Convenience, how consulted by Gothic architecture, ii. 179.
+  Cornices, general divisions of, i. 63, iii. 248; of walls, i. 60; of
+    roofs, i. 149; ornamentation of, i. 305; curvatures of, i. 310;
+    military, i. 160; Greek, i. 157.
+  Courses in walls, i. 60.
+  Crockets, their use in ornamentation, i. 346; their abuse at Venice,
+    iii. 109.
+  Crosses, Byzantine, ii. 139.
+  Crusaders, character of the, ii. 263.
+  Crystals, architectural appliance of, i. 225.
+  Cupid, representation of, in early and later art, ii. 342.
+  Curvature, on what its beauty depends, i. 222, iii. 5.
+  Cusps, definition of, i. 135; groups of, i. 138; relation of, to
+    vegetation, ii. 219; general treatment of, iii. 255; earliest
+    occurrence of, ii. 220.
+
+
+    D
+
+  Daguerreotype, probable results of, iii. 169.
+  Darkness, a character of early churches, ii. 18; not an abstract
+    evil, iii. 220.
+  Death, fear of, in Renaissance times, iii. 65, 90, 92; how anciently
+    regarded, iii. 139, 156.
+  Decoration, true nature of, i. 405; how to judge of, i. 44, 45. See
+    "Ornament."
+  Demons, nature of, how illustrated by Milton and Dante, iii. 147.
+  Dentil, Venetian, defined, i. 273, 275.
+  Design, definition of the term, ii. 183; its relations to naturalism,
+    ii. 184.
+  Despair, how symbolized, ii. 334.
+  Diaper patterns in brick, i. 296; in color, iii. 21, 22.
+  Discord, how symbolized, ii. 333.
+  Discs, decoration by means of, i. 240, 416; ii. 147, 264.
+  Division of labor, evils of, ii. 165.
+  Doge of Venice, his power, i. 3, 360.
+  Dogtooth moulding defined, i. 269.
+  Dolphins, moral disposition of, i. 230; use of, in symbolic
+    representation of sea, i. 422, 423.
+  Domestic architecture, richness of, in middle ages, ii. 99.
+  Doors, general structure of, i. 174, 176; smallness of in English
+    cathedrals, i. 176; ancient Venetian, ii. 277, iii. 227.
+  Doric architecture, i. 157, 301, 307; Christian Doric, i. 308, 315.
+  Dragon, conquered by St. Donatus, ii. 33; use of, in ornamentation,
+    ii. 219.
+  Dreams, how resembled by the highest arts, iii. 153; prophetic, in
+    relation to the Grotesque, iii. 156.
+  Dress, its use in ornamentation, i. 212; early Venetian, ii. 383;
+    dignity of, iii. 191; changes in modern dress, iii. 192.
+  Duties of buildings, i. 47.
+
+
+    E
+
+  Earthquake of 1511, ii. 242.
+  Eastern races, their power over color, ii. 147.
+  Eaves, construction of, i. 156.
+  Ecclesiastical architecture in Venice, i. 20; no architecture
+    exclusively ecclesiastical, ii. 99.
+  Edge decoration, i. 268.
+  Education, University, i. 391; iii. 110; evils of, with respect to
+    architectural workmen, ii. 107; how to be successfully undertaken,
+    ii. 165, 214; modern education in general, how mistaken, iii. 110,
+    234; system of, in Plato, ii. 318; of Persian kings, ii. 318; not to
+    be mistaken for erudition, iii. 219; ought to be universal, iii. 220.
+  Egg and arrow mouldings, i. 314.
+  Egyptian architecture, i. 99, 239; ii. 203.
+  Elgin marbles, ii. 171.
+  Encrusted architecture, i. 271, 272; general analysis of, ii. 76.
+  Energy of Northern Gothic, i. 371; ii. 16, 204.
+  English (early) capitals, faults of, i. 100, 411; English mind, its
+    mistaken demands of perfection, ii. 160.
+  Envy, how set forth, ii. 346.
+  Evangelists, types of, how explicable, iii. 155.
+
+
+    F
+
+  Fa�rie Queen, Spenser's, value of, theologically, ii. 328.
+  Faith, influence of on art, ii. 104, 105; Titian's picture of, i. 11;
+    how symbolized, ii. 337.
+  Falsehood, how symbolized, ii. 349.
+  Fatalism, how expressed in Eastern architecture, ii. 205.
+  Fear, effect of, on human life, iii. 137; on Grotesque art, iii. 142.
+  Feudalism, healthy effects of, i. 184.
+  Fig-tree, sculpture of, on Ducal Palace, ii. 307.
+  Fillet, use of, in ornamentation, i. 267.
+  Finials, their use in ornamentation, i. 346; a sign of decline in
+    Venetian architecture, iii. 109.
+  Finish in workmanship, when to be required, ii. 165; dangers of, iii.
+    170, ii. 162.
+  Fir, spruce, influence of, on architecture, i. 152.
+  Fire, forms of, in ornamentation, i. 228.
+  Fish, use of, in ornamentation, i. 229.
+  Flamboyant Gothic, i. 278, ii. 225.
+  Flattery, common in Renaissance times, iii. 64.
+  Flowers, representation of, how desirable, i. 340; how represented in
+    mosaic, iii. 179.
+  Fluting of columns, a mistake, i. 301.
+  Foils, definition of, ii. 221.
+  Foliage, how carved in declining periods, iii. 8, 17. See "Vegetation."
+  Foliation defined, ii. 219; essential to Gothic architecture, ii. 222.
+  Folly, how symbolized, ii. 325, 348.
+  Form of Gothic, defined, ii. 209.
+  Fortitude, how symbolized, ii. 337.
+  Fountains, symbolic representations of, i. 427.
+  French architecture, compared with Italian, ii. 226.
+  Frivolity, how exhibited in Grotesque art, iii. 143.
+  Fruit, its use in ornamentation, i. 232.
+
+
+    G
+
+  Gable, general structure of, i. 124; essential to Gothic, ii. 210, 217.
+  Gardens, Italian, iii. 136.
+  Generalization, abuses of, iii. 176.
+  Geology of Lombardy, ii. 5.
+  Glass, its capacities in architecture, i. 409; manufacture of, ii.
+    166; true principles of working in, ii. 168, 395.
+  Gluttony, how symbolized, ii. 343.
+  Goldsmiths' work, a high form of art, ii. 166.
+  Gondola, management of, ii. 375.
+  Gothic architecture, analysis of, ii. 151; not derived from vegetable
+    structure, i. 121; convenience of, ii. 178; divisions of, ii. 215;
+    surface and linear, ii. 226; Italian and French, ii. 226; flamboyant,
+    i. 278, ii. 225; perpendicular, i. 192, ii. 223, 227; early English,
+    i. 109; how to judge of it, ii. 228; how fitted for domestic
+    purposes, ii. 269, iii. 195; how first corrupted, iii. 3; how to be
+    at present built, iii. 196; early Venetian, ii. 248; ecclesiastical
+    Venetian, i. 21; central Venetian, ii. 231; how adorned by color in
+    Venice, iii. 23.
+  Government of Venice, i. 2, ii. 366.
+  Grammar, results of too great study of it, iii. 55, 106.
+  Greek architecture, general character of, i. 240, ii. 215, iii. 159.
+  Grief. See "Sorrow."
+  Griffins, Lombardic, i. 292, 387.
+  Grotesque, analysis of, iii. 132; in changes of form, i. 317; in
+    Venetian painting, iii. 162; symbolical, iii. 155; its character in
+    Renaissance work, iii. 113, 121, 136, 143.
+  Gutters of roofs, i. 151.
+
+
+    H
+
+  Heathenism, typified in ornament, i. 317. See "Paganism."
+  Heaven and Hell, proofs of their existence in natural phenomena, iii.
+    138.
+  History, how to be written and read, iii. 224.
+  Hobbima, iii. 184.
+  Honesty, how symbolized, ii. 349.
+  Hope, how symbolized, ii. 341.
+  Horseshoe arches, i. 129, ii. 249, 250.
+  Humanity, spiritual nature of, i. 41; divisions of, with respect to
+    art, i. 394.
+  Humility, how symbolized, ii. 339.
+
+
+    I
+
+  Idleness, how symbolized, ii. 345.
+  Idolatry, proper sense of the term, ii. 388; is no encourager of art,
+    ii. 110. See "Popery."
+  Imagination, its relation to art, iii. 182.
+  Imitation of precious stones, &c., how reprehensible, iii. 26, 30.
+  Imposts, continuous, i. 120.
+  Infidelity, how symbolized, ii. 335; an element of the Renaissance
+    spirit, iii. 100.
+  Injustice, how symbolized, ii. 349.
+  Inlaid ornamentation, i. 369; perfection of, in early Renaissance,
+    iii. 26.
+  Inscriptions at Murano, ii. 47, 54; use of, in early times, ii. 111.
+  Insects, use of, in ornamentation, i. 230.
+  Inspiration, how opposed to art, iii. 151, 171.
+  Instinct, its dignity, iii. 171.
+  Intellect, how variable in dignity, iii. 173.
+  Involution, delightfulness of, in ornament, ii. 136.
+  Iron, its use in architecture, i. 184, 410.
+  Italians, modern character of, iii. 209.
+  Italy, how ravaged by recent war, iii. 209.
+
+
+    J
+
+  Jambs, Gothic, iii. 137.
+  Jesting, evils of, iii. 129.
+  Jesuits, their restricted power in Venice, i. 366.
+  Jewels, their cutting, a bad employment, ii. 166.
+  Judgments, instinctive, i. 399.
+  Job, book of, its purpose, iii. 53.
+
+
+    K
+
+  Keystones, how mismanaged in Renaissance work. See Venetian Index,
+    under head "Libreria."
+  Knowledge, its evil consequences, iii. 40; how to be received, iii.
+    50, &c. See "Education."
+
+
+    L
+
+  Labor, manual, ornamental value of, i. 407; evils of its division,
+    ii. 165; is not a degradation, ii. 168.
+  Labyrinth, in Venetian streets, its clue, ii. 254.
+  Lagoons, Venetian, nature of, ii. 7, 8.
+  Landscape, lower schools of, i. 24; Venetian, ii. 149; modern love
+    of, ii. 175, iii. 123.
+  Laws of right in architecture, i. 32; laws in general, how
+    permissibly violated, i. 255, ii. 210; their position with respect to
+    art, iii. 96; and to religion, iii. 205.
+  Leaves, use of, in ornamentation, i. 232 (see "Vegetation");
+    proportion of, ii. 128.
+  Liberality, how symbolized, ii. 333.
+  Life in Byzantine architecture, ii. 133.
+  Lilies, beautiful proportions of, ii. 128; used for parapet
+    ornaments, ii. 242; lily capitals, ii. 137.
+  Limitation of ornament, i. 254.
+  Lines, abstract use of, in ornament, i. 221.
+  Lintel, its structure, i. 124, 126.
+  Lion, on piazzetta shafts, iii. 238.
+  Load, of arches, i. 133.
+  Logic, a contemptible science, iii. 105.
+  Lombardic architecture, i. 17.
+  Lotus leaf, its use in architecture, i. 233.
+  Love, its power over human life, iii. 137.
+  Lusts, their power over human nature, how symbolized by Spenser, ii.
+    328.
+  Luxury, how symbolized, ii. 342; how traceable in ornament, iii. 4;
+    of Renaissance schools, iii. 61.
+
+
+    M
+
+  Madonna, Byzantine representations of, ii. 53.
+  Magnitude, vulgar admiration of, iii. 64.
+  Malmsey, use of, in Feast of the Maries, iii. 117.
+  Marble, its uses, iii. 27.
+  Maries, Feast of the, iii. 117.
+  Mariolatry, ancient and modern, ii. 55.
+  Marriages of Venetians, iii. 116.
+  Masonry, Mont-Cenisian, i. 132; of walls, i. 61; of arches, i. 133.
+  Materials, invention of new, how injurious to art, iii. 42.
+  Misery, how symbolized, ii. 347.
+  Modesty, how symbolized, ii. 335.
+  Monotony, its place in art, ii. 176.
+  Months, personifications of, in ancient art, ii. 272.
+  Moroseness, its guilt, iii. 130.
+  Mosaics at Torcello, ii. 18, 19; at St. Mark's, ii. 70, 112; early
+    character of, ii. 110, iii. 175, 178.
+  Music, its relation to color, iii. 186.
+  Mythology of Venetian painters, ii. 150; ancient, how injurious to
+    the Christian mind, iii. 107.
+
+
+    N
+
+  Natural history, how necessary a study, iii. 54.
+  Naturalism, general analysis of it with respect to art, ii. 181, 190;
+    its advance in Gothic art, iii. 6; not to be found in the encrusted
+    style, ii. 89; its presence in the noble Grotesque, iii. 144.
+  Nature (in the sense of material universe) not improvable by art, i.
+    350; its relation to architecture, i. 351.
+  Niches, use of, in Northern Gothic, i. 278; in Venetian, ii. 240; in
+    French and Veronese, ii. 227.
+  Norman hatchet-work, i. 297; zigzag, i. 339.
+  Novelty, its necessity to the human mind, ii. 176.
+
+
+    O
+
+  Oak-tree, how represented in symbolical art, iii. 185.
+  Obedience, how symbolized, ii. 334.
+  Oligarchical government, its effect on the Venetians, i. 5.
+  Olive-tree, neglect of, by artists, iii. 175; general expression of,
+    iii. 176, 177; representations of, in mosaic, iii. 178.
+  Order, uses and disadvantages of, ii. 172.
+  Orders, Doric and Corinthian, i. 13; ridiculous divisions of, i. 157,
+    370; ii. 173, 249; iii. 99.
+  Ornament, material of, i. 211; the best, expresses man's delight in
+    God's work, i. 220; not in his own, i. 211; general treatment of, i.
+    236; is necessarily imperfect, i. 237, 240; divided into servile,
+    subordinate, and insubordinate, i. 242, ii. 158; distant effect of,
+    i. 248; arborescent, i. 252; restrained within limits, i. 255; cannot
+    be overcharged if good, i. 406.
+  Oxford, system of education at, i. 391.
+
+
+    P
+
+  Paganism, revival of its power in modern times, iii. 105, 107, 122.
+  Painters, their power of perception, iii. 37; influence of society
+    on, iii. 41; what they should know, iii. 41; what is their business,
+    iii. 187.
+  Palace, the Crystal, merits of, i. 409.
+  Palaces, Byzantine, ii. 118, 391; Gothic, ii. 231.
+  Papacy. See "Popery."
+  Parapets, i. 162, ii. 240.
+  Parthenon, curves of, ii. 127.
+  Patience, how symbolized, ii. 334.
+  Pavements, ii. 52.
+  Peacocks, sculpture of, i. 240.
+  Pedestals of shafts, i. 82; and see Venetian Index under head
+    "Giorgio Maggiore."
+  Perception opposed to knowledge, iii. 37.
+  Perfection, inordinate desire of, destructive of art, i. 237; ii.
+    133, 158, 169.
+  Perpendicular style, i. 190, 253; ii. 223, 227.
+  Personification, evils of, ii. 322.
+  Perspective, aerial, ridiculous exaggerations of, iii. 45; ancient
+    pride in, iii. 57; absence of, in many great works, see in Venetian
+    Index the notice of Tintoret's picture of the Pool of Bethesda, under
+    head "Rocco."
+  Phariseeism and Liberalism, how opposed, iii. 97.
+  Philology, a base science, iii. 54.
+  Piazzetta at Venice, plan of, ii. 283; shafts of, ii. 233.
+  Pictures, judgment of, how formed, ii. 371; neglect of, in Venice,
+    ii. 372; how far an aid to religion, ii. 104, 110.
+  Picturesque, definition of term, iii. 134.
+  Piers, general structure of, i. 71, 98, 118.
+  Pilgrim's Progress. See "Bunyan."
+  Pine of Italy, its effect on architecture, i. 152; of Alps, effect in
+    distance, i. 245. See "Fir."
+  Pinnacles are of little practical service, i. 170; their effect on
+    common roofs, i. 347.
+  Play, its relation to Grotesque art, iii. 126.
+  Pleasure, its kinds and true uses, iii. 189.
+  Popery, how degraded in contest with Protestantism, i. 34, iii. 103;
+    its influence on art, i. 23, 34, 35, 384, 432, ii. 51; typified in
+    ornament, i. 316; power of Pope in Venice, i. 362; arts used in
+    support of Popery, ii. 74.
+  Porches, i. 195.
+  Portraiture, power of, in Venice, iii. 164.
+  Posture-making in Renaissance art, iii. 90.
+  Prayers, ancient and modern, difference between, ii. 315, 390.
+  Pre-Raphaelitism, iii. 90; present position of, iii. 168, 174, 188.
+  Pride, how symbolized, ii. 343, iii. 207; of knowledge, iii. 35; of
+    state, iii. 59; of system, iii. 95.
+  Priests, restricted power of, in Venice, i. 366.
+  Proportions, subtlety of, in early work, ii. 38, 121, 127.
+  Protestantism, its influence on art, i. 23; typified in ornament, i.
+    316; influence of, on prosperity of nations, i. 368; expenditure in
+    favor of, i. 434; is incapable of judging of art, ii. 105; how
+    expressed in art, ii. 205; its errors in opposing Romanism, iii, 102,
+    103, 104; its shame of religious confession, ii. 278.
+  Prudence, how symbolized, ii. 340.
+  Pulpits, proper structure of, ii. 22, 380.
+  Purism in art, its nature and definition, ii. 189.
+  Purity, how symbolized, iii. 20.
+
+
+    Q
+
+  Quadrupeds, use of in ornamentation, i. 234.
+  Quantity of ornament, its regulation, i. 23.
+
+
+    R
+
+  Rationalism, its influence on art, i. 23.
+  Realization, how far allowable in noble art, iii. 182, 186.
+  Recesses, decoration of, i. 278.
+  Recumbent statues, iii. 72.
+  Redundance, an element of Gothic, ii. 206.
+  Religion, its influence on Venetian policy, i. 6; how far aided by
+    pictorial art, ii. 104, 109; contempt of, in Renaissance times, iii.
+    122.
+  Renaissance architecture, nature of, iii. 33; early, iii. 1;
+    Byzantine, iii. 15; Roman, iii. 32; Grotesque, iii. 112;
+    inconsistencies of, iii. 42, etc.
+  Reptiles, how used in ornamentation, i. 230.
+  Resistance, line of, in arches, i. 126.
+  Restraint, ornamental, value of, i. 255.
+  Reverence, how ennobling to humanity, ii. 163.
+  Rhetoric, a base study, iii. 106.
+  Rigidity, an element of Gothic, ii. 203.
+  Rivers, symbolical representation of, i. 419, 420.
+  Rocks, use of, in ornamentation, i. 224; organization of, i. 246;
+    curvatures of, i. 58, 224.
+  Roll-mouldings, decoration of, i. 276.
+  Romance, modern errors of, ii. 4; how connected with dress, iii. 192.
+  Romanesque style, i. 15, 19, 145; ii. 215. See "Byzantine," and
+    "Renaissance."
+  Romanism. See "Popery."
+  Roofs, analysis of, i. 46, 148; ii. 212, 216; domed, i. 149; Swiss,
+    i. 149, 345; steepness of, conducive to Gothic character, i. 151, ii.
+    209; decoration of, i. 343.
+  Rustication, is ugly and foolish, i. 65; natural objects of which it
+    produces a resemblance, i. 296.
+
+
+    S
+
+  Salvia, its leaf applied to architecture, i. 287, 306.
+  Sarcophagi, Renaissance treatment of, iii. 90; ancient, iii. 69, 93.
+  Satellitic shafts, i. 95.
+  Satire in Grotesque art, iii. 126, 145.
+  Savageness, the first element of Gothic, ii. 155; in Grotesque art,
+    iii. 159.
+  Science opposed to art, iii. 36.
+  Sculpture, proper treatment of, i. 216, &c.
+  Sea, symbolical representations of, i. 352, 421; natural waves of, i.
+    351.
+  Sensualism in art, its nature and definition, ii. 189; how redeemed
+    by color, ii. 145.
+  Serapeum at Memphis, cusps of, ii. 220.
+  Sermons, proper manner of regarding them, ii. 22; mode of their
+    delivery in Scotch church, ii. 381.
+  Serrar del Consiglio, ii. 291.
+  Shafts, analysis of, i. 84; vaulting shafts, i. 145; ornamentation
+    of, i. 300; twisted, by what laws regulated, i. 303; strength of, i.
+    402; laws by which they are regulated in encrusted style, ii. 82.
+  Shields, use of, on tombs, ii. 224, iii. 87.
+  Shipping, use of, in ornamentation, i. 215.
+  Shops in Venice, ii. 65.
+  Sight, how opposed to thought, iii. 39.
+  Simplicity of life in thirteenth century, ii. 263.
+  Sin, how symbolized in Grotesque art, iii. 141.
+  Slavery of Greeks and Egyptians, ii. 158; of English workmen, ii.
+    162, 163.
+  Society, unhealthy state of, in modern times, ii. 163.
+  Sorrow, how sinful, ii. 325; how symbolized, ii. 347.
+  Soul, its development in art, iii. 173, 188; its connection with the
+    body, i. 41, 395.
+  Spandrils, structure of, i. 146; decoration of, i. 297.
+  Spirals, architectural value of, i. 222, ii. 16.
+  Spurs of bases, i. 79.
+  Staircases, i. 208; of Gothic palaces, ii. 280.
+  Stucco, when admissible, iii. 21.
+  Subordination of ornament, i. 240.
+  Superimposition of buildings, i. 200; ii. 386.
+  Surface-Gothic, explanation of term, ii. 225, 227.
+  Symbolism, i. 417; how opposed to personification, ii. 322.
+  System, pride of, how hurtful, iii. 95, 99.
+
+
+    T
+
+  Temperance, how symbolized, ii. 338; temperance in color and
+    curvature, iii. 420.
+  Theology, opposed to religion, iii. 216; of Spencer, iii. 205.
+  Thirteenth century, its high position with respect to art, ii. 263.
+  Thought, opposed to sight, iii. 39.
+  Tombs at Verona, i. 142, 412; at Venice, ii. 69; early Christian,
+    iii. 67; Gothic, iii. 71; Renaissance treatment of, iii. 84.
+  Towers, proper character of, i. 204; of St. Mark's, i 207.
+  Traceries, structure of, i. 184, 185; flamboyant, i. 189; stump, i.
+    189; English perpendicular, i 190, ii. 222; general character of, ii.
+    220; strength of, in Venetian Gothic, ii. 234, iii. 253; general
+    forms of tracery bars, iii. 250.
+  Treason, how detested by Dante, ii. 327.
+  Trees, use of, in ornamentation, i. 231.
+  Trefoil, use of, in ornamentation, ii. 42.
+  Triangles, used for ornaments at Murano, ii. 43.
+  Tribune at Torcello, ii. 24.
+  Triglyphs, ugliness of, i, 43.
+  Trunkmakers, their share in recovery of Brides of Venice, iii. 117, 118.
+  Truth, relation of, to religion, in Spenser's "Fa�rie Queen," iii,
+    205; typified by stones, iii. 31.
+  Tympanum, decoration of, i. 299.
+
+
+    U
+
+  Unity of Venetian nobility, i. 10.
+
+
+    V
+
+  Vain glory, speedy punishment of, iii. 122.
+  Vanity, how symbolized, ii. 346.
+  Variety in ornamental design, importance of, ii. 43, 133, 142, 172.
+  Vegetation, use of, in ornamentation, i. 232; peculiar meaning of, in
+    Gothic, ii. 199; how connected with cusps, ii. 219.
+  Veil (wall veil), construction of, i. 58; decoration of, i. 294.
+  Vine, Lombardic sculpture of, i. 375; at Torcello, ii. 15; use of, in
+    ornamentation, ii. 141; in symbolism, ii. 143; sculpture of, on Ducal
+    Palace, ii. 308.
+  Virtues, how symbolized in sepulchral monuments, iii. 82, 86; systems
+    of, in Pagan and Christian philosophy, ii. 312; cardinal, ii. 317,
+    318, 320; of architecture, i. 36, 44.
+  Voussoirs defined, i. 125; contest between them and architraves, i.
+    336.
+
+
+    W
+
+  Walls, general analysis of their structure, i. 48; bases of, i. 52,
+    53; cornices of, i. 63; rustication of, i. 61, 338; decoration of, i.
+    294; courses in, i. 61, 295.
+  Water, its use in ornamentation, i. 226; ancient representations of,
+    i. 417.
+  Weaving, importance of associations connected with, ii. 136.
+  Wells, old Venetian, ii. 279.
+  Windows, general forms of, i. 179; Arabian, i. 180, ii. 135;
+    square-headed, ii. 211, 269; development of, in Venice, ii. 235;
+    orders of, in Venice, ii. 248; advisable form of, in modern
+    buildings, ii. 269.
+  Winds, how symbolized at Venice, ii. 367.
+  Wooden architecture, i. 381.
+  Womanhood, virtues of, as given by Spenser, ii. 326.
+
+
+    Z
+
+  Zigzag, Norman, i. 339.
+
+
+
+
+IV.
+
+VENETIAN INDEX.
+
+
+I have endeavored to make the following index as useful as possible to
+the traveller, by indicating only the objects which are really worth his
+study. A traveller's interest, stimulated as it is into strange vigor by
+the freshness of every impression, and deepened by the sacredness of the
+charm of association which long familiarity with any scene too fatally
+wears away,[71] is too precious a thing to be heedlessly wasted; and as
+it is physically impossible to see and to understand more than a certain
+quantity of art in a given time, the attention bestowed on second-rate
+works, in such a city as Venice, is not merely lost, but actually
+harmful,--deadening the interest and confusing the memory with respect
+to those which it is a duty to enjoy, and a disgrace to forget. The
+reader need not fear being misled by any omissions; for I have
+conscientiously pointed out every characteristic example, even of the
+styles which I dislike, and have referred to Lazari in all instances in
+which my own information failed: but if he is in any wise willing to
+trust me, I should recommend him to devote his principal attention, if
+he is fond of paintings, to the works of Tintoret, Paul Veronese, and
+John Bellini; not of course neglecting Titian, yet remembering that
+Titian can be well and thoroughly studied in almost any great European
+gallery, while Tintoret and Bellini can be judged of _only_ in Venice,
+and Paul Veronese, though gloriously represented by the two great
+pictures in the Louvre, and many others throughout Europe, is yet not to
+be fully estimated until he is seen at play among the fantastic chequers
+of the Venetian ceilings.
+
+I have supplied somewhat copious notices of the pictures of Tintoret,
+because they are much injured, difficult to read, and entirely neglected
+by other writers on art. I cannot express the astonishment and
+indignation I felt on finding, in Kugler's handbook, a paltry cenacolo,
+painted probably in a couple of hours for a couple of zecchins, for the
+monks of St. Trovaso, quoted as characteristic of this master; just as
+foolish readers quote separate stanzas of Peter Bell or the Idiot Boy,
+as characteristic of Wordsworth. Finally, the reader is requested to
+observe, that the dates assigned to the various buildings named in the
+following index, are almost without exception conjectural; that is to
+say, founded exclusively on the internal evidence of which a portion has
+been given in the Final Appendix. It is likely, therefore, that here and
+there, in particular instances, further inquiry may prove me to have
+been deceived; but such occasional errors are not of the smallest
+importance with respect to the general conclusions of the preceding
+pages, which will be found to rest on too broad a basis to be disturbed.
+
+
+    A
+
+ ACCADEMIA DELLE BELLE ARTI. Notice above the door the two bas-reliefs
+   of St. Leonard and St. Christopher, chiefly remarkable for their rude
+   cutting at so late a date as 1377; but the niches under which they
+   stand are unusual in their bent gables, and in little crosses within
+   circles which fill their cusps. The traveller is generally too much
+   struck by Titian's great picture of the "Assumption," to be able to
+   pay proper attention to the other works in this gallery. Let him,
+   however, ask himself candidly, how much of his admiration is
+   dependent merely upon the picture being larger than any other in the
+   room, and having bright masses of red and blue in it: let him be
+   assured that the picture is in reality not one whit the better for
+   being either large, or gaudy in color; and he will then be better
+   disposed to give the pains necessary to discover the merit of the more
+   profound and solemn works of Bellini and Tintoret. One of the most
+   wonderful works in the whole gallery is Tintoret's "Death of Abel," on
+   the left of the "Assumption;" the "Adam and Eve," on the right of it,
+   is hardly inferior; and both are more characteristic examples of the
+   master, and in many respects better pictures, than the much vaunted
+   "Miracle of St. Mark." All the works of Bellini in this room are of
+   great beauty and interest. In the great room, that which contains
+   Titian's "Presentation of the Virgin," the traveller should examine
+   carefully all the pictures by Vittor Carpaccio and Gentile Bellini,
+   which represent scenes in ancient Venice; they are full of interesting
+   architecture and costume. Marco Basaiti's "Agony in the Garden" is a
+   lovely example of the religious school. The Tintorets in this room are
+   all second rate, but most of the Veronese are good, and the large ones
+   are magnificent.
+
+ ALIGA. See GIORGIO.
+
+ ALVISE, CHURCH OF ST. I have never been in this church, but Lazari
+   dates its interior, with decision, as of the year 1388, and it may be
+   worth a glance, if the traveller has time.
+
+ ANDREA, CHURCH OF ST. Well worth visiting for the sake of the
+   peculiarly sweet and melancholy effect of its little grass-grown
+   campo, opening to the lagoon and the Alps. The sculpture over the
+   door, "St. Peter walking on the Water," is a quaint piece of
+   Renaissance work. Note the distant rocky landscape, and the oar of the
+   existing gondola floating by St. Andrew's boat. The church is of the
+   later Gothic period, much defaced, but still picturesque. The lateral
+   windows are bluntly trefoiled, and good of their time.
+
+ ANGELI, CHURCH DELGLI, at Murano. The sculpture of the "Annunciation"
+   over the entrance-gate is graceful. In exploring Murano, it is worth
+   while to row up the great canal thus far for the sake of the opening
+   to the lagoon.
+
+ ANTONINO, CHURCH OF ST. Of no importance.
+
+ APOLLINARE, CHURCH OF ST. Of no importance.
+
+ APOSTOLI, CHURCH OF THE. The exterior is nothing. There is said to be
+   a picture by Veronese in the interior, "The Fall of the Manna." I have
+   not seen it; but, if it be of importance, the traveller should compare
+   it carefully with Tintoret's, in the Scuola di San Rocco, and San
+   Giorgio Maggiore.
+
+ APOSTOLI, PALACE AT, II. 253, on the Grand Canal, near the Rialto,
+   opposite the fruit-market. A most important transitional palace. Its
+   sculpture in the first story is peculiarly rich and curious; I think
+   Venetian, in imitation of Byzantine. The sea story and first floor are
+   of the first half of the thirteenth century, the rest modern. Observe
+   that only one wing of the sea story is left, the other half having
+   been modernized. The traveller should land to look at the capital
+   drawn in Plate II. of Vol. III. fig. 7.
+
+ ARSENAL. Its gateway is a curiously picturesque example of Renaissance
+   workmanship, admirably sharp and expressive in its ornamental
+   sculpture; it is in many parts like some of the best Byzantine work.
+   The Greek lions in front of it appear to me to deserve more praise
+   than they have received; though they are awkwardly balanced between
+   conventional and imitative representation, having neither the severity
+   proper to the one, nor the veracity necessary for the other.
+
+
+    B
+
+ BADOER, PALAZZO, in the Campo San Giovanni in Bragola. A magnificent
+   example of the fourteenth century Gothic, circa 1310-1320, anterior to
+   the Ducal Palace, and showing beautiful ranges of the fifth order
+   window, with fragments of the original balconies, and the usual
+   lateral window larger than any of the rest. In the centre of its
+   arcade on the first floor is the inlaid ornament drawn in Plate VIII.
+   Vol. I. The fresco painting on the walls is of later date; and I
+   believe the heads which form the finials have been inserted afterwards
+   also, the original windows having been pure fifth order.
+
+   The building is now a ruin, inhabited by the lowest orders; the first
+   floor, when I was last in Venice, by a laundress.
+
+ BAFFO, PALAZZO, in the Campo St. Maurizio. The commonest late
+   Renaissance. A few olive leaves and vestiges of two figures still
+   remain upon it, of the frescoes by Paul Veronese, with which it was
+   once adorned.
+
+ BALBI, PALAZZO, in Volta di Canal. Of no importance.
+
+ BARBARIGO, PALAZZO, on the Grand Canal, next the Casa Pisani. Late
+   Renaissance; noticeable only as a house in which some of the best
+   pictures of Titian were allowed to be ruined by damp, and out of which
+   they were then sold to the Emperor of Russia.
+
+ BARBARO, PALAZZO, on the Grand Canal, next the Palazzo Cavalli. These
+   two buildings form the principal objects in the foreground of the view
+   which almost every artist seizes on his first traverse of the Grand
+   Canal, the Church of the Salute forming a most graceful distance.
+   Neither is, however, of much value, except in general effect; but the
+   Barbaro is the best, and the pointed arcade in its side wall, seen
+   from the narrow canal between it and the Cavalli, is good Gothic, of
+   the earliest fourteenth century type.
+
+ BARNABA, CHURCH OF ST. Of no importance.
+
+ BARTOLOMEO, CHURCH OF ST. I did not go to look at the works of
+   Sebastian del Piombo which it contains, fully crediting M. Lazari's
+   statement, that they have been "Barbaramente sfigurati da mani
+   imperite, che pretendevano ristaurarli." Otherwise the church is of no
+   importance.
+
+ BASSO, CHURCH OF ST. Of no importance.
+
+ BATTAGIA, PALAZZO, on the Grand Canal. Of no importance.
+
+ BECCHERIE. See QUERINI.
+
+ BEMBO, PALAZZO, on the Grand Canal, next the Casa Manin. A noble
+   Gothic pile, circa 1350-1380, which, before it was painted by the
+   modern Venetians with the two most valuable colors of Tintoret, Bianco
+   e Nero, by being whitewashed above, and turned into a coal warehouse
+   below, must have been among the most noble in effect on the whole
+   Grand Canal. It still forms a beautiful group with the Rialto, some
+   large shipping being generally anchored at its quay. Its sea story and
+   entresol are of earlier date, I believe, than the rest; the doors of
+   the former are Byzantine (see above, Final Appendix, under head
+   "Jambs"); and above the entresol is a beautiful Byzantine cornice,
+   built into the wall, and harmonizing well with the Gothic work.
+
+ BEMBO, PALAZZO, in the Calle Magno, at the Campo de' due Pozzi, close
+   to the Arsenal. Noticed by Lazari and Selvatico as having a very
+   interesting staircase. It is early Gothic, circa 1330, but not a whit
+   more interesting than many others of similar date and design. See
+   "Contarini Porta de Ferro," "Morosini," "Sanudo," and "Minelli."
+
+ BENEDETTO, CAMPO OF ST. Do not fail to see the superb, though
+   partially ruinous, Gothic palace fronting this little square. It is
+   very late Gothic, just passing into Renaissance; unique in Venice, in
+   masculine character, united with the delicacy of the incipient style.
+   Observe especially the brackets of the balconies, the flower-work on
+   the cornices, and the arabesques on the angles of the balconies
+   themselves.
+
+ BENEDETTO, CHURCH OF ST. Of no importance.
+
+ BERNARDO, PALAZZO, on the Grand Canal. A very noble pile of early
+   fifteenth century Gothic, founded on the Ducal Palace. The traceries
+   in its lateral windows are both rich and unusual.
+
+ BERNARDO, PALAZZO, at St. Polo. A glorious palace, on a narrow canal,
+   in a part of Venice now inhabited by the lower orders only. It is
+   rather late Central Gothic, circa 1380-1400, but of the finest kind,
+   and superb in its effect of color when seen from the side. A capital
+   in the interior court is much praised by Selvatico and Lazari, because
+   its "foglie d'acanto" (anything by the by, _but_ acanthus), "quasi
+   agitate de vento si attorcigliano d'intorno alla campana, _concetto
+   non indegno della bell'epoca greca_!" Does this mean "epoca
+   Bisantina?" The capital is simply a translation into Gothic sculpture
+   of the Byzantine ones of St. Mark's and the Fondaco de' Turchi (see
+   Plate VIII. Vol. I. fig. 14), and is far inferior to either. But,
+   taken as a whole, I think that, after the Ducal Palace, this is the
+   noblest in effect of all in Venice.
+
+ BRENTA, Banks of the, I. 354. Villas on the, I. 354.
+
+ BUSINELLO, CASA, II. 391.
+
+ BYZANTINE PALACES generally, II. 118.
+
+
+    C
+
+ CAMERLENGHI, PALACE OF THE, beside the Rialto. A graceful work of the
+   early Renaissance (1525) passing into Roman Renaissance. Its details
+   are inferior to most of the work of the school. The "Camerlenghi,"
+   properly "Camerlenghi di Comune," were the three officers or ministers
+   who had care of the administration of public expenses.
+
+ CANCELLARIA, II. 293.
+
+ CANCIANO, CHURCH OF ST. Of no importance.
+
+ CAPPELLO, PALAZZO, at St. Aponal. Of no interest. Some say that Bianca
+   Cappello fled from it; but the tradition seems to fluctuate between
+   the various houses belonging to her family.
+
+ CARIT�, CHURCH OF THE. Once an interesting Gothic church of the
+   fourteenth century, lately defaced, and applied to some of the usual
+   important purposes of the modern Italians. The effect of its ancient
+   fa�ade may partly be guessed at from the pictures of Canaletto, but
+   only guessed at; Canaletto being less to be trusted for renderings of
+   details, than the rudest and most ignorant painter of the thirteenth
+   century.
+
+ CARMINI, CHURCH OF THE. A most interesting church of late thirteenth
+   century work, but much altered and defaced. Its nave, in which the
+   early shafts and capitals of the pure truncate form are unaltered, is
+   very fine in effect; its lateral porch is quaint and beautiful,
+   decorated with Byzantine circular sculptures (of which the central one
+   is given in Vol. II. Plate XI. fig. 5), and supported on two shafts
+   whose capitals are the most archaic examples of the pure Rose form
+   that I know in Venice.
+
+   There is a glorious Tintoret over the first altar on the right in
+   entering; the "Circumcision of Christ." I do not know an aged head
+   either more beautiful or more picturesque than that of the high
+   priest. The cloister is full of notable tombs, nearly all dated; one,
+   of the fifteenth century, to the left on entering, is interesting from
+   the color still left on the leaves and flowers of its sculptured
+   roses.
+
+ CASSANO, CHURCH OF ST. This church must on no account be missed, as it
+   contains three Tintorets, of which one, the "Crucifixion," is among
+   the finest in Europe. There is nothing worth notice in the building
+   itself, except the jamb of an ancient door (left in the Renaissance
+   buildings, facing the canal), which has been given among the examples
+   of Byzantine jambs; and the traveller may, therefore, devote his
+   entire attention to the three pictures in the chancel.
+
+   1. _The Crucifixion._ (On the left of the high altar.) It is
+   refreshing to find a picture taken care of, and in a bright though not
+   a good light, so that such parts of it as are seen at all are seen
+   well. It is also in a better state than most pictures in galleries,
+   and most remarkable for its new and strange treatment of the subject.
+   It seems to have been painted more for the artist's own delight, than
+   with any labored attempt at composition; the horizon is so low that
+   the spectator must fancy himself lying at full length on the grass, or
+   rather among the brambles and luxuriant weeds, of which the foreground
+   is entirely composed. Among these, the seamless robe of Christ has
+   fallen at the foot of the cross; the rambling briars and wild grasses
+   thrown here and there over its folds of rich, but pale, crimson.
+   Behind them, and seen through them, the heads of a troop of Roman
+   soldiers are raised against the sky; and, above them, their spears and
+   halberds form a thin forest against the horizontal clouds. The three
+   crosses are put on the extreme right of the picture, and its centre is
+   occupied by the executioners, one of whom, standing on a ladder,
+   receives from the other at once the sponge and the tablet with the
+   letters INRI. The Madonna and St. John are on the extreme left,
+   superbly painted, like all the rest, but quite subordinate. In fact,
+   the whole mind of the painter seems to have been set upon making the
+   principals accessary, and the accessaries principal. We look first at
+   the grass, and then at the scarlet robe; and then at the clump of
+   distant spears, and then at the sky, and last of all at the cross. As
+   a piece of color, the picture is notable for its extreme modesty.
+   There is not a single very full or bright tint in any part, and yet
+   the color is delighted in throughout; not the slightest touch of it
+   but is delicious. It is worth notice also, and especially, because
+   this picture being in a fresh state we are sure of one fact, that,
+   like nearly all other great colorists, Tintoret was afraid of light
+   greens in his vegetation. He often uses dark blue greens in his
+   shadowed trees, but here where the grass is in full light, it is all
+   painted with various hues of sober brown, more especially where it
+   crosses the crimson robe. The handling of the whole is in his noblest
+   manner; and I consider the picture generally quite beyond all price.
+   It was cleaned, I believe, some years ago, but not injured, or at
+   least as little injured as it is possible for a picture to be which
+   has undergone any cleaning process whatsoever.
+
+   2. _The Resurrection._ (Over the high altar.) The lower part of this
+   picture is entirely concealed by a miniature temple, about five feet
+   high, on the top of the altar; certainly an insult little expected by
+   Tintoret, as, by getting on steps, and looking over the said temple,
+   one may see that the lower figures of the picture are the most
+   labored. It is strange that the painter never seemed able to conceive
+   this subject with any power, and in the present work he is
+   marvellously hampered by various types and conventionalities. It is
+   not a painting of the Resurrection, but of Roman Catholic saints,
+   _thinking_ about the Resurrection. On one side of the tomb is a bishop
+   in full robes, on the other a female saint, I know not who; beneath
+   it, an angel playing on an organ, and a cherub blowing it; and other
+   cherubs flying about the sky, with flowers; the whole conception being
+   a mass of Renaissance absurdities. It is, moreover, heavily painted,
+   over-done, and over-finished; and the forms of the cherubs utterly
+   heavy and vulgar. I cannot help fancying the picture has been restored
+   in some way or another, but there is still great power in parts of it.
+   If it be a really untouched Tintoret, it is a highly curious example
+   of failure from over-labor on a subject into which his mind was not
+   thrown: the color is hot and harsh, and felt to be so more painfully,
+   from its opposition to the grand coolness and chastity of the
+   "Crucifixion." The face of the angel playing the organ is highly
+   elaborated; so, also, the flying cherubs.
+
+   3. _The Descent into Hades._ (On the right-hand side of the high
+   altar.) Much injured and little to be regretted. I never was more
+   puzzled by any picture, the painting being throughout careless, and in
+   some places utterly bad, and yet not like modern work; the principal
+   figure, however, of Eve, has either been redone, or is scholar's work
+   altogether, as, I suspect, most of the rest of the picture. It looks
+   as if Tintoret had sketched it when he was ill, left it to a bad
+   scholar to work on with, and then finished it in a hurry; but he has
+   assuredly had something to do with it; it is not likely that anybody
+   else would have refused all aid from the usual spectral company with
+   which common painters fill the scene. Bronzino, for instance, covers
+   his canvas with every form of monster that his sluggish imagination
+   could coin. Tintoret admits only a somewhat haggard Adam, a graceful
+   Eve, two or three Venetians in court dress, seen amongst the smoke,
+   and a Satan represented as a handsome youth, recognizable only by the
+   claws on his feet. The picture is dark and spoiled, but I am pretty
+   sure there are no demons or spectres in it. This is quite in
+   accordance with the master's caprice, but it considerably diminishes
+   the interest of a work in other ways unsatisfactory. There may once
+   have been something impressive in the shooting in of the rays at the
+   top of the cavern, as well as in the strange grass that grows in the
+   bottom, whose infernal character is indicated by its all being knotted
+   together; but so little of these parts can be seen, that it is not
+   worth spending time on a work certainly unworthy of the master, and in
+   great part probably never seen by him.
+
+ CATTARINA, CHURCH OF ST., said to contain a _chef-d'oeuvre_ of Paul
+   Veronese, the "Marriage of St. Catherine." I have not seen it.
+
+ CAVALLI, PALAZZO, opposite the Academy of Arts. An imposing pile, on
+   the Grand Canal, of Renaissance Gothic, but of little merit in the
+   details; and the effect of its traceries has been of late destroyed by
+   the fittings of modern external blinds. Its balconies are good, of the
+   later Gothic type. See "BARBARO."
+
+ CAVALLI, PALAZZO, next the Casa Grimani (or Post-Office), but on the
+   other side of the narrow canal. Good Gothic, founded on the Ducal
+   Palace, circa 1380. The capitals of the first story are remarkably
+   rich in the deep fillets at the necks. The crests, heads of
+   sea-horses, inserted between the windows, appear to be later, but are
+   very fine of their kind.
+
+ CICOGNA, PALAZZO, at San Sebastiano, II. 265.
+
+ CLEMENTE, CHURCH OF ST. On an island to the south of Venice, from
+   which the view of the city is peculiarly beautiful. See "SCALZI."
+
+ CONTARINI PORTA DI FERRO, PALAZZO, near the Church of St. John and
+   Paul, so called from the beautiful ironwork on a door, which was some
+   time ago taken down by the proprietor and sold. Mr. Rawdon Brown
+   rescued some of the ornaments from the hands of the blacksmith, who
+   had bought them for old iron. The head of the door is a very
+   interesting stone arch of the early thirteenth century, already drawn
+   in my folio work. In the interior court is a beautiful remnant of
+   staircase, with a piece of balcony at the top, circa 1350, and one of
+   the most richly and carefully wrought in Venice. The palace, judging
+   by these remnants (all that are now left of it, except a single
+   traceried window of the same date at the turn of the stair), must once
+   have been among the most magnificent in Venice.
+
+ CONTARINI (DELLE FIGURE), PALAZZO, on the Grand Canal, III. 17.
+
+ CONTARINI DAI SCRIGNI, PALAZZO, on the Grand Canal. A Gothic building,
+   founded on the Ducal Palace. Two Renaissance statues in niches at the
+   sides give it its name.
+
+ CONTARINI FASAN, PALAZZO, on the Grand Canal, II. 244. The richest
+   work of the fifteenth century domestic Gothic in Venice, but notable
+   more for richness than excellence of design. In one respect, however,
+   it deserves to be regarded with attention, as showing how much beauty
+   and dignity may be bestowed on a very small and unimportant
+   dwelling-house by Gothic sculpture. Foolish criticisms upon it have
+   appeared in English accounts of foreign buildings, objecting to it on
+   the ground of its being "ill-proportioned;" the simple fact being,
+   that there was no room in this part of the canal for a wider house,
+   and that its builder made its rooms as comfortable as he could, and
+   its windows and balconies of a convenient size for those who were to
+   see through them, and stand on them, and left the "proportions"
+   outside to take care of themselves; which, indeed, they have very
+   sufficiently done; for though the house thus honestly confesses its
+   diminutiveness, it is nevertheless one of the principal ornaments of
+   the very noblest reach of the Grand Canal, and would be nearly as
+   great a loss, if it were destroyed, as the Church of La Salute itself.
+
+ CONTARINI, PALAZZO, at St. Luca. Of no importance.
+
+ CORNER DELLA CA' GRANDE, PALAZZO, on the Grand Canal. One of the worst
+   and coldest buildings of the central Renaissance, It is on a grand
+   scale, and is a conspicuous object, rising over the roofs of the
+   neighboring houses in the various aspects of the entrance of the Grand
+   Canal, and in the general view of Venice from San Clemente.
+
+ CORNER DELLA REGINA, PALAZZO. A late Renaissance building of no merit
+   or interest.
+
+ CORNER MOCENIGO, PALAZZO, at St. Polo. Of no interest.
+
+ CORNER SPINELLI, PALAZZO, on the Grand Canal. A graceful and
+   interesting example of the early Renaissance, remarkable for its
+   pretty circular balconies.
+
+ CORNER, RACCOLTA. I must refer the reader to M. Lazari's Guide for an
+   account of this collection, which, however, ought only to be visited
+   if the traveller is not pressed for time.
+
+
+    D
+
+ DANDOLO, PALAZZO, on the Grand Canal. Between the Casa Loredan and
+   Casa Bembo is a range of modern buildings, some of which occupy, I
+   believe, the site of the palace once inhabited by the Doge Henry
+   Dandolo. Fragments of early architecture of the Byzantine school may
+   still be traced in many places among their foundations, and two doors
+   in the foundation of the Casa Bembo itself belong to the same group.
+   There is only one existing palace, however, of any value, on this
+   spot, a very small but rich Gothic one of about 1300, with two groups
+   of fourth order windows in its second and third stories, and some
+   Byzantine circular mouldings built into it above. This is still
+   reported to have belonged to the family of Dandolo, and ought to be
+   carefully preserved, as it is one of the most interesting and ancient
+   Gothic palaces which yet remain.
+
+ DANIELI, ALBERGO. See Nani.
+
+ DA PONTE, PALAZZO. Of no interest.
+
+ DARIO, PALAZZO, I. 370; III. 211.
+
+ DOGANA DI MARE, at the separation of the Grand Canal from the Giudecca.
+   A barbarous building of the time of the Grotesque Renaissance (1676),
+   rendered interesting only by its position. The statue of Fortune,
+   forming the weathercock, standing on the world, is alike
+   characteristic of the conceits of the time, and of the hopes and
+   principles of the last days of Venice.
+
+ DONATO, CHURCH OF ST., at Murano, II. 31.
+
+ DONA', PALAZZO, on the Grand Canal. I believe the palace described under
+   this name as of the twelfth century, by M. Lazari, is that which I
+   have called the Braided House, II. 132, 392.
+
+ D'ORO CASA. A noble pile of very quaint Gothic, once superb in general
+   effect, but now destroyed by restorations. I saw the beautiful slabs
+   of red marble, which formed the bases of its balconies, and were
+   carved into noble spiral mouldings of strange sections, half a foot
+   deep, dashed to pieces when I was last in Venice; its glorious
+   interior staircase, by far the most interesting Gothic monument of the
+   kind in Venice, had been carried away, piece by piece, and sold for
+   waste marble, two years before. Of what remains, the most beautiful
+   portions are, or were, when I last saw them, the capitals of the
+   windows in the upper story, most glorious sculpture of the fourteenth
+   century. The fantastic window traceries are, I think, later; but the
+   rest of the architecture of this palace is anomalous, and I cannot
+   venture to give any decided opinion respecting it. Parts of its
+   mouldings are quite Byzantine in character, but look somewhat like
+   imitations.
+
+ DUCAL PALACE, I. 29; history of, II. 282, etc.; III. 199; plan and
+   section of, II. 282, 283; description of, II. 304, etc.; series of its
+   capitals, II. 332, etc.; spandrils of, I. 299, 415; shafts of, I. 413;
+   traceries of, derived from those of the Frari, II. 234; angles of, II.
+   239; main balcony of, II. 245; base of, III. 212; Rio Fa�ade of, III.
+   25; paintings in, II. 372. The multitude of works by various masters,
+   which cover the walls of this palace is so great, that the traveller
+   is in general merely wearied and confused by them. He had better
+   refuse all attention except to the following works:
+
+   1. _Paradise_, by Tintoret; at the extremity of the Great Council
+   chamber. I found it impossible to count the number of figures in this
+   picture, of which the grouping is so intricate, that at the upper part
+   it is not easy to distinguish one figure from another; but I counted
+   150 important figures in one half of it alone; so that, as there are
+   nearly as many in subordinate position, the total number cannot be
+   under 500. I believe this is, on the whole, Tintoret's
+   _chef-d'oeuvre_; though it is so vast that no one takes the trouble
+   to read it, and therefore less wonderful pictures are preferred to it.
+   I have not myself been able to study except a few fragments of it, all
+   executed in his finest manner; but it may assist a hurried observer to
+   point out to him that the whole composition is divided into concentric
+   zones, represented one above another like the stories of a cupola,
+   round the figures of Christ and the Madonna, at the central and
+   highest point: both these figures are exceedingly dignified and
+   beautiful. Between each zone or belt of the nearer figures, the white
+   distances of heaven are seen filled with floating spirits. The picture
+   is, on the whole, wonderfully preserved, and the most precious thing
+   that Venice possesses. She will not possess it long; for the Venetian
+   academicians, finding it exceedingly unlike their own works, declare
+   it to want harmony, and are going to retouch it to their own ideas of
+   perfection.
+
+   2. _Siege of Zara_; the first picture on the right on entering the
+   Sala del Scrutinio. It is a mere battle piece, in which the figures,
+   like the arrows, are put in by the score. There are high merits in the
+   thing, and so much invention that it is possible Tintoret may have
+   made the sketch for it; but, if executed by him at all, he has done it
+   merely in the temper in which a sign-painter meets the wishes of an
+   ambitious landlord. He seems to have been ordered to represent all the
+   events of the battle at once; and to have felt that, provided he gave
+   men, arrows, and ships enough, his employers would be perfectly
+   satisfied. The picture is a vast one, some thirty feet by fifteen.
+
+   Various other pictures will be pointed out by the custode, in these
+   two rooms, as worthy of attention, but they are only historically, not
+   artistically, interesting. The works of Paul Veronese on the ceiling
+   have been repainted; and the rest of the pictures on the walls are by
+   second-rate men. The traveller must, once for all, be warned against
+   mistaking the works of Domenico Robusti (Domenico Tintoretto), a very
+   miserable painter, for those of his illustrious father, Jacopo.
+
+   3. _The Doge Grimani kneeling before Faith_, by Titian; in the Sala
+   delle quattro Porte. To be observed with care, as one of the most
+   striking examples of Titian's want of feeling and coarseness of
+   conception. (See above, Vol. I. p. 12.) As a work of mere art, it is,
+   however, of great value. The traveller who has been accustomed to
+   deride Turner's indistinctness of touch, ought to examine carefully
+   the mode of painting the Venice in the distance at the bottom of this
+   picture.
+
+   4. _Frescoes on the Roof of the Sala delle quattro Porte_, by
+   Tintoret. Once magnificent beyond description, now mere wrecks (the
+   plaster crumbling away in large flakes), but yet deserving of the most
+   earnest study.
+
+   5. _Christ taken down from the Cross_, by Tintoret; at the upper end
+   of the Sala dei Pregadi. One of the most interesting mythic pictures
+   of Venice, two doges being represented beside the body of Christ, and
+   a most noble painting; executed, however, for distant effect, and seen
+   best from the end of the room.
+
+   6. _Venice, Queen of the Sea_, by Tintoret. Central compartment of the
+   ceiling, in the Sala dei Pregadi. Notable for the sweep of its vast
+   green surges, and for the daring character of its entire conception,
+   though it is wild and careless, and in many respects unworthy of the
+   master. Note the way in which he has used the fantastic forms of the
+   sea weeds, with respect to what was above stated (III. 158), as to his
+   love of the grotesque.
+
+   7. _The Doge Loredano in Prayer to the Virgin_, by Tintoret; in the
+   same room. Sickly and pale in color, yet a grand work; to be studied,
+   however, more for the sake of seeing what a great man does "to order,"
+   when he is wearied of what is required from him, than for its own
+   merit.
+
+   8. _St. George and the Princess._ There are, besides the "Paradise,"
+   only six pictures in the Ducal Palace, as far as I know, which
+   Tintoret painted carefully, and those are all exceedingly fine: the
+   most finished of these are in the Anti-Collegio; but those that are
+   most majestic and characteristic of the master are two oblong ones,
+   made to fill the panels of the walls in the Anti-Chiesetta; these two,
+   each, I suppose, about eight feet by six, are in his most quiet and
+   noble manner. There is excessively little color in them, their
+   prevalent tone being a greyish brown opposed with grey, black, and a
+   very warm russet. They are thinly painted, perfect in tone, and quite
+   untouched. The first of them is "St. George and the Dragon," the
+   subject being treated in a new and curious way. The principal figure
+   is the princess, who sits astride on the dragon's neck, holding him by
+   a bridle of silken riband; St. George stands above and behind her,
+   holding his hands over her head as if to bless her, or to keep the
+   dragon quiet by heavenly power; and a monk stands by on the right,
+   looking gravely on. There is no expression or life in the dragon,
+   though the white flashes in its eye are very ghastly: but the whole
+   thing is entirely typical; and the princess is not so much represented
+   riding on the dragon, as supposed to be placed by St. George in an
+   attitude of perfect victory over her chief enemy. She has a full rich
+   dress of dull red, but her figure is somewhat ungraceful. St. George
+   is in grey armor and grey drapery, and has a beautiful face; his
+   figure entirely dark against the distant sky. There is a study for
+   this picture in the Manfrini Palace.
+
+   9. _St. Andrew and St. Jerome._ This, the companion picture, has even
+   less color than its opposite. It is nearly all brown and grey; the
+   fig-leaves and olive-leaves brown, the faces brown, the dresses brown,
+   and St. Andrew holding a great brown cross. There is nothing that can
+   be called color, except the grey of the sky, which approaches in some
+   places a little to blue, and a single piece of dirty brick-red in St.
+   Jerome's dress; and yet Tintoret's greatness hardly ever shows more
+   than in the management of such sober tints. I would rather have these
+   two small brown pictures, and two others in the Academy perfectly
+   brown also in their general tone--the "Cain and Abel" and the "Adam
+   and Eve,"--than all the other small pictures in Venice put together,
+   which he painted in bright colors, for altar pieces; but I never saw
+   two pictures which so nearly approached grisailles as these, and yet
+   were delicious pieces of color. I do not know if I am right in calling
+   one of the saints St. Andrew. He stands holding a great upright wooden
+   cross against the sky. St. Jerome reclines at his feet, against a
+   rock, over which some glorious fig leaves and olive branches are
+   shooting; every line of them studied with the most exquisite care, and
+   yet cast with perfect freedom.
+
+   10. _Bacchus and Ariadne._ The most beautiful of the four careful
+   pictures by Tintoret, which occupy the angles of the Anti-Collegio.
+   Once one of the noblest pictures in the world, but now miserably
+   faded, the sun being allowed to fall on it all day long. The design of
+   the forms of the leafage round the head of the Bacchus, and the
+   floating grace of the female figure above, will, however, always give
+   interest to this picture, unless it be repainted.
+
+   The other three Tintorets in this room are careful and fine, but far
+   inferior to the "Bacchus;" and the "Vulcan and the Cyclops" is a
+   singularly meagre and vulgar study of common models.
+
+   11. _Europa_, by Paul Veronese: in the same room. One of the very few
+   pictures which both possess and deserve a high reputation.
+
+   12. _Venice enthroned_, by Paul Veronese; on the roof of the same
+   room. One of the grandest pieces of frank color in the Ducal Palace.
+
+   13. _Venice, and the Doge Sebastian Venier_; at the upper end of the
+   Sala del Collegio. An unrivalled Paul Veronese, far finer even than
+   the "Europa."
+
+   14. _Marriage of St. Catherine_, by Tintoret; in the same room. An
+   inferior picture, but the figure of St. Catherine is quite exquisite.
+   Note how her veil falls over her form, showing the sky through it, as
+   an alpine cascade falls over a marble rock.
+
+   There are three other Tintorets on the walls of this room, but all
+   inferior, though full of power. Note especially the painting of the
+   lion's wings, and of the colored carpet, in the one nearest the
+   throne, the Doge Alvise Mocenigo adoring the Redeemer.
+
+   The roof is entirely by Paul Veronese, and the traveller who really
+   loves painting, ought to get leave to come to this room whenever he
+   chooses; and should pass the sunny summer mornings there again and
+   again, wandering now and then into the Anti-Collegio and Sala dei
+   Pregadi, and coming back to rest under the wings of the couched lion
+   at the feet of the "Mocenigo." He will no otherwise enter so deeply
+   into the heart of Venice.
+
+
+    E
+
+ EMO, PALAZZO, on the Grand Canal. Of no interest.
+
+ ERIZZO, PALAZZO, near the Arsenal, II. 262.
+
+ ERIZZO, PALAZZO, on the Grand Canal, nearly opposite the Fondaco
+   de'Turchi. A Gothic palace, with a single range of windows founded on
+   the Ducal traceries, and bold capitals. It has been above referred to
+   in the notice of tracery bars.
+
+ EUFEMIA, CHURCH OF ST. A small and defaced, but very curious, early
+   Gothic church on the Giudecca. Not worth visiting, unless the
+   traveller is seriously interested in architecture.
+
+ EUROPA, ALBERGO, ALL'. Once a Giustiniani Palace. Good Gothic, circa
+   1400, but much altered.
+
+ EVANGELISTI, CASA DEGLI, II. 265.
+
+ [Illustration: Plate XII.
+                CAPITALS OF FONDACO DE' TURCHI.]
+
+
+    F
+
+ FACANON, PALAZZO (ALLA FAVA). A fair example of the fifteenth century
+   Gothic, founded on Ducal Palace.
+
+ FALIER, PALAZZO, at the Apostoli. Above, II. 253.
+
+ FANTINO, CHURCH OF ST. Said to contain a John Bellini, otherwise of no
+   importance.
+
+ FARSETTI, PALAZZO, on the Grand Canal, II. 124, 393.
+
+ FAVA, CHURCH OF ST. Of no importance.
+
+ FELICE, CHURCH OF ST. Said to contain a Tintoret, which, if untouched,
+   I should conjecture, from Lazari's statement of its subject, St.
+   Demetrius armed, with one of the Ghisi family in prayer, must be very
+   fine. Otherwise the church is of no importance.
+
+ FERRO, PALAZZO, on the Grand Canal. Fifteenth century Gothic, very
+   hard and bad.
+
+ FLANGINI, PALAZZO, on the Grand Canal. Of no importance.
+
+ FONDACO DE' TURCHI, I. 328; II. 120, 121, 236. The opposite plate,
+   representing three of its capitals, has been several times referred
+   to.
+
+ FONDACO DE' TEDESCHI. A huge and ugly building near the Rialto,
+   rendered, however, peculiarly interesting by remnants of the frescoes
+   by Giorgione with which it was once covered. See Vol. II. 80, and III.
+   23.
+
+ FORMOSA, CHURCH OF SANTA MARIA, III. 113, 122,
+
+ FOSCA, CHURCH OF ST. Notable for its exceedingly picturesque
+   campanile, of late Gothic, but uninjured by restorations, and
+   peculiarly Venetian in being crowned by the cupola instead of the
+   pyramid, which would have been employed at the same period in any
+   other Italian city.
+
+ FOSCARI, PALAZZO, on the Grand Canal. The noblest example in Venice of
+   the fifteenth century Gothic, founded on the Ducal Palace, but lately
+   restored and spoiled, all but the stone-work of the main windows. The
+   restoration was necessary, however: for, when I was in Venice in 1845,
+   this palace was a foul ruin; its great hall a mass of mud, used as a
+   back receptacle of a stone-mason's yard; and its rooms whitewashed,
+   and scribbled over with indecent caricatures. It has since been
+   partially strengthened and put in order; but as the Venetian
+   municipality have now given it to the Austrians to be used as
+   barracks, it will probably soon be reduced to its former condition.
+   The lower palaces at the side of this building are said by some to
+   have belonged to the younger Foscari. See "GIUSTINIANI."
+
+ FRANCESCO DELLA VIGNA, CHURCH OF ST. Base Renaissance, but must be
+   visited in order to see the John Bellini in the Cappella Santa. The
+   late sculpture, in the Cappella Giustiniani, appears from Lazari's
+   statement to be deserving of careful study. This church is said also
+   to contain two pictures by Paul Veronese.
+
+ FRARI, CHURCH OF THE. Founded in 1250, and continued at various
+   subsequent periods. The apse and adjoining chapels are the earliest
+   portions, and their traceries have been above noticed (II. 234) as the
+   origin of those of the Ducal Palace. The best view of the apse, which
+   is a very noble example of Italian Gothic, is from the door of the
+   Scuola di San Rocco. The doors of the church are all later than any
+   other portion of it, very elaborate Renaissance Gothic. The interior
+   is good Gothic, but not interesting, except in its monuments. Of
+   these, the following are noticed in the text of this volume:
+
+   That of Duccio degli Alberti, at pages 74, 80; of the unknown Knight,
+   opposite that of Duccio, III. 74; of Francesco Foscari, III. 84; of
+   Giovanni Pesaro, 91; of Jacopo Pesaro, 92.
+
+   Besides these tombs, the traveller ought to notice carefully that of
+   Pietro Bernardo, a first-rate example of Renaissance work; nothing can
+   be more detestable or mindless in general design, or more beautiful in
+   execution. Examine especially the griffins, fixed in admiration of
+   bouquets, at the bottom. The fruit and flowers which arrest the
+   attention of the griffins may well arrest the traveller's also;
+   nothing can be finer of their kind. The tomb of Canova, _by_ Canova,
+   cannot be missed; consummate in science, intolerable in affectation,
+   ridiculous in conception, null and void to the uttermost in invention
+   and feeling. The equestrian statue of Paolo Savelli is spirited; the
+   monument of the Beato Pacifico, a curious example of Renaissance
+   Gothic with wild crockets (all in terra cotta). There are several good
+   Vivarini's in the church, but its chief pictorial treasure is the John
+   Bellini in the sacristy, the most finished and delicate example of the
+   master in Venice.
+
+
+    G
+
+ GEREMIA, CHURCH OF ST. Of no importance.
+
+ GESUATI, CHURCH OF THE. Of no importance.
+
+ GIACOMO DE LORIO, CHURCH OF ST., a most interesting church, of the early
+   thirteenth century, but grievously restored. Its capitals have been
+   already noticed as characteristic of the earliest Gothic; and it is
+   said to contain four works of Paul Veronese, but I have not examined
+   them. The pulpit is admired by the Italians, but is utterly worthless.
+   The verdantique pillar, in the south transept, is a very noble example
+   of the "Jewel Shaft." See the note at p. 83, Vol. II.
+
+ GIACOMO DI RIALTO, CHURCH OF ST. A picturesque little church, on the
+   Piazza di Rialto. It has been grievously restored, but the pillars and
+   capitals of its nave are certainly of the eleventh century; those of
+   its portico are of good central Gothic; and it will surely not be left
+   unvisited, on this ground, if on no other, that it stands on the site,
+   and still retains the name, of the first church ever built on that
+   Rialto which formed the nucleus of future Venice, and became
+   afterwards the mart of her merchants.
+
+ GIOBBE, CHURCH OF ST., near the Cana Reggio. Its principal entrance is
+   a very fine example of early Renaissance sculpture. Note in it,
+   especially, its beautiful use of the flower of the convolvulus. There
+   are said to be still more beautiful examples of the same period, in
+   the interior. The cloister, though much defaced, is of the Gothic
+   period, and worth a glance.
+
+ GIORGIO DE' GRECI, CHURCH OF ST. The Greek Church. It contains no
+   valuable objects of art, but its service is worth attending by those
+   who have never seen the Greek ritual.
+
+ GIORGIO DE' SCHIAVONI, CHURCH OF ST. Said to contain a very precious
+   series of paintings by Victor Carpaccio. Otherwise of no interest.
+
+ GIORGIO IN ALIGA (St. George in the seaweed), Church of St. Unimportant
+   in itself, but the most beautiful view of Venice at sunset is from a
+   point at about two thirds of the distance from the city to the island.
+
+ GIORGIO MAGGIORE, CHURCH OF ST. A building which owes its interesting
+   effect chiefly to its isolated position, being seen over a great space
+   of lagoon. The traveller should especially notice in its fa�ade the
+   manner in which the central Renaissance architects (of whose style
+   this church is a renowned example) endeavored to fit the laws they had
+   established to the requirements of their age. Churches were required
+   with aisles and clerestories, that is to say, with a high central nave
+   and lower wings; and the question was, how to face this form with
+   pillars of one proportion. The noble Romanesque architects built story
+   above story, as at Pisa and Lucca; but the base Palladian architects
+   dared not do this. They must needs retain some image of the Greek
+   temple; but the Greek temple was all of one height, a low gable roof
+   being borne on ranges of equal pillars. So the Palladian builders
+   raised first a Greek temple with pilasters for shafts; and, _through
+   the middle of its roof, or horizontal beam_, that is to say, of the
+   cornice which externally represented this beam, they lifted another
+   temple on pedestals, adding these barbarous appendages to the shafts,
+   which otherwise would not have been high enough; fragments of the
+   divided cornice or tie-beam being left between the shafts, and the
+   great door of the church thrust in between the pedestals. It is
+   impossible to conceive a design more gross, more barbarous, more
+   childish in conception, more servile in plagiarism, more insipid in
+   result, more contemptible under every point of rational regard.
+
+   Observe, also, that when Palladio had got his pediment at the top of
+   the church, he did not know what to do with it; he had no idea of
+   decorating it except by a round hole in the middle. (The traveller
+   should compare, both in construction and decoration, the Church of the
+   Redentore with this of San Giorgio.) Now, a dark penetration is often
+   a most precious assistance to a building dependent upon color for its
+   effect; for a cavity is the only means in the architect's power of
+   obtaining certain and vigorous shadow; and for this purpose, a
+   circular penetration, surrounded by a deep russet marble moulding, is
+   beautifully used in the centre of the white field on the side of the
+   portico of St. Mark's. But Palladio had given up color, and pierced
+   his pediment with a circular cavity, merely because he had not wit
+   enough to fill it with sculpture. The interior of the church is like a
+   large assembly room, and would have been undeserving of a moment's
+   attention, but that it contains some most precious pictures, namely:
+
+   1. _Gathering the Manna._ (On the left hand of the high altar.) One of
+   Tintoret's most remarkable landscapes. A brook flowing through a
+   mountainous country, studded with thickets and palm trees; the
+   congregation have been long in the Wilderness, and are employed in
+   various manufactures much more than in gathering the manna. One group
+   is forging, another grinding manna in a mill, another making shoes,
+   one woman making a piece of dress, some washing; the main purpose of
+   Tintoret being evidently to indicate the _continuity_ of the supply of
+   heavenly food. Another painter would have made the congregation
+   hurrying to gather it, and wondering at it; Tintoret at once makes us
+   remember that they have been fed with it "by the space of forty
+   years." It is a large picture, full of interest and power, but
+   scattered in effect, and not striking except from its elaborate
+   landscape.
+
+   2. _The Last Supper._ (Opposite the former.) These two pictures have
+   been painted for their places, the subjects being illustrative of the
+   sacrifice of the mass. This latter is remarkable for its entire
+   homeliness in the general treatment of the subject; the entertainment
+   being represented like any large supper in a second-rate Italian inn,
+   the figures being all comparatively uninteresting; but we are reminded
+   that the subject is a sacred one, not only by the strong light shining
+   from the head of Christ, but because the smoke of the lamp which hangs
+   over the table turns, as it rises, into a multitude of angels, all
+   painted in grey, the color of the smoke; and so writhed and twisted
+   together that the eye hardly at first distinguishes them from the
+   vapor out of which they are formed, ghosts of countenances and filmy
+   wings filling up the intervals between the completed heads. The idea
+   is highly characteristic of the master. The picture has been
+   grievously injured, but still shows miracles of skill in the
+   expression of candle-light mixed with twilight; variously reflected
+   rays, and half tones of the dimly lighted chamber, mingled with the
+   beams of the lantern and those from the head of Christ, flashing along
+   the metal and glass upon the table, and under it along the floor, and
+   dying away into the recesses of the room.
+
+   3. _Martyrdom of various Saints._ (Altar piece of the third altar in
+   the South aisle.) A moderately sized picture, and now a very
+   disagreeable one, owing to the violent red into which the color that
+   formed the glory of the angel at the top is changed. It has been
+   hastily painted, and only shows the artist's power in the energy of
+   the figure of an executioner drawing a bow, and in the magnificent
+   ease with which the other figures are thrown together in all manner of
+   wild groups and defiances of probability. Stones and arrows are flying
+   about in the air at random.
+
+   4. _Coronation of the Virgin._ (Fourth altar in the same aisle.)
+   Painted more for the sake of the portraits at the bottom, than of the
+   Virgin at the top. A good picture, but somewhat tame for Tintoret, and
+   much injured. The principal figure, in black, is still, however, very
+   fine.
+
+   5. _Resurrection of Christ._ (At the end of the north aisle, in the
+   chapel beside the choir.) Another picture painted chiefly for the sake
+   of the included portraits, and remarkably cold in general conception;
+   its color has, however, been gay and delicate, lilac, yellow, and blue
+   being largely used in it. The flag which our Saviour bears in his
+   hand, has been once as bright as the sail of a Venetian fishing-boat,
+   but the colors are now all chilled, and the picture is rather crude
+   than brilliant; a mere wreck of what it was, and all covered with
+   droppings of wax at the bottom.
+
+   6. _Martyrdom of St. Stephen._ (Altar piece in the north transept.)
+   The Saint is in a rich prelate's dress, looking as if he had just been
+   saying mass, kneeling in the foreground, and perfectly serene. The
+   stones are flying about him like hail, and the ground is covered with
+   them as thickly as if it were a river bed. But in the midst of them,
+   at the saint's right hand, there is a book lying, crushed but open,
+   two or three stones which have torn one of its leaves lying upon it.
+   The freedom and ease with which the leaf is crumpled is just as
+   characteristic of the master as any of the grander features; no one
+   but Tintoret could have so crushed a leaf; but the idea is still more
+   characteristic of him, for the book is evidently meant for the Mosaic
+   History which Stephen had just been expounding, and its being crushed
+   by the stones shows how the blind rage of the Jews was violating their
+   own law in the murder of Stephen. In the upper part of the picture are
+   three figures,--Christ, the Father, and St. Michael. Christ of course
+   at the right hand of the Father, as Stephen saw him standing; but
+   there is little dignity in this part of the conception. In the middle
+   of the picture, which is also the middle distance, are three or four
+   men throwing stones, with Tintoret's usual vigor of gesture, and
+   behind them an immense and confused crowd; so that, at first, we
+   wonder where St. Paul is; but presently we observe that, in the front
+   of this crowd, and _almost exactly in the centre of the picture_,
+   there is a figure seated on the ground, very noble and quiet, and with
+   some loose garments thrown across its knees. It is dressed in vigorous
+   black and red. The figure of the Father in the sky above is dressed in
+   black and red also, and these two figures are the centres of color to
+   the whole design. It is almost impossible to praise too highly the
+   refinement of conception which withdrew the unconverted St. Paul into
+   the distance, so as entirely to separate him from the immediate
+   interest of the scene, and yet marked the dignity to which he was
+   afterward to be raised, by investing him with the colors which
+   occurred nowhere else in the picture except in the dress which veils
+   the form of the Godhead. It is also to be noted as an interesting
+   example of the value which the painter put upon color only; another
+   composer would have thought it necessary to exalt the future apostle
+   by some peculiar dignity of action or expression. The posture of the
+   figure is indeed grand, but inconspicuous; Tintoret does not depend
+   upon it, and thinks that the figure is quite ennobled enough by being
+   made a key-note of color.
+
+   It is also worth observing how boldly imaginative is the treatment
+   which covers the ground with piles of stones, and yet leaves the
+   martyr apparently unwounded. Another painter would have covered him
+   with blood, and elaborated the expression of pain upon his
+   countenance. Tintoret leaves us under no doubt as to what manner of
+   death he is dying; he makes the air hurtle with the stones, but he
+   does not choose to make his picture disgusting, or even painful. The
+   face of the martyr is serene, and exulting; and we leave the picture,
+   remembering only how "he fell asleep."
+
+ GIOVANELLI, PALAZZO, at the Ponte di Noale. A fine example of
+   fifteenth century Gothic, founded on the Ducal Palace.
+
+ GIOVANNI E PAOLO, CHURCH OF ST.[72] Foundation of, III. 69. An
+   impressive church, though none of its Gothic is comparable with that
+   of the North, or with that of Verona. The Western door is interesting
+   as one of the last conditions of Gothic design passing into
+   Renaissance, very rich and beautiful of its kind, especially the
+   wreath of fruit and flowers which forms its principal molding. The
+   statue of Bartolomeo Colleone, in the little square beside the church,
+   is certainly one of the noblest works in Italy. I have never seen
+   anything approaching it in animation, in vigor of portraiture, or
+   nobleness of line. The reader will need Lazari's Guide in making the
+   circuit of the church, which is full of interesting monuments: but I
+   wish especially to direct his attention to two pictures, besides the
+   celebrated Peter Martyr: namely,
+
+   1. _The Crucifixion_, by Tintoret; on the wall of the left-hand aisle,
+   just before turning into the transept. A picture fifteen feet long by
+   eleven or twelve high. I do not believe that either the "Miracle of
+   St. Mark," or the great "Crucifixion" in the Scuola di San Rocco, cost
+   Tintoret more pains than this comparatively small work, which is now
+   utterly neglected, covered with filth and cobwebs, and fearfully
+   injured. As a piece of color, and light and shade, it is altogether
+   marvellous. Of all the fifty figures which the picture contains, there
+   is not one which in any way injures or contends with another; nay,
+   there is not a single fold of garment or touch of the pencil which
+   could be spared; every virtue of Tintoret, as a painter, is there in
+   its highest degree,--color at once the most intense and the most
+   delicate, the utmost decision in the arrangement of masses of light,
+   and yet half tones and modulations of endless variety; and all
+   executed with a magnificence of handling which no words are energetic
+   enough to describe. I have hardly ever seen a picture in which there
+   was so much decision, and so little impetuosity, and in which so
+   little was conceded to haste, to accident, or to weakness. It is too
+   infinite a work to be describable; but among its minor passages of
+   extreme beauty, should especially be noticed the manner in which the
+   accumulated forms of the human body, which fill the picture from end
+   to end, are prevented from being felt heavy, by the grace and
+   elasticity of two or three sprays of leafage which spring from a
+   broken root in the foreground, and rise conspicuous in shadow against
+   an interstice filled by the pale blue, grey, and golden light in which
+   the distant crowd is invested, the office of this foliage being, in an
+   artistical point of view, correspondent to that of the trees set by
+   the sculptors of the Ducal Palace on its angles. But they have a far
+   more important meaning in the picture than any artistical one. If the
+   spectator will look carefully at the root which I have called broken,
+   he will find that in reality, it is not broken, but cut; the other
+   branches of the young tree having _lately been cut away_. When we
+   remember that one of the principal incidents in great San Rocco
+   Crucifixion is the ass feeding on withered palm leaves, we shall be at
+   no loss to understand the great painter's purpose in lifting the
+   branch of this mutilated olive against the dim light of the distant
+   sky; while, close beside it, St. Joseph of Arimathea drags along the
+   dust a white garment--observe, the principal light of the
+   picture,--stained with the blood of that King before whom, five days
+   before, his crucifiers had strewn their own garments in the way.
+
+   2. _Our Lady with the Camerlenghi._ (In the centre chapel of the three
+   on the right of the choir.) A remarkable instance of the theoretical
+   manner of representing Scriptural facts, which, at this time, as noted
+   in the second chapter of this volume, was undermining the belief of
+   the facts themselves. Three Venetian chamberlains desired to have
+   their portraits painted, and at the same time to express their
+   devotion to the Madonna; to that end they are painted kneeling before
+   her, and in order to account for their all three being together, and
+   to give a thread or clue to the story of the picture, they are
+   represented as the Three Magi; but lest the spectator should think it
+   strange that the Magi should be in the dress of Venetian chamberlains,
+   the scene is marked as a mere ideality, by surrounding the person of
+   the Virgin with saints who lived five hundred years after her. She has
+   for attendants St. Theodore, St. Sebastian, and St. Carlo (query St.
+   Joseph). One hardly knows whether most to regret the spirit which was
+   losing sight of the verities of religious history in imaginative
+   abstractions, or to praise the modesty and piety which desired rather
+   to be represented as kneeling before the Virgin than in the discharge
+   or among the insignia of important offices of state.
+
+   As an "Adoration of the Magi," the picture is, of course, sufficiently
+   absurd: the St. Sebastian leans back in the corner to be out of the
+   way; the three Magi kneel, without the slightest appearance of
+   emotion, to a Madonna seated in a Venetian loggia of the fifteenth
+   century, and three Venetian servants behind bear their offerings in a
+   very homely sack, tied up at the mouth. As a piece of portraiture and
+   artistical composition, the work is altogether perfect, perhaps the
+   best piece of Tintoret's portrait-painting in existence. It is very
+   carefully and steadily wrought, and arranged with consummate skill on
+   a difficult plan. The canvas is a long oblong, I think about eighteen
+   or twenty feet long, by about seven high; one might almost fancy the
+   painter had been puzzled to bring the piece into use, the figures
+   being all thrown into positions which a little diminish their height.
+   The nearest chamberlain is kneeling, the two behind him bowing
+   themselves slightly, the attendants behind bowing lower, the Madonna
+   sitting, the St. Theodore sitting still lower on the steps at her
+   feet, and the St. Sebastian leaning back, so that all the lines of the
+   picture incline more or less from right to left as they ascend. This
+   slope, which gives unity to the detached groups, is carefully
+   exhibited by what a mathematician would call coordinates,--the upright
+   pillars of the loggia and the horizontal clouds of the beautiful sky.
+   The color is very quiet, but rich and deep, the local tones being
+   brought out with intense force, and the cast shadows subdued, the
+   manner being much more that of Titian than of Tintoret. The sky
+   appears full of light, though it is as dark as the flesh of the faces;
+   and the forms of its floating clouds, as well as of the hills over
+   which they rise, are drawn with a deep remembrance of reality. There
+   are hundreds of pictures of Tintoret's more amazing than this, but I
+   hardly know one that I more love.
+
+   The reader ought especially to study the sculpture round the altar of
+   the Capella del Rosario, as an example of the abuse of the sculptor's
+   art; every accessory being labored out with as much ingenuity and
+   intense effort to turn sculpture into painting, the grass, trees, and
+   landscape being as far realized as possible, and in alto-relievo.
+   These bas-reliefs are by various artists, and therefore exhibit the
+   folly of the age, not the error of an individual.
+
+   The following alphabetical list of the tombs in this church which are
+   alluded to as described in the text, with references to the pages
+   where they are mentioned, will save some trouble:
+
+     Cavalli, Jacopo, III. 82.    |  Mocenigo, Pietro, III. 89.
+     Cornaro, Marco, III. 11.     |  Mocenigo, Tomaso, I. 8, 26, III. 84.
+     Dolfin, Giovanni, III. 78.   |  Morosini, Michele, III. 80.
+     Giustiniani, Marco, I. 315.  |  Steno, Michele, III. 83.
+     Mocenigo, Giovanni, III. 89. |  Vendramin, Andrea, I. 27, III. 88.
+
+ GIOVANNI GRISOSTOMO, CHURCH OF ST. One of the most important in
+   Venice. It is early Renaissance, containing some good sculpture, but
+   chiefly notable as containing a noble Sebastian del Piombo, and a John
+   Bellini, which a few years hence, unless it be "restored," will be
+   esteemed one of the most precious pictures in Italy, and among the
+   most perfect in the world. John Bellini is the only artist who appears
+   to me to have united, in equal and magnificent measures, justness of
+   drawing, nobleness of coloring, and perfect manliness of treatment,
+   with the purest religious feeling. He did, as far as it is possible to
+   do it, instinctively and unaffectedly, what the Caracci only pretended
+   to do. Titian colors better, but has not his piety. Leonardo draws
+   better, but has not his color. Angelico is more heavenly, but has not
+   his manliness, far less his powers of art.
+
+ GIOVANNI ELEMOSINARIO, CHURCH OF ST. Said to contain a Titian and a
+   Bonifazio. Of no other interest.
+
+ GIOVANNI IN BRAGOLA, CHURCH OF ST. A Gothic church of the fourteenth
+   century, small, but interesting, and said to contain some precious
+   works by Cima da Conegliano, and one by John Bellini.
+
+ GIOVANNI NOVO, CHURCH OF ST. Of no importance.
+
+ GIOVANNI, S., SCUOLA DI. A fine example of the Byzantine Renaissance,
+   mixed with remnants of good late Gothic. The little exterior cortile
+   is sweet in feeling, and Lazari praises highly the work of the
+   interior staircase.
+
+ GIUDECCA. The crescent-shaped island (or series of islands), which
+   forms the most northern extremity of the city of Venice, though
+   separated by a broad channel from the main city. Commonly said to
+   derive its name from the number of Jews who lived upon it; but Lazari
+   derives it from the word "Judicato," in Venetian dialect "Zudeg�," it
+   having been in old time "adjudged" as a kind of prison territory to
+   the more dangerous and turbulent citizens. It is now inhabited only by
+   the poor, and covered by desolate groups of miserable dwellings,
+   divided by stagnant canals.
+
+   Its two principal churches, the Redentore and St. Eufemia, are named
+   in their alphabetical order.
+
+ GIULIANO, CHURCH OF ST. Of no importance.
+
+ GIUSEPPE DI CASTELLO, CHURCH OF ST. Said to contain a Paul Veronese:
+   otherwise of no importance.
+
+ GIUSTINA, CHURCH OF ST. Of no importance.
+
+ GIUSTINIANI PALAZZO, on the Grand Canal, now Albergo all' Europa. Good
+   late fourteenth century Gothic, but much altered.
+
+ GIUSTINIANI, PALAZZO, next the Casa Foscari, on the Grand Canal.
+   Lazari, I know not on what authority, says that this palace was built
+   by the Giustiniani family before 1428. It is one of those founded
+   directly on the Ducal Palace, together with the Casa Foscari at its
+   side: and there could have been no doubt of their date on this ground;
+   but it would be interesting, after what we have seen of the progress
+   of the Ducal Palace, to ascertain the exact year of the erection of
+   any of these imitations.
+
+   This palace contains some unusually rich detached windows, full of
+   tracery, of which the profiles are given in the Appendix, under the
+   title of the Palace of the Younger Foscari, it being popularly
+   reported to have belonged to the son of the Doge.
+
+ GIUSTINIAN LOLIN, PALAZZO, on the Grand Canal. Of no importance.
+
+ GRASSI PALAZZO, on the Grand Canal, now Albergo all' Imperator d'
+   Austria. Of no importance.
+
+ GREGORIO, CHURCH OF ST., on the Grand Canal. An important church of
+   the fourteenth century, now desecrated, but still interesting. Its
+   apse is on the little canal crossing from the Grand Canal to the
+   Giudecca, beside the Church of the Salute, and is very characteristic
+   of the rude ecclesiastical Gothic contemporary with the Ducal Palace.
+   The entrance to its cloisters, from the Grand Canal, is somewhat
+   later; a noble square door, with two windows on each side of it, the
+   grandest examples in Venice of the late window of the fourth order.
+
+   The cloister, to which this door gives entrance, is exactly
+   contemporary with the finest work of the Ducal Palace, circa 1350. It
+   is the loveliest cortile I know in Venice; its capitals consummate in
+   design and execution; and the low wall on which they stand showing
+   remnants of sculpture unique, as far as I know, in such application.
+
+ GRIMANI, PALAZZO, on the Grand Canal, III. 32.
+
+   There are several other palaces in Venice belonging to this family,
+   but none of any architectural interest.
+
+
+    J
+
+ JESUITI, CHURCH OF THE. The basest Renaissance; but worth a visit in
+   order to examine the imitations of curtains in white marble inlaid
+   with green.
+
+   It contains a Tintoret, "The Assumption," which I have not examined;
+   and a Titian, "The Martyrdom of St. Lawrence," originally, it seems to
+   me, of little value, and now, having been restored, of none.
+
+
+    L
+
+ LABIA PALAZZO, on the Canna Reggio. Of no importance.
+
+ LAZZARO DE' MENDICANTI, CHURCH OF ST. Of no importance.
+
+ LIBRERIA VECCHIA. A graceful building of the central Renaissance,
+   designed by Sansovino, 1536, and much admired by all architects of the
+   school. It was continued by Scamozzi, down the whole side of St.
+   Mark's Place, adding another story above it, which modern critics
+   blame as destroying the "eurithmia;" never considering that had the
+   two low stories of the Library been continued along the entire length
+   of the Piazza, they would have looked so low that the entire dignity
+   of the square would have been lost. As it is, the Library is left in
+   its originally good proportions, and the larger mass of the Procuratie
+   Nuove forms a more majestic, though less graceful, side for the great
+   square.
+
+   But the real faults of the building are not in its number of stories,
+   but in the design of the parts. It is one of the grossest examples of
+   the base Renaissance habit of turning _keystones_ into _brackets_,
+   throwing them out in bold projection (not less than a foot and a half)
+   beyond the mouldings of the arch; a practice utterly barbarous,
+   inasmuch as it evidently tends to dislocate the entire arch, if any
+   real weight were laid on the extremity of the keystone; and it is also
+   a very characteristic example of the vulgar and painful mode of
+   filling spandrils by naked figures in alto-relievo, leaning against
+   the arch on each side, and appearing as if they were continually in
+   danger of slipping off. Many of these figures have, however, some
+   merit in themselves; and the whole building is graceful and effective
+   of its kind. The continuation of the Procuratie Nuove, at the western
+   extremity of St. Mark's Place (together with various apartments in the
+   great line of the Procuratie Nuove) forms the "Royal Palace," the
+   residence of the Emperor when at Venice. This building is entirely
+   modern, built in 1810, in imitation of the Procuratie Nuove, and on
+   the site of Sansovino's Church of San Geminiano.
+
+   In this range of buildings, including the Royal Palace, the Procuratie
+   Nuove, the old Library, and the "Zecca" which is connected with them
+   (the latter being an ugly building of very modern date, not worth
+   notice architecturally), there are many most valuable pictures, among
+   which I would especially direct attention, first to those in the
+   Zecca, namely, a beautiful and strange Madonna, by Benedetto Diana;
+   two noble Bonifazios; and two groups, by Tintoret, of the Provveditori
+   della Zecca, by no means to be missed, whatever may be sacrificed to
+   see them, on account of the quietness and veracity of their unaffected
+   portraiture, and the absolute freedom from all vanity either in the
+   painter or in his subjects.
+
+   Next, in the "Antisala" of the old Library, observe the "Sapienza" of
+   Titian, in the centre of the ceiling; a most interesting work in the
+   light brilliancy of its color, and the resemblance to Paul Veronese.
+   Then, in the great hall of the old Library, examine the two large
+   Tintorets, "St. Mark saving a Saracen from Drowning," and the
+   "Stealing of his Body from Constantinople," both rude, but great (note
+   in the latter the dashing of the rain on the pavement, and running of
+   the water about the feet of the figures): then in the narrow spaces
+   between the windows, there are some magnificent single figures by
+   Tintoret, among the finest things of the kind in Italy, or in Europe.
+   Finally, in the gallery of pictures in the Palazzo Reale, among other
+   good works of various kinds, are two of the most interesting
+   Bonifazios in Venice, the "Children of Israel in their journeyings,"
+   in one of which, if I recollect right, the quails are coming in flight
+   across a sunset sky, forming one of the earliest instances I know of a
+   thoroughly natural and Turneresque effect being felt and rendered by
+   the old masters. The picture struck me chiefly from this circumstance;
+   but, the note-book in which I had described it and its companion
+   having been lost on my way home, I cannot now give a more special
+   account of them, except that they are long, full of crowded figures,
+   and peculiarly light in color and handling as compared with
+   Bonifazio's work in general.
+
+ LIO, CHURCH OF ST. Of no importance, but said to contain a spoiled
+   Titian.
+
+ LIO, SALIZZADA DI ST., windows in, II. 252, 257.
+
+ LOREDAN, PALAZZO, on the Grand Canal, near the Rialto, II. 123, 393.
+   Another palace of this name, on the Campo St. Stefano, is of no
+   importance.
+
+ LORENZO, CHURCH OF ST. Of no importance.
+
+ LUCA, CHURCH OF ST. Its campanile is of very interesting and quaint
+   early Gothic, and it is said to contain a Paul Veronese, "St Luke and
+   the Virgin." In the little Campiello St. Luca, close by, is a very
+   precious Gothic door, rich in brickwork, of the thirteenth century;
+   and in the foundations of the houses on the same side of the square,
+   but at the other end of it, are traceable some shafts and arches
+   closely resembling the work of the Cathedral of Murano, and evidently
+   having once belonged to some most interesting building.
+
+ LUCIA, CHURCH OF ST. Of no importance.
+
+
+    M
+
+ MADDALENA, CHURCH OF STA. MARIA. Of no importance.
+
+ MALIPIERO, PALAZZO, on the Campo St. M. Formosa, facing the canal at its
+   extremity. A very beautiful example of the Byzantine Renaissance. Note
+   the management of color in its inlaid balconies.
+
+ MANFRINI, PALAZZO. The architecture is of no interest; and as it is in
+   contemplation to allow the collection of pictures to be sold, I shall
+   take no note of them. But even if they should remain, there are few of
+   the churches in Venice where the traveller had not better spend his
+   time than in this gallery; as, with the exception of Titian's
+   "Entombment," one or two Giorgiones, and the little John Bellini (St.
+   Jerome), the pictures are all of a kind which may be seen elsewhere.
+
+ MANGILI VALMARANA, PALAZZO, on the Grand Canal. Of no importance.
+
+ MANIN, PALAZZO, on the Grand Canal. Of no importance.
+
+ MANZONI, PALAZZO, on the Grand Canal, near the Church of the Carit�. A
+   perfect and very rich example of Byzantine Renaissance: its warm
+   yellow marbles are magnificent.
+
+ MARCILIAN, CHURCH OF ST. Said to contain a Titian, "Tobit and the
+   Angel:" otherwise of no importance.
+
+ MARIA, CHURCHES OF STA. See FORMOSA, MATER DOMINI, MIRACOLI, ORTO,
+   SALUTE, and ZOBENIGO.
+
+ MARCO, SCUOLA DI SAN, III. 16.
+
+ MARK, CHURCH OF ST., history of, II. 57; approach to, II. 71; general
+   teaching of, II. 112, 116; measures of fa�ade of, II. 126; balustrades
+   of, II. 244, 247; cornices of, I. 311; horseshoe arches of, II. 249;
+   entrances of, II. 271, III. 245; shafts of, II. 384; base in
+   baptistery of, I. 290; mosaics in atrium of, II. 112; mosaics in
+   cupola of, II. 114, III. 192; lily capitals of, II. 137; Plates
+   illustrative of (Vol. II.), VI. VII. figs. 9, 10, 11, VIII. figs. 8,
+   9, 12, 13, 15, IX. XI. fig. 1, and Plate III. Vol. III.
+
+ MARK, SQUARE OF ST. (Piazza di San Marco), anciently a garden, II. 58;
+   general effect of, II. 66, 116; plan of, II. 282.
+
+ MARTINO, CHURCH OF ST. Of no importance.
+
+ MATER DOMINI, CHURCH OF ST. MARIA. It contains two important pictures:
+   one over the second altar on the right, "St. Christina," by Vincenzo
+   Catena, a very lovely example of the Venetian religious school; and,
+   over the north transept door, the "Finding of the Cross," by Tintoret,
+   a carefully painted and attractive picture, but by no means a good
+   specimen of the master, as far as regards power of conception. He does
+   not seem to have entered into his subject. There is no wonder, no
+   rapture, no entire devotion in any of the figures. They are only
+   interested and pleased in a mild way; and the kneeling woman who hands
+   the nails to a man stooping forward to receive them on the right hand,
+   does so with the air of a person saying, "You had better take care of
+   them; they may be wanted another time." This general coldness in
+   expression is much increased by the presence of several figures on the
+   right and left, introduced for the sake of portraiture merely; and
+   the reality, as well as the feeling, of the scene is destroyed by our
+   seeing one of the youngest and weakest of the women with a huge cross
+   lying across her knees, the whole weight of it resting upon her. As
+   might have been expected, where the conception is so languid, the
+   execution is little delighted in; it is throughout steady and
+   powerful, but in no place affectionate, and in no place impetuous. If
+   Tintoret had always painted in this way, he would have sunk into a
+   mere mechanist. It is, however, a genuine and tolerably well preserved
+   specimen, and its female figures are exceedingly graceful; that of St.
+   Helena very queenly, though by no means agreeable in feature. Among
+   the male portraits on the left there is one different from the usual
+   types which occur either in Venetian paintings or Venetian populace;
+   it is carefully painted, and more like a Scotch Presbyterian minister,
+   than a Greek. The background is chiefly composed of architecture,
+   white, remarkably uninteresting in color, and still more so in form.
+   This is to be noticed as one of the unfortunate results of the
+   Renaissance teaching at this period. Had Tintoret backed his Empress
+   Helena with Byzantine architecture, the picture might have been one of
+   the most gorgeous he ever painted.
+
+ MATER DOMINI, CAMPO DI STA. MARIA, II. 261. A most interesting little
+   piazza, surrounded by early Gothic houses, once of singular beauty;
+   the arcade at its extremity, of fourth order windows, drawn in my
+   folio work, is one of the earliest and loveliest of its kind in
+   Venice; and in the houses at the side is a group of second order
+   windows with their intermediate crosses, all complete, and well worth
+   careful examination.
+
+ MICHELE IN ISOLA, CHURCH OF ST. On the island between Venice and
+   Murano. The little Cappella Emiliana at the side of it has been much
+   admired, but it would be difficult to find a building more feelingless
+   or ridiculous. It is more like a German summer-house, or angle turret,
+   than a chapel, and may be briefly described as a bee-hive set on a low
+   hexagonal tower, with dashes of stone-work about its windows like the
+   flourishes of an idle penman.
+
+   The cloister of this church is pretty; and the attached cemetery is
+   worth entering, for the sake of feeling the strangeness of the quiet
+   sleeping ground in the midst of the sea.
+
+ MICHIEL DALLE COLONNE, PALAZZO. Of no importance.
+
+ MINELLI, PALAZZO. In the Corte del Maltese, at St. Paternian. It has a
+   spiral external staircase, very picturesque, but of the fifteenth
+   century and without merit.
+
+ MIRACOLI, CHURCH OF STA. MARIA DEI. The most interesting and finished
+   example in Venice of the Byzantine Renaissance, and one of the most
+   important in Italy of the cinque-cento style. All its sculptures
+   should be examined with great care, as the best possible examples of a
+   bad style. Observe, for instance, that in spite of the beautiful work
+   on the square pillars which support the gallery at the west end, they
+   have no more architectural effect than two wooden posts. The same kind
+   of failure in boldness of purpose exists throughout; and the building
+   is, in fact, rather a small museum of unmeaning, though refined
+   sculpture, than a piece of architecture.
+
+   Its grotesques are admirable examples of the base Raphaelesque design
+   examined above, III. 136. Note especially the children's heads tied up
+   by the hair, in the lateral sculptures at the top of the altar steps.
+   A rude workman, who could hardly have carved the head at all, might
+   have allowed this or any other mode of expressing discontent with his
+   own doings; but the man who could carve a child's head so perfectly
+   must have been wanting in all human feeling, to cut it off, and tie it
+   by the hair to a vine leaf. Observe, in the Ducal Palace, though far
+   ruder in skill, the heads always _emerge_ from the leaves, they are
+   never _tied_ to them.
+
+ MISERICORDIA, CHURCH OF. The church itself is nothing, and contains
+   nothing worth the traveller's time; but the Albergo de' Confratelli
+   della Misericordia at its side is a very interesting and beautiful
+   relic of the Gothic Renaissance. Lazari says, "del secolo xiv.;" but I
+   believe it to be later. Its traceries are very curious and rich, and
+   the sculpture of its capitals very fine for the late time. Close to
+   it, on the right-hand side of the canal which is crossed by the wooden
+   bridge, is one of the richest Gothic doors in Venice, remarkable for
+   the appearance of antiquity in the general design and stiffness of its
+   figures, though it bears its date 1505. Its extravagant crockets are
+   almost the only features which, but for this written date, would at
+   first have confessed its lateness; but, on examination, the figures
+   will be found as bad and spiritless as they are apparently archaic,
+   and completely exhibiting the Renaissance palsy of imagination.
+
+   The general effect is, however, excellent, the whole arrangement
+   having been borrowed from earlier work.
+
+   The action of the statue of the Madonna, who extends her robe to
+   shelter a group of diminutive figures, representative of the Society
+   for whose house the sculpture was executed, may be also seen in most
+   of the later Venetian figures of the Virgin which occupy similar
+   situations. The image of Christ is placed in a medallion on her
+   breast, thus fully, though conventionally, expressing the idea of
+   self-support which is so often partially indicated by the great
+   religious painters in their representations of the infant Jesus.
+
+ MOIS�, CHURCH OF ST., III. 124. Notable as one of the basest examples
+   of the basest school of the Renaissance. It contains one important
+   picture, namely "Christ washing the Disciples' Feet," by Tintoret; on
+   the left side of the chapel, north of the choir. This picture has been
+   originally dark, is now much faded--in parts, I believe, altogether
+   destroyed--and is hung in the worst light of a chapel, where, on a
+   sunny day at noon, one could not easily read without a candle. I
+   cannot, therefore, give much information respecting it; but it is
+   certainly one of the least successful of the painter's works, and both
+   careless and unsatisfactory in its composition as well as its color.
+   One circumstance is noticeable, as in a considerable degree detracting
+   from the interest of most of Tintoret's representations of our Saviour
+   with his disciples. He never loses sight of the fact that all were
+   poor, and the latter ignorant; and while he never paints a senator, or
+   a saint once thoroughly canonized, except as a gentleman, he is very
+   careful to paint the Apostles, in their living intercourse with the
+   Saviour, in such a manner that the spectator may see in an instant, as
+   the Pharisee did of old, that they were unlearned and ignorant men;
+   and, whenever we find them in a room, it is always such a one as would
+   be inhabited by the lower classes. There seems some violation of this
+   practice in the dais, or flight of steps, at the top of which the
+   Saviour is placed in the present picture; but we are quickly reminded
+   that the guests' chamber or upper room ready prepared was not likely
+   to have been in a palace, by the humble furniture upon the floor,
+   consisting of a tub with a copper saucepan in it, a coffee-pot, and a
+   pair of bellows, curiously associated with a symbolic cup with a
+   wafer, which, however, is in an injured part of the canvas, and may
+   have been added by the priests. I am totally unable to state what the
+   background of the picture is or has been; and the only point farther
+   to be noted about it is the solemnity, which, in spite of the familiar
+   and homely circumstances above noticed, the painter has given to the
+   scene, by placing the Saviour, in the act of washing the feet of
+   Peter, at the top of a circle of steps, on which the other Apostles
+   kneel in adoration and astonishment.
+
+ MORO, PALAZZO. See OTHELLO.
+
+ MOROSINI, PALAZZO, near the Ponte dell' Ospedaletto, at San Giovannie
+   Paolo. Outside it is not interesting, though the gateway shows remains
+   of brickwork of the thirteenth century. Its interior court is
+   singularly beautiful; the staircase of early fourteenth century Gothic
+   has originally been superb, and the window in the angle above is the
+   most perfect that I know in Venice of the kind; the lightly sculptured
+   coronet is exquisitely introduced at the top of its spiral shaft.
+
+   This palace still belongs to the Morosini family, to whose present
+   representative, the Count Carlo Morosini, the reader is indebted for
+   the note on the character of his ancestors, above, III. 213.
+
+ MOROSINI, PALAZZO, at St. Stefano. Of no importance.
+
+
+    N
+
+ NANI-MOCENIGO, PALAZZO. (Now Hotel Danieli.) A glorious example of the
+   central Gothic, nearly contemporary with the finest part of the Ducal
+   Palace. Though less impressive in effect than the Casa Foscari or Casa
+   Bernardo, it is of purer architecture than either: and quite unique in
+   the delicacy of the form of the cusps in the central group of windows,
+   which are shaped like broad scimitars, the upper foil of the windows
+   being very small. If the traveller will compare these windows with
+   the neighboring traceries of the Ducal Palace, he will easily perceive
+   the peculiarity.
+
+ NICOLO DEL LIDO, CHURCH OF ST. Of no importance.
+
+ NOME DI GESU, CHURCH OF THE. Of no importance.
+
+
+    O
+
+ ORFANI, CHURCH OF THE. Of no importance.
+
+ ORTO, CHURCH OF STA. MARIA, DELL'. An interesting example of Renaissance
+   Gothic, the traceries of the windows being very rich and quaint.
+
+   It contains four most important Tintorets: "The Last Judgment," "The
+   Worship of the Golden Calf," "The Presentation of the Virgin," and
+   "Martyrdom of St. Agnes." The first two are among his largest and
+   mightiest works, but grievously injured by damp and neglect; and
+   unless the traveller is accustomed to decipher the thoughts in a
+   picture patiently, he need not hope to derive any pleasure from them.
+   But no pictures will better reward a resolute study. The following
+   account of the "Last Judgment," given in the second volume of "Modern
+   Painters," will be useful in enabling the traveller to enter into the
+   meaning of the picture, but its real power is only to be felt by
+   patient examination of it.
+
+   "By Tintoret only has this unimaginable event (the Last Judgment) been
+   grappled with in its Verity; not typically nor symbolically, but as
+   they may see it who shall not sleep, but be changed. Only one
+   traditional circumstance he has received, with Dante and Michael
+   Angelo, the Boat of the Condemned; but the impetuosity of his mind
+   bursts out even in the adoption of this image; he has not stopped at
+   the scowling ferryman of the one, nor at the sweeping blow and demon
+   dragging of the other, but, seized Hylas like by the limbs, and
+   tearing up the earth in his agony, the victim is dashed into his
+   destruction; nor is it the sluggish Lethe, nor the fiery lake, that
+   bears the cursed vessel, but the oceans of the earth and the waters of
+   the firmament gathered into one white, ghastly cataract; the river of
+   the wrath of God, roaring down into the gulf where the world has
+   melted with its fervent heat, choked with the ruins of nations, and
+   the limbs of its corpses tossed out of its whirling, like
+   water-wheels. Bat-like, out of the holes and caverns and shadows of
+   the earth, the bones gather, and the clay heaps heave, rattling and
+   adhering into half-kneaded anatomies, that crawl, and startle, and
+   struggle up among the putrid weeds, with the clay clinging to their
+   clotted hair, and their heavy eyes sealed by the earth darkness yet,
+   like his of old who went his way unseeing to the Siloam Pool; shaking
+   off one by one the dreams of the prison-house, hardly hearing the
+   clangor of the trumpets of the armies of God, blinded yet more, as
+   they awake, by the white light of the new Heaven, until the great
+   vortex of the four winds bears up their bodies to the judgment seat;
+   the Firmament is all full of them, a very dust of human souls, that
+   drifts, and floats, and falls into the interminable, inevitable light;
+   the bright clouds are darkened with them as with thick snow, currents
+   of atom life in the arteries of heaven, now soaring up slowly, and
+   higher and higher still, till the eye and the thought can follow no
+   farther, borne up, wingless, by their inward faith and by the angel
+   powers invisible, now hurled in countless drifts of horror before the
+   breath of their condemnation."
+
+   Note in the opposite picture the way the clouds are wrapped about in
+   the distant Sinai.
+
+   The figure of the little Madonna in the "Presentation" should be
+   compared with Titian's in his picture of the same subject in the
+   Academy. I prefer Tintoret's infinitely: and note how much finer is
+   the feeling with which Tintoret has relieved the glory round her head
+   against the pure sky, than that which influenced Titian in encumbering
+   his distance with architecture.
+
+   The "Martyrdom of St. Agnes" _was_ a lovely picture. It has been
+   "restored" since I saw it.
+
+ OSPEDALETTO, CHURCH OF THE. The most monstrous example of the
+   Grotesque Renaissance which there is in Venice; the sculptures on its
+   fa�ade representing masses of diseased figures and swollen fruit.
+
+   It is almost worth devoting an hour to the successive examination of
+   five buildings, as illustrative of the last degradation of the
+   Renaissance. San Mois� is the most clumsy, Santa Maria Zobenigo the
+   most impious, St. Eustachio the most ridiculous, the Ospedaletto the
+   most monstrous, and the head at Santa Maria Formosa the most foul.
+
+ OTHELLO, HOUSE OF, at the Carmini. The researches of Mr. Brown into
+   the origin of the play of "Othello" have, I think, determined that
+   Shakspeare wrote on definite historical grounds; and that Othello may
+   be in many points identified with Christopher Moro, the lieutenant of
+   the republic at Cyprus, in 1508. See "Ragguagli su Maria Sanuto," i.
+   252.
+
+   His palace was standing till very lately, a Gothic building of the
+   fourteenth century, of which Mr. Brown possesses a drawing. It is now
+   destroyed, and a modern square-windowed house built on its site. A
+   statue, said to be a portrait of Moro, but a most paltry work, is set
+   in a niche in the modern wall.
+
+
+    P
+
+ PANTALEONE, CHURCH OF ST. Said to contain a Paul Veronese; otherwise of
+   no importance.
+
+ PATERNIAN, CHURCH OF ST. Its little leaning tower forms an interesting
+   object as the traveller sees it from the narrow canal which passes
+   beneath the Porte San Paternian. The two arched lights of the belfry
+   appear of very early workmanship, probably of the beginning of the
+   thirteenth century.
+
+ PESARO PALAZZO, on the Grand Canal. The most powerful and impressive
+   in effect of all the palaces of the Grotesque Renaissance. The heads
+   upon its foundation are very characteristic of the period, but there
+   is more genius in them than usual. Some of the mingled expressions of
+   faces and grinning casques are very clever.
+
+ PIAZZETTA, pillars of, see Final Appendix under head "Capital." The
+   two magnificent blocks of marble brought from St. Jean d'Acre, which
+   form one of the principal ornaments of the Piazzetta, are Greek
+   sculpture of the sixth century, and will be described in my folio
+   work.
+
+ PIETA, CHURCH OF THE. Of no importance.
+
+ PIETRO, CHURCH OF ST., at Murano. Its pictures, once valuable, are now
+   hardly worth examination, having been spoiled by neglect.
+
+ PIETRO, DI CASTELLO, CHURCH OF ST., I. 7, 361. It is said to contain
+   a Paul Veronese, and I suppose the so-called "Chair of St. Peter" must
+   be worth examining.
+
+ PISANI, PALAZZO, on the Grand Canal. The latest Venetian Gothic, just
+   passing into Renaissance. The capitals of the first floor windows are,
+   however, singularly spirited and graceful, very daringly under-cut,
+   and worth careful examination. The Paul Veronese, once the glory of
+   this palace, is, I believe, not likely to remain in Venice. The other
+   picture in the same room, the "Death of Darius," is of no value.
+
+ PISANI, PALAZZO, at St. Stefano. Late Renaissance, and of no merit,
+   but grand in its colossal proportions, especially when seen from the
+   narrow canal at its side, which terminated by the apse of the Church
+   of San Stefano, is one of the most picturesque and impressive little
+   pieces of water scenery in Venice.
+
+ POLO, CHURCH OF ST. Of no importance, except as an example of the
+   advantages accruing from restoration. M. Lazari says of it, "Before
+   this church was modernized, its principal chapel was adorned with
+   Mosaics, and possessed a pala of silver gilt, of Byzantine
+   workmanship, which is now lost."
+
+ POLO, SQUARE OF ST. (Campo San Polo.) A large and important square,
+   rendered interesting chiefly by three palaces on the side of it
+   opposite the church, of central Gothic (1360), and fine of their time,
+   though small. One of their capitals has been given in Plate II. of
+   this volume, fig. 12. They are remarkable as being decorated with
+   sculptures of the Gothic time, in imitation of Byzantine ones; the
+   period being marked by the dog-tooth and cable being used instead of
+   the dentil round the circles.
+
+ POLO, PALAZZO, at San G. Grisostomo (the house of Marco Polo), II. 139.
+   Its interior court is full of interest, showing fragments of the old
+   building in every direction, cornices, windows, and doors, of almost
+   every period, mingled among modern rebuilding and restoration of all
+   degrees of dignity.
+
+ PORTA DELLA CARTA, II. 302.
+
+ PRIULI, PALAZZO. A most important and beautiful early Gothic Palace,
+   at San Severo; the main entrance is from the Fundamento San Severo,
+   but the principal fa�ade is on the other side, towards the canal. The
+   entrance has been grievously defaced, having had winged lions filling
+   the spandrils of its pointed arch, of which only feeble traces are now
+   left, the fa�ade has very early fourth order windows in the lower
+   story, and above, the beautiful range of fifth order windows drawn at
+   the bottom of Plate XVIII. Vol. II., where the heads of the fourth
+   order range are also seen (note their inequality, the larger one at
+   the flank). This Palace has two most interesting traceried angle
+   windows also, which, however, I believe are later than those on the
+   fa�ade; and finally, a rich and bold interior staircase.
+
+   PROCURATIE NUOVE, see "LIBRERIA" VECCHIA: A graceful series buildings,
+   of late fifteenth century design, forming the northern side of St.
+   Mark's Place, but of no particular interest.
+
+
+    Q
+
+ QUERINI, PALAZZO, now the Beccherie, II. 255, III. 234.
+
+
+    R
+
+ RAFFAELLE, CHIESA DELL'ANGELO. Said to contain a Bonifazio, otherwise of
+   no importance.
+
+ REDENTORE, CHURCH OF THE, II. 378. It contains three interesting John
+   Bellinis, and also, in the sacristy, a most beautiful Paul Veronese.
+
+ REMER, CORTE DEL, house in. II. 251.
+
+ REZZONICO, PALAZZO, on the Grand Canal. Of the Grotesque Renaissance
+   time, but less extravagant than usual.
+
+ RIALTO, BRIDGE OF THE. The best building raised in the time of the
+   Grotesque Renaissance; very noble in its simplicity, in its
+   proportions, and in its masonry. Note especially the grand way in
+   which the oblique archstones rest on the butments of the bridge, safe,
+   palpably both to the sense and eye: note also the sculpture of the
+   Annunciation on the southern side of it; how beautifully arranged, so
+   as to give more lightness and a grace to the arch--_the dove, flying
+   towards the Madonna, forming the keystone_,--and thus the whole action
+   of the figures being parallel to the curve of the arch, while all the
+   masonry is at right angles to it. Note, finally, one circumstance
+   which gives peculiar firmness to the figure of the angel, and
+   associates itself with the general expression of strength in the
+   whole building; namely that the sole of the advanced foot is set
+   perfectly level, as if placed on the ground, instead of being thrown
+   back behind like a heron's, as in most modern figures of this kind.
+
+   The sculptures themselves are not good; but these pieces of feeling in
+   them are very admirable. The two figures on the other side, St. Mark
+   and St. Theodore, are inferior, though all by the same sculptor,
+   Girolamo Campagna.
+
+   The bridge was built by Antonio da Ponte, in 1588. It was anciently of
+   wood, with a drawbridge in the centre, a representation of which may
+   be seen in one of Carpaccio's pictures at the Accademia delle Belle
+   Arti: and the traveller should observe that the interesting effect,
+   both of this and the Bridge of Sighs, depends in great part on their
+   both being _more_ than bridges; the one a covered passage, the other a
+   row of shops, sustained on an arch. No such effect can be produced
+   merely by the masonry of the roadway itself.
+
+ RIO DEL PALAZZO, II. 282.
+
+ ROCCO, CAMPIELLO DI SAN, windows in, II. 258.
+
+ ROCCO, CHURCH OF ST. Notable only for the most interesting pictures by
+   Tintoret which it contains, namely:
+
+   1. _San Rocco before the Pope._ (On the left of the door as we enter.)
+   A delightful picture in his best manner, but not much labored; and,
+   like several other pictures in this church, it seems to me to have
+   been executed at some period of the painter's life when he was either
+   in ill health, or else had got into a mechanical way of painting, from
+   having made too little reference to nature for a long time. There is
+   something stiff and forced in the white draperies on both sides, and a
+   general character about the whole which I can feel better than I can
+   describe; but which, if I had been the painter's physician, would have
+   immediately caused me to order him to shut up his painting-room, and
+   take a voyage to the Levant, and back again. The figure of the Pope
+   is, however, extremely beautiful, and is not unworthy, in its jewelled
+   magnificence, here dark against the sky, of comparison with the figure
+   of the high priest in the "Presentation," in the Scuola di San Rocco.
+
+   2. _Annunciation._ (On the other side of the door, on entering.) A
+   most disagreeable and dead picture, having all the faults of the age,
+   and none of the merits of the painter. It must be a matter of future
+   investigation to me, what could cause the fall of his mind from a
+   conception so great and so fiery as that of the "Annunciation" in the
+   Scuola di San Rocco, to this miserable reprint of an idea worn out
+   centuries before. One of the most inconceivable things in it,
+   considered as the work of Tintoret, is that where the angel's robe
+   drifts away behind his limb, one cannot tell by the character of the
+   outline, or by the tones of the color, whether the cloud comes in
+   before the robe, or whether the robe cuts upon the cloud. The Virgin
+   is uglier than that of the Scuola, and not half so real; and the
+   draperies are crumpled in the most commonplace and ignoble folds. It
+   is a picture well worth study, as an example of the extent to which
+   the greatest mind may be betrayed by the abuse of its powers, and the
+   neglect of its proper food in the study of nature.
+
+   3. _Pool of Bethesda._ (On the right side of the church, in its
+   centre, the lowest of the two pictures which occupy the wall.) A noble
+   work, but eminently disagreeable, as must be all pictures of this
+   subject; and with the same character in it of undefinable want, which
+   I have noticed in the two preceding works. The main figure in it is
+   the cripple, who has taken up his bed; but the whole effect of this
+   action is lost by his not turning to Christ, but flinging it on his
+   shoulder like a triumphant porter with a huge load; and the corrupt
+   Renaissance architecture, among which the figures are crowded, is both
+   ugly in itself, and much too small for them. It is worth noticing, for
+   the benefit of persons who find fault with the perspective of the
+   Pre-Raphaelites, that the perspective of the brackets beneath these
+   pillars is utterly absurd; and that, in fine, the presence or absence
+   of perspective has nothing to do with the merits of a great picture:
+   not that the perspective of the Pre-Raphaelites _is_ false in any case
+   that I have examined, the objection being just as untenable as it is
+   ridiculous.
+
+   4. _San Rocco in the Desert._ (Above the last-named picture.) A single
+   recumbent figure in a not very interesting landscape, deserving less
+   attention than a picture of St. Martin just opposite to it,--a noble
+   and knightly figure on horseback by Pordenone, to which I cannot pay a
+   greater compliment than by saying that I was a considerable time in
+   doubt whether or not it was another Tintoret.
+
+   5. _San Rocco in the Hospital._ (On the right-hand side of the altar.)
+   There are four vast pictures by Tintoret in the dark choir of this
+   church, not only important by their size (each being some twenty-five
+   feet long by ten feet high), but also elaborate compositions; and
+   remarkable, one for its extraordinary landscape, and the other as the
+   most studied picture in which the painter has introduced horses in
+   violent action. In order to show what waste of human mind there is in
+   these dark churches of Venice, it is worth recording that, as I was
+   examining these pictures, there came in a party of eighteen German
+   tourists, not hurried, nor jesting among themselves as large parties
+   often do, but patiently submitting to their cicerone, and evidently
+   desirous of doing their duty as intelligent travellers. They sat down
+   for a long time on the benches of the nave, looked a little at the
+   "Pool of Bethesda," walked up into the choir and there heard a lecture
+   of considerable length from their _valet-de-place_ upon some subject
+   connected with the altar itself, which, being in German, I did not
+   understand; they then turned and went slowly out of the church, not
+   one of the whole eighteen ever giving a single glance to any of the
+   four Tintorets, and only one of them, as far as I saw, even raising
+   his eyes to the walls on which they hung, and immediately withdrawing
+   them, with a jaded and _nonchalant_ expression easily interpretable
+   into "Nothing but old black pictures." The two Tintorets above
+   noticed, at the end of the church, were passed also without a glance;
+   and this neglect is not because the pictures have nothing in them
+   capable of arresting the popular mind, but simply because they are
+   totally in the dark, or confused among easier and more prominent
+   objects of attention. This picture, which I have called "St. Rocco in
+   the Hospital," shows him, I suppose, in his general ministrations at
+   such places, and is one of the usual representations of a disgusting
+   subject from which neither Orcagna nor Tintoret seems ever to have
+   shrunk. It is a very noble picture, carefully composed and highly
+   wrought; but to me gives no pleasure, first, on account of its
+   subject, secondly, on account of its dull brown tone all over,--it
+   being impossible, or nearly so, in such a scene, and at all events
+   inconsistent with its feeling, to introduce vivid color of any kind.
+   So it is a brown study of diseased limbs in a close room.
+
+   6. _Cattle Piece._ (Above the picture last described.) I can give no
+   other name to this picture, whose subject I can neither guess nor
+   discover, the picture being in the dark, and the guide-books leaving
+   me in the same position. All I can make out of it is, that there is a
+   noble landscape with cattle and figures. It seems to me the best
+   landscape of Tintoret's in Venice, except the "Flight into Egypt;" and
+   is even still more interesting from its savage character, the
+   principal trees being pines, something like Titian's in his "St.
+   Francis receiving the Stigmata," and chestnuts on the slopes and in
+   the hollows of the hills; the animals also seem first-rate. But it is
+   too high, too much faded, and too much in the dark to be made out. It
+   seems never to have been rich in color, rather cool and grey, and very
+   full of light.
+
+   7. _Finding of Body of San Rocco._ (On the left-hand side of the
+   altar.) An elaborate, but somewhat confused picture, with a flying
+   angel in a blue drapery; but it seemed to me altogether uninteresting,
+   or perhaps requiring more study than I was able to give it.
+
+   8. _San Rocco in Campo d' Armata._ So this picture is called by the
+   sacristan. I could see no San Rocco in it; nothing but a wild group of
+   horses and warriors in the most magnificent confusion of fall and
+   flight ever painted by man. They seem all dashed different ways as if
+   by a whirlwind; and a whirlwind there must be, or a thunderbolt,
+   behind them, for a huge tree is torn up and hurled into the air beyond
+   the central figure, as if it were a shivered lance. Two of the horses
+   meet in the midst, as if in a tournament; but in madness of fear, not
+   in hostility; on the horse to the right is a standard-bearer, who
+   stoops as from some foe behind him, with the lance laid across his
+   saddle-bow, level, and the flag stretched out behind him as he flies,
+   like the sail of a ship drifting from its mast; the central horseman,
+   who meets the shock, of storm, or enemy, whatever it be, is hurled
+   backwards from his seat, like a stone from a sling; and this figure
+   with the shattered tree trunk behind it, is the most noble part of the
+   picture. There is another grand horse on the right, however, also in
+   full action. Two gigantic figures on foot, on the left, meant to be
+   nearer than the others, would, it seems to me, have injured the
+   picture, had they been clearly visible; but time has reduced them to
+   perfect subordination.
+
+
+ ROCCO, SCUOLA DI SAN, bases of, I. 291, 431; soffit ornaments of, I.
+   337. An interesting building of the early Renaissance (1517), passing
+   into Roman Renaissance. The wreaths of leafage about its shafts are
+   wonderfully delicate and fine, though misplaced.
+
+   As regards the pictures which it contains, it is one of the three most
+   precious buildings in Italy; buildings, I mean, consistently decorated
+   with a series of paintings at the time of their erection, and still
+   exhibiting that series in its original order. I suppose there can be
+   little question, but that the three most important edifices of this
+   kind in Italy are the Sistine Chapel, the Campo Santo of Pisa, and the
+   Scuola di San Rocco at Venice: the first is painted by Michael Angelo;
+   the second by Orcagna, Benozzo Gozzoli, Pietro Laurati, and several
+   other men whose works are as rare as they are precious; and the third
+   by Tintoret.
+
+   Whatever the traveller may miss in Venice, he should therefore give
+   unembarrassed attention and unbroken time to the Scuola di San Rocco;
+   and I shall, accordingly, number the pictures, and note in them, one
+   by one, what seemed to me most worthy of observation.
+
+   There are sixty-two in all, but eight of these are merely of children
+   or children's heads, and two of unimportant figures. The number of
+   valuable pictures is fifty-two; arranged on the walls and ceilings of
+   three rooms, so badly lighted, in consequence of the admirable
+   arrangements of the Renaissance architect, that it is only in the
+   early morning that some of the pictures can be seen at all, nor can
+   they ever be seen but imperfectly. They were all painted, however, for
+   their places in the dark, and, as compared with Tintoret's other
+   works, are therefore, for the most part, nothing more than vast
+   sketches, made to produce, under a certain degree of shadow, the
+   effect of finished pictures. Their treatment is thus to be considered
+   as a kind of scene-painting; differing from ordinary scene-painting
+   only in this, that the effect aimed at is not _that of a natural
+   scene_ but _a perfect picture_. They differ in this respect from all
+   other existing works; for there is not, as far as I know, any other
+   instance in which a great master has consented to work for a room
+   plunged into almost total obscurity. It is probable that none but
+   Tintoret would have undertaken the task, and most fortunate that he
+   was forced to it. For in this magnificent scene-painting we have, of
+   course, more wonderful examples, both of his handling, and knowledge
+   of effect, than could ever have been exhibited in finished pictures;
+   while the necessity of doing much with few strokes keeps his mind so
+   completely on the stretch throughout the work (while yet the velocity
+   of production prevented his being wearied), that no other series of
+   his works exhibits powers so exalted. On the other hand, owing to the
+   velocity and coarseness of the painting, it is more liable to injury
+   through drought or damp; and, as the walls have been for years
+   continually running down with rain, and what little sun gets into the
+   place contrives to fall all day right on one or other of the pictures,
+   they are nothing but wrecks of what they were; and the ruins of
+   paintings originally coarse are not likely ever to be attractive to
+   the public mind. Twenty or thirty years ago they were taken down to be
+   retouched; but the man to whom the task was committed providentially
+   died, and only one of them was spoiled. I have found traces of his
+   work upon another, but not to an extent very seriously destructive.
+   The rest of the sixty-two, or, at any rate, all that are in the upper
+   room, appear entirely intact.
+
+   Although, as compared with his other works, they are all very scenic
+   in execution, there are great differences in their degrees of finish;
+   and, curiously enough, some on the ceilings and others in the darkest
+   places in the lower room are very nearly finished pictures, while the
+   "Agony in the Garden," which is in one of the best lights in the upper
+   room, appears to have been painted in a couple of hours with a broom
+   for a brush.
+
+   For the traveller's greater convenience, I shall give a rude plan of
+   the arrangement, and list of the subjects, of each group of pictures
+   before examining them in detail.
+
+   First Group. On the walls of the room on the ground floor.
+
+   [Illustration:
+
+      1. Annunciation.                5. The Magdalen.
+      2. Adoration of Magi.           6. St. Mary of Egypt.
+      3. Flight into Egypt.           7. Circumcision.
+      4. Massacre of Innocents.       8. Assumption of Virgin.
+
+      At the turn of the stairs leading to the upper room:
+      9. Visitation.]
+
+   1. _The Annunciation._ This, which first strikes the eye, is a very
+   just representative of the whole group, the execution being carried to
+   the utmost limits of boldness consistent with completion. It is a
+   well-known picture, and need not therefore be specially described, but
+   one or two points in it require notice. The face of the Virgin is very
+   disagreeable to the spectator from below, giving the idea of a woman
+   about thirty, who had never been handsome. If the face is untouched,
+   it is the only instance I have ever seen of Tintoret's failing in an
+   intended effect, for, when seen near, the face is comely and youthful,
+   and expresses only surprise, instead of the pain and fear of which it
+   bears the aspect in the distance. I could not get near enough to see
+   whether it had been retouched. It looks like Tintoret's work, though
+   rather hard; but, as there are unquestionable marks in the retouching
+   of this picture, it is possible that some slight restoration of lines
+   supposed to be faded, entirely alter the distant expression of the
+   face. One of the evident pieces of repainting is the scarlet of the
+   Madonna's lap, which is heavy and lifeless. A far more injurious one
+   is the strip of sky seen through the doorway by which the angel
+   enters, which has originally been of the deep golden color of the
+   distance on the left, and which the blundering restorer has daubed
+   over with whitish blue, so that it looks like a bit of the wall;
+   luckily he has not touched the outlines of the angel's black wings, on
+   which the whole expression of the picture depends. This angel and the
+   group of small cherubs above form a great swinging chain, of which the
+   dove representing the Holy Spirit forms the bend. The angels in their
+   flight seem to be attached to this as the train of fire is to a
+   rocket; all of them appearing to have swooped down with the swiftness
+   of a falling star.
+
+   2. _Adoration of the Magi._ The most finished picture in the Scuola,
+   except the "Crucifixion," and perhaps the most delightful of the
+   whole. It unites every source of pleasure that a picture can possess:
+   the highest elevation of principal subject, mixed with the lowest
+   detail of picturesque incident; the dignity of the highest ranks of
+   men, opposed to the simplicity of the lowest; the quietness and
+   serenity of an incident in cottage life, contrasted with the
+   turbulence of troops of horsemen and the spiritual power of angels.
+   The placing of the two doves as principal points of light in the front
+   of the picture, in order to remind the spectator of the poverty of the
+   mother whose child is receiving the offerings and adoration of three
+   monarchs, is one of Tintoret's master touches; the whole scene,
+   indeed, is conceived in his happiest manner. Nothing can be at once
+   more humble or more dignified than the bearing of the kings; and there
+   is a sweet reality given to the whole incident by the Madonna's
+   stooping forward and lifting her hand in admiration of the vase of
+   gold which has been set before the Christ, though she does so with
+   such gentleness and quietness that her dignity is not in the least
+   injured by the simplicity of the action. As if to illustrate the means
+   by which the Wise men were brought from the East, the whole picture is
+   nothing but a large star, of which Christ is the centre; all the
+   figures, even the timbers of the roof, radiate from the small bright
+   figure on which the countenances of the flying angels are bent, the
+   star itself, gleaming through the timbers above, being quite
+   subordinate. The composition would almost be too artificial were it
+   not broken by the luminous distance where the troop of horsemen are
+   waiting for the kings. These, with a dog running at full speed, at
+   once interrupt the symmetry of the lines, and form a point of relief
+   from the over concentration of all the rest of the action.
+
+   3. _Flight into Egypt._ One of the principal figures here is the
+   donkey. I have never seen any of the nobler animals--lion, or leopard,
+   or horse, or dragon--made so sublime as this quiet head of the
+   domestic ass, chiefly owing to the grand motion in the nostril and
+   writhing in the ears. The space of the picture is chiefly occupied by
+   lovely landscape, and the Madonna and St. Joseph are pacing their way
+   along a shady path upon the banks of a river at the side of the
+   picture. I had not any conception, until I got near, how much pains
+   had been taken with the Virgin's head; its expression is as sweet and
+   as intense as that of any of Raffaelle's, its reality far greater. The
+   painter seems to have intended that everything should be subordinate
+   to the beauty of this single head; and the work is a wonderful proof
+   of the way in which a vast field of canvas may be made conducive to
+   the interest of a single figure. This is partly accomplished by
+   slightness of painting, so that on close examination, while there is
+   everything to astonish in the masterly handling and purpose, there is
+   not much perfect or very delightful painting; in fact, the two figures
+   are treated like the living figures in a scene at the theatre, and
+   finished to perfection, while the landscape is painted as hastily as
+   the scenes, and with the same kind of opaque size color. It has,
+   however, suffered as much as any of the series, and it is hardly fair
+   to judge of its tones and colors in its present state.
+
+   4. _Massacre of the Innocents._ The following account of this picture,
+   given in "Modern Painters," may be useful to the traveller, and is
+   therefore here repeated. "I have before alluded to the painfulness of
+   Raffaelle's treatment of the Massacre of the Innocents. Fuseli affirms
+   of it, that, 'in dramatic gradation he disclosed all the mother
+   through every image of pity and terror.' If this be so, I think the
+   philosophical spirit has prevailed over the imaginative. The
+   imagination never errs; it sees all that is, and all the relations
+   and bearings of it; but it would not have confused the mortal frenzy
+   of maternal terror, with various development of maternal character.
+   Fear, rage, and agony, at their utmost pitch, sweep away all
+   character: humanity itself would be lost in maternity, the woman would
+   become the mere personification of animal fury or fear. For this
+   reason all the ordinary representations of this subject are, I think,
+   false and cold: the artist has not heard the shrieks, nor mingled with
+   the fugitives; he has sat down in his study to convulse features
+   methodically, and philosophize over insanity. Not so Tintoret.
+   Knowing, or feeling, that the expression of the human face was, in
+   such circumstances, not to be rendered, and that the effort could only
+   end in an ugly falsehood, he denies himself all aid from the features,
+   he feels that if he is to place himself or us in the midst of that
+   maddened multitude, there can be no time allowed for watching
+   expression. Still less does he depend on details of murder or
+   ghastliness of death; there is no blood, no stabbing or cutting, but
+   there is an awful substitute for these in the chiaroscuro. The scene
+   is the outer vestibule of a palace, the slippery marble floor is
+   fearfully barred across by sanguine shadows, so that our eyes seem to
+   become bloodshot and strained with strange horror and deadly vision; a
+   lake of life before them, like the burning seen of the doomed Moabite
+   on the water that came by the way of Edom: a huge flight of stairs,
+   without parapet, descends on the left; down this rush a crowd of women
+   mixed with the murderers; the child in the arms of one has been seized
+   by the limbs, _she hurls herself over the edge, and falls head
+   downmost, dragging the child out of the grasp by her weight_;--she
+   will be dashed dead in a second:--close to us is the great struggle; a
+   heap of the mothers, entangled in one mortal writhe with each other
+   and the swords; one of the murderers dashed down and crushed beneath
+   them, the sword of another caught by the blade and dragged at by a
+   woman's naked hand; the youngest and fairest of the women, her child
+   just torn away from a death grasp, and clasped to her breast with the
+   grip of a steel vice, falls backwards, helpless over the heap, right
+   on the sword points; all knit together and hurled down in one
+   hopeless, frenzied, furious abandonment of body and soul in the
+   effort to save. Far back, at the bottom of the stairs, there is
+   something in the shadow like a heap of clothes. It is a woman, sitting
+   quiet,--quite quiet,--still as any stone; she looks down steadfastly
+   on her dead child, laid along on the floor before her, and her hand is
+   pressed softly upon her brow."
+
+   I have nothing to add to the above description of this picture, except
+   that I believe there may have been some change in the color of the
+   shadow that crosses the pavement. The chequers of the pavements are,
+   in the light, golden white and pale grey; in the shadow, red and dark
+   grey, the white in the sunshine becoming red in the shadow. I formerly
+   supposed that this was meant to give greater horror to the scene, and
+   it is very like Tintoret if it be so; but there is a strangeness and
+   discordance in it which makes me suspect the colors may have changed.
+
+   5. _The Magdalen._ This and the picture opposite to it, "St. Mary of
+   Egypt," have been painted to fill up narrow spaces between the windows
+   which were not large enough to receive compositions, and yet in which
+   single figures would have looked awkwardly thrust into the corner.
+   Tintoret has made these spaces as large as possible by filling them
+   with landscapes, which are rendered interesting by the introduction of
+   single figures of very small size. He has not, however, considered his
+   task, of making a small piece of wainscot look like a large one, worth
+   the stretch of his powers, and has painted these two landscapes just
+   as carelessly and as fast as an upholsterer's journeyman finishing a
+   room at a railroad hotel. The color is for the most part opaque, and
+   dashed or scrawled on in the manner of a scene-painter; and as during
+   the whole morning the sun shines upon the one picture, and during the
+   afternoon upon the other, hues, which were originally thin and
+   imperfect, are now dried in many places into mere dirt upon the
+   canvas. With all these drawbacks the pictures are of very high
+   interest, for although, as I said, hastily and carelessly, they are
+   not languidly painted; on the contrary, he has been in his hottest and
+   grandest temper; and in this first one ("Magdalen") the laurel tree,
+   with its leaves driven hither and thither among flakes of fiery cloud,
+   has been probably one of the greatest achievements that his hand
+   performed in landscape: its roots are entangled in underwood; of which
+   every leaf seems to be articulated, yet all is as wild as if it had
+   grown there instead of having been painted; there has been a mountain
+   distance, too, and a sky of stormy light, of which I infinitely regret
+   the loss, for though its masses of light are still discernible, its
+   variety of hue is all sunk into a withered brown. There is a curious
+   piece of execution in the striking of the light upon a brook which
+   runs under the roots of the laurel in the foreground: these roots are
+   traced in shadow against the bright surface of the water; another
+   painter would have drawn the light first, and drawn the dark roots
+   over it. Tintoret has laid in a brown ground which he has left for the
+   roots, and painted the water through their interstices with a few
+   mighty rolls of his brush laden with white.
+
+   6. _St. Mary of Egypt._ This picture differs but little in the plan,
+   from the one opposite, except that St. Mary has her back towards us,
+   and the Magdalen her face, and that the tree on the other side of the
+   brook is a palm instead of a laurel. The brook (Jordan?) is, however,
+   here much more important; and the water painting is exceedingly fine.
+   Of all painters that I know, in old times, Tintoret is the fondest of
+   running water; there was a sort of sympathy between it and his own
+   impetuous spirit. The rest of the landscape is not of much interest,
+   except so far as it is pleasant to see trunks of trees drawn by single
+   strokes of the brush.
+
+   7. _The Circumcision of Christ._ The custode has some story about this
+   picture having been painted in imitation of Paul Veronese. I much
+   doubt if Tintoret ever imitated any body; but this picture is the
+   expression of his perception of what Veronese delighted in, the
+   nobility that there may be in mere golden tissue and colored drapery.
+   It is, in fact, a picture of the moral power of gold and color; and
+   the chief use of the attendant priest is to support upon his shoulders
+   the crimson robe, with its square tablets of black and gold; and yet
+   nothing is withdrawn from the interest or dignity of the scene.
+   Tintoret has taken immense pains with the head of the high-priest. I
+   know not any existing old man's head so exquisitely tender, or so
+   noble in its lines. He receives the Infant Christ in his arms
+   kneeling, and looking down upon the Child with infinite veneration and
+   love; and the flashing of golden rays from its head is made the centre
+   of light, and all interest. The whole picture is like a golden charger
+   to receive the Child; the priest's dress is held up behind him, that
+   it may occupy larger space; the tables and floor are covered with
+   chequer-work; the shadows of the temple are filled with brazen lamps;
+   and above all are hung masses of curtains, whose crimson folds are
+   strewn over with golden flakes. Next to the "Adoration of the Magi"
+   this picture is the most laboriously finished of the Scuola di San
+   Rocco, and it is unquestionably the highest existing type of the
+   sublimity which may be thrown into the treatment of accessaries of
+   dress and decoration.
+
+   8. _Assumption of the Virgin._ On the tablet or panel of stone which
+   forms the side of the tomb out of which the Madonna rises, is this
+   inscription, in large letters, REST. ANTONIUS FLORIAN, 1834. Exactly
+   in proportion to a man's idiocy, is always the size of the letters in
+   which he writes his name on the picture that he spoils. The old
+   mosaicists in St. Mark's have not, in a single instance, as far as I
+   know, signed their names; but the spectator who wishes to know who
+   destroyed the effect of the nave, may see his name inscribed, twice
+   over, in letters half a foot high, BARTOLOMEO BOZZA. I have never seen
+   Tintoret's name signed, except in the great "Crucifixion;" but this
+   Antony Florian, I have no doubt, repainted the whole side of the tomb
+   that he might put his name on it. The picture is, of course, ruined
+   wherever he touched it; that is to say, half over; the circle of
+   cherubs in the sky is still pure; and the design of the great painter
+   is palpable enough yet in the grand flight of the horizontal angel, on
+   whom the Madonna half leans as she ascends. It has been a noble
+   picture, and is a grievous loss; but, happily, there are so many pure
+   ones, that we need not spend time in gleaning treasures out of the
+   ruins of this.
+
+   9. _Visitation._ A small picture, painted in his very best manner;
+   exquisite in its simplicity, unrivalled in vigor, well preserved, and,
+   as a piece of painting, certainly one of the most precious in Venice.
+   Of course it does not show any of his high inventive powers; nor can a
+   picture of four middle-sized figures be made a proper subject of
+   comparison with large canvases containing forty or fifty; but it is,
+   for this very reason, painted with such perfect ease, and yet with no
+   slackness either of affection or power, that there is no picture that
+   I covet so much. It is, besides, altogether free from the Renaissance
+   taint of dramatic effect. The gestures are as simple and natural as
+   Giotto's, only expressed by grander lines, such as none but Tintoret
+   ever reached. The draperies are dark, relieved against a light sky,
+   the horizon being excessively low, and the outlines of the drapery so
+   severe, that the intervals between the figures look like ravines
+   between great rocks, and have all the sublimity of an Alpine valley at
+   twilight. This precious picture is hung about thirty feet above the
+   eye, but by looking at it in a strong light, it is discoverable that
+   the Saint Elizabeth is dressed in green and crimson, the Virgin in the
+   peculiar red which all great colorists delight in--a sort of glowing
+   brick-color or brownish scarlet, opposed to rich golden brownish
+   black; and both have white kerchiefs, or drapery, thrown over their
+   shoulders. Zacharias leans on his staff behind them in a black dress
+   with white sleeves. The stroke of brilliant white light, which
+   outlines the knee of Saint Elizabeth, is a curious instance of the
+   habit of the painter to relieve his dark forms by a sort of halo of
+   more vivid light, which, until lately, one would have been apt to
+   suppose a somewhat artificial and unjustifiable means of effect. The
+   daguerreotype has shown, what the naked eye never could, that the
+   instinct of the great painter was true, and that there is actually
+   such a sudden and sharp line of light round the edges of dark objects
+   relieved by luminous space.
+
+   Opposite this picture is a most precious Titian, the "Annunciation,"
+   full of grace and beauty. I think the Madonna one of the sweetest
+   figures he ever painted. But if the traveller has entered at all into
+   the spirit of Tintoret, he will immediately feel the comparative
+   feebleness and conventionality of the Titian. Note especially the mean
+   and petty folds of the angel's drapery, and compare them with the
+   draperies of the opposite picture. The larger pictures at the sides of
+   the stairs by Zanchi and Negri, are utterly worthless.
+
+   [Illustration: Second Group. On the walls of the upper room.
+
+      10. Adoration of Shepherds.     17. Resurrection of Lazarus.
+      11. Baptism.                    18. Ascension.
+      12. Resurrection.               19. Pool of Bethesda.
+      13. Agony in Garden.            20. Temptation.
+      14. Last Supper.                21. St. Rocco.
+      15. Altar Piece: St. Rocco.     22. St. Sebastian.
+      16. Miracle of Loaves.]
+
+   10. _The Adoration of the Shepherds._ This picture commences the
+   series of the upper room, which, as already noticed, is painted with
+   far less care than that of the lower. It is one of the painter's
+   inconceivable caprices that the only canvases that are in good light
+   should be covered in this hasty manner, while those in the dungeon
+   below, and on the ceiling above, are all highly labored. It is,
+   however, just possible that the covering of these walls may have been
+   an after-thought, when he had got tired of his work. They are also,
+   for the most part, illustrative of a principle of which I am more and
+   more convinced every day, that historical and figure pieces ought not
+   to be made vehicles for effects of light. The light which is fit for a
+   historical picture is that tempered semi-sunshine of which, in
+   general, the works of Titian are the best examples, and of which the
+   picture we have just passed, "The Visitation," is a perfect example
+   from the hand of one greater than Titian; so also the three
+   "Crucifixions" of San Rocco, San Cassano, and St. John and Paul; the
+   "Adoration of the Magi" here; and, in general, the finest works of
+   the master; but Tintoret was not a man to work in any formal or
+   systematic manner; and, exactly like Turner, we find him recording
+   every effect which Nature herself displays. Still he seems to regard
+   the pictures which deviate from the great general principle of
+   colorists rather as "tours de force" than as sources of pleasure; and
+   I do not think there is any instance of his having worked out one of
+   these tricky pictures with thorough affection, except only in the case
+   of the "Marriage of Cana." By tricky pictures, I mean those which
+   display light entering in different directions, and attract the eye to
+   the effects rather than to the figure which displays them. Of this
+   treatment, we have already had a marvellous instance in the
+   candle-light picture of the "Last Supper" in San Giorgio Maggiore.
+   This "Adoration of the Shepherds" has probably been nearly as
+   wonderful when first painted: the Madonna is seated on a kind of
+   hammock floor made of rope netting, covered with straw; it divides the
+   picture into two stories, of which the uppermost contains the Virgin,
+   with two women who are adoring Christ, and shows light entering from
+   above through the loose timbers of the roof of the stable, as well as
+   through the bars of a square window; the lower division shows this
+   light falling behind the netting upon the stable floor, occupied by a
+   cock and a cow, and against this light are relieved the figures of the
+   shepherds, for the most part in demi-tint, but with flakes of more
+   vigorous sunshine falling here and there upon them from above. The
+   optical illusion has originally been as perfect as one of Hunt's best
+   interiors; but it is most curious that no part of the work seems to
+   have been taken any pleasure in by the painter; it is all by his hand,
+   but it looks as if he had been bent only on getting over the ground.
+   It is literally a piece of scene-painting, and is exactly what we
+   might fancy Tintoret to have done, had he been forced to paint scenes
+   at a small theatre at a shilling a day. I cannot think that the whole
+   canvas, though fourteen feet high and ten wide, or thereabouts, could
+   have taken him more than a couple of days to finish: and it is very
+   noticeable that exactly in proportion to the brilliant effects of
+   light is the coarseness of the execution, for the figures of the
+   Madonna and of the women above, which are not in any strong effect,
+   are painted with some care, while the shepherds and the cow are alike
+   slovenly; and the latter, which is in full sunshine, is recognizable
+   for a cow more by its size and that of its horns, than by any care
+   given to its form. It is interesting to contrast this slovenly and
+   mean sketch with the ass's head in the "Flight into Egypt," on which
+   the painter exerted his full power; as an effect of light, however,
+   the work is, of course, most interesting. One point in the treatment
+   is especially noticeable: there is a peacock in the rack beyond the
+   cow; and under other circumstances, one cannot doubt that Tintoret
+   would have liked a peacock in full color, and would have painted it
+   green and blue with great satisfaction. It is sacrificed to the light,
+   however, and is painted in warm grey, with a dim eye or two in the
+   tail: this process is exactly analogous to Turner's taking the colors
+   out of the flags of his ships in the "Gosport." Another striking point
+   is the litter with which the whole picture is filled in order more to
+   confuse the eye: there is straw sticking from the roof, straw all over
+   the hammock floor, and straw struggling hither and thither all over
+   the floor itself; and, to add to the confusion, the glory around the
+   head of the infant, instead of being united and serene, is broken into
+   little bits, and is like a glory of chopped straw. But the most
+   curious thing, after all, is the want of delight in any of the
+   principal figures, and the comparative meanness and commonplaceness of
+   even the folds of the drapery. It seems as if Tintoret had determined
+   to make the shepherds as uninteresting as possible; but one does not
+   see why their very clothes should be ill painted, and their
+   disposition unpicturesque. I believe, however, though it never struck
+   me until I had examined this picture, that this is one of the
+   painter's fixed principles: he does not, with German sentimentality,
+   make shepherds and peasants graceful or sublime, but he purposely
+   vulgarizes them, not by making their actions or their faces boorish or
+   disagreeable, but rather by painting them ill, and composing their
+   draperies tamely. As far as I recollect at present, the principle is
+   universal with him; exactly in proportion to the dignity of character
+   is the beauty of the painting. He will not put out his strength upon
+   any man belonging to the lower classes; and, in order to know what the
+   painter is, one must see him at work on a king, a senator, or a
+   saint. The curious connexion of this with the aristocratic tendencies
+   of the Venetian nation, when we remember that Tintoret was the
+   greatest man whom that nation produced, may become very interesting,
+   if followed out. I forgot to note that, though the peacock is painted
+   with great regardlessness of color, there is a feature in it which no
+   common painter would have observed,--the peculiar flatness of the
+   back, and undulation of the shoulders: the bird's body is all there,
+   though its feathers are a good deal neglected; and the same thing is
+   noticeable in a cock who is pecking among the straw near the
+   spectator, though in other respects a shabby cock enough. The fact is,
+   I believe, he had made his shepherds so commonplace that he dare not
+   paint his animals well, otherwise one would have looked at nothing in
+   the picture but the peacock, cock, and cow. I cannot tell what the
+   shepherds are offering; they look like milk bowls, but they are
+   awkwardly held up, with such twistings of body as would have certainly
+   spilt the milk. A woman in front has a basket of eggs; but this I
+   imagine to be merely to keep up the rustic character of the scene, and
+   not part of the shepherd's offerings.
+
+   11. _Baptism._ There is more of the true picture quality in this work
+   than in the former one, but still very little appearance of enjoyment
+   or care. The color is for the most part grey and uninteresting, and
+   the figures are thin and meagre in form, and slightly painted; so much
+   so, that of the nineteen figures in the distance, about a dozen are
+   hardly worth calling figures, and the rest are so sketched and
+   flourished in that one can hardly tell which is which. There is one
+   point about it very interesting to a landscape painter: the river is
+   seen far into the distance, with a piece of copse bordering it; the
+   sky beyond is dark, but the water nevertheless receives a brilliant
+   reflection from some unseen rent in the clouds, so brilliant, that
+   when I was first at Venice, not being accustomed to Tintoret's slight
+   execution, or to see pictures so much injured, I took this piece of
+   water for a piece of sky. The effect as Tintoret has arranged it, is
+   indeed somewhat unnatural, but it is valuable as showing his
+   recognition of a principle unknown to half the historical painters of
+   the present day,--that the reflection seen in the water is totally
+   different from the object seen above it, and that it is very possible
+   to have a bright light in reflection where there appears nothing but
+   darkness to be reflected. The clouds in the sky itself are round,
+   heavy, and lightless, and in a great degree spoil what would otherwise
+   be a fine landscape distance. Behind the rocks on the right, a single
+   head is seen, with a collar on the shoulders: it seems to be intended
+   for a portrait of some person connected with the picture.
+
+   12. _Resurrection._ Another of the "effect of light" pictures, and not
+   a very striking one, the best part of it being the two distant figures
+   of the Maries seen in the dawn of the morning. The conception of the
+   Resurrection itself is characteristic of the worst points of Tintoret.
+   His impetuosity is here in the wrong place; Christ bursts out of the
+   rock like a thunderbolt, and the angels themselves seem likely to be
+   crushed under the rent stones of the tomb. Had the figure of Christ
+   been sublime, this conception might have been accepted; but, on the
+   contrary, it is weak, mean, and painful; and the whole picture is
+   languidly or roughly painted, except only the fig-tree at the top of
+   the rock, which, by a curious caprice, is not only drawn in the
+   painter's best manner, but has golden ribs to all its leaves, making
+   it look like one of the beautiful crossed or chequered patterns, of
+   which he is so fond in his dresses; the leaves themselves being a dark
+   olive brown.
+
+   13. _The Agony in the Garden._ I cannot at present understand the
+   order of these subjects; but they may have been misplaced. This, of
+   all the San Rocco pictures, is the most hastily painted, but it is
+   not, like those we have been passing, _clodly_ painted; it seems to
+   have been executed altogether with a hearth-broom, and in a few hours.
+   It is another of the "effects," and a very curious one; the Angel who
+   bears the cup to Christ is surrounded by a red halo; yet the light
+   which falls upon the shoulders of the sleeping disciples, and upon the
+   leaves of the olive-trees, is cool and silvery, while the troop coming
+   up to seize Christ are seen by torch-light. Judas, who is the second
+   figure, points to Christ, but turns his head away as he does so, as
+   unable to look at him. This is a noble touch; the foliage is also
+   exceedingly fine, though what kind of olive-tree bears such leaves I
+   know not, each of them being about the size of a man's hand. If there
+   be any which bear such foliage, their olives must be the size of
+   cocoa-nuts. This, however, is true only of the underwood, which is,
+   perhaps, not meant for olive. There are some taller trees at the top
+   of the picture, whose leaves are of a more natural size. On closely
+   examining the figures of the troops on the left, I find that the
+   distant ones are concealed, all but the limbs, by a sort of arch of
+   dark color, which is now so injured, that I cannot tell whether it was
+   foliage or ground: I suppose it to have been a mass of close foliage,
+   through which the troop is breaking its way; Judas rather showing them
+   the path, than actually pointing to Christ, as it is written, "Judas,
+   who betrayed him, knew the place." St. Peter, as the most zealous of
+   the three disciples, the only one who was to endeavor to defend his
+   Master, is represented as awakening and turning his head toward the
+   troop, while James and John are buried in profound slumber, laid in
+   magnificent languor among the leaves. The picture is singularly
+   impressive, when seen far enough off, as an image of thick forest
+   gloom amidst the rich and tender foliage of the South; the leaves,
+   however, tossing as in disturbed night air, and the flickering of the
+   torches, and of the branches, contrasted with the steady flame which
+   from the Angel's presence is spread over the robes of the disciples.
+   The strangest feature in the whole is that the Christ also is
+   represented as sleeping. The angel seems to appear to him in a dream.
+
+   14. _The Last Supper._ A most unsatisfactory picture; I think about
+   the worst I know of Tintoret's, where there is no appearance of
+   retouching. He always makes the disciples in this scene too vulgar;
+   they are here not only vulgar, but diminutive, and Christ is at the
+   end of the table, the smallest figure of them all. The principal
+   figures are two mendicants sitting on steps in front; a kind of
+   supporters, but I suppose intended to be waiting for the fragments; a
+   dog, in still more earnest expectation, is watching the movements of
+   the disciples, who are talking together, Judas having just gone out.
+   Christ is represented as giving what one at first supposes is the sop
+   to Judas, but as the disciple who received it has a glory, and there
+   are only eleven at table, it is evidently the Sacramental bread. The
+   room in which they are assembled is a sort of large kitchen, and the
+   host is seen employed at a dresser in the background. This picture has
+   not only been originally poor, but is one of those exposed all day to
+   the sun, and is dried into mere dusty canvas: where there was once
+   blue, there is now nothing.
+
+   15. _Saint Rocco in Glory._ One of the worst order of Tintorets, with
+   apparent smoothness and finish, yet languidly painted, as if in
+   illness or fatigue; very dark and heavy in tone also; its figures, for
+   the most part, of an awkward middle size, about five feet high, and
+   very uninteresting. St. Rocco ascends to heaven, looking down upon a
+   crowd of poor and sick persons who are blessing and adoring him. One
+   of these, kneeling at the bottom, is very nearly a repetition, though
+   a careless and indolent one, of that of St. Stephen, in St. Giorgio
+   Maggiore, and of the central figure in the "Paradise" of the Ducal
+   Palace. It is a kind of lay figure, of which he seems to have been
+   fond; its clasped hands are here shockingly painted--I should think
+   unfinished. It forms the only important light at the bottom, relieved
+   on a dark ground; at the top of the picture, the figure of St. Rocco
+   is seen in shadow against the light of the sky, and all the rest is in
+   confused shadow. The commonplaceness of this composition is curiously
+   connected with the languor of thought and touch throughout the work.
+
+   16. _Miracle of the Loaves._ Hardly anything but a fine piece of
+   landscape is here left; it is more exposed to the sun than any other
+   picture in the room, and its draperies having been, in great part,
+   painted in blue, are now mere patches of the color of starch; the
+   scene is also very imperfectly conceived. The twenty-one figures,
+   including Christ and his Disciples, very ill represent a crowd of
+   seven thousand; still less is the marvel of the miracle expressed by
+   perfect ease and rest of the reclining figures in the foreground, who
+   do not so much as look surprised; considered merely as reclining
+   figures, and as pieces of effect in half light, they have once been
+   fine. The landscape, which represents the slope of a woody hill, has a
+   very grand and far-away look. Behind it is a great space of streaky
+   sky, almost prismatic in color, rosy and golden clouds covering up its
+   blue, and some fine vigorous trees thrown against it; painted in about
+   ten minutes each, however, by curly touches of the brush, and looking
+   rather more like seaweed than foliage.
+
+   17. _Resurrection of Lazarus._ Very strangely, and not impressively
+   conceived. Christ is half reclining, half sitting, at the bottom of
+   the picture, while Lazarus is disencumbered of his grave-clothes at
+   the top of it; the scene being the side of a rocky hill, and the mouth
+   of the tomb probably once visible in the shadow on the left; but all
+   that is now discernible is a man having his limbs unbound, as if
+   Christ were merely ordering a prisoner to be loosed. There appears
+   neither awe nor agitation, nor even much astonishment, in any of the
+   figures of the group; but the picture is more vigorous than any of the
+   three last mentioned, and the upper part of it is quite worthy of the
+   master, especially its noble fig-tree and laurel, which he has
+   painted, in one of his usual fits of caprice, as carefully as that in
+   the "Resurrection of Christ," opposite. Perhaps he has some meaning in
+   this; he may have been thinking of the verse, "Behold the fig-tree,
+   and all the trees; when they now shoot forth," &c. In the present
+   instance, the leaves are dark only, and have no golden veins. The
+   uppermost figures also come dark against the sky, and would form a
+   precipitous mass, like a piece of the rock itself, but that they are
+   broken in upon by one of the limbs of Lazarus, bandaged and in full
+   light, which, to my feeling, sadly injures the picture, both as a
+   disagreeable object, and a light in the wrong place. The grass and
+   weeds are, throughout, carefully painted, but the lower figures are of
+   little interest, and the face of the Christ a grievous failure.
+
+   18. _The Ascension._ I have always admired this picture, though it is
+   very slight and thin in execution, and cold in color; but it is
+   remarkable for its thorough effect of open air, and for the sense of
+   motion and clashing in the wings of the Angels which sustain the
+   Christ: they owe this effect a good deal to the manner in which they
+   are set, edge on; all seem like sword-blades cutting the air. It is
+   the most curious in conception of all the pictures in the Scuola, for
+   it represents, beneath the Ascension, a kind of epitome of what took
+   place before the Ascension. In the distance are two Apostles walking,
+   meant, I suppose, for the two going to Emmaus; nearer are a group
+   round a table, to remind us of Christ appearing to them as they sat at
+   meat; and in the foreground is a single reclining figure of, I
+   suppose, St. Peter, because we are told that "he was seen of Cephas,
+   then of the twelve:" but this interpretation is doubtful; for why
+   should not the vision by the Lake of Tiberias be expressed also? And
+   the strange thing of all is the scene, for Christ ascended from the
+   Mount of Olives; but the Disciples are walking, and the table is set,
+   in a little marshy and grassy valley, like some of the bits near
+   Maison Neuve on the Jura, with a brook running through it, so
+   capitally expressed, that I believe it is this which makes me so fond
+   of the picture. The reflections are as scientific in the diminution,
+   in the image, of large masses of bank above, as any of Turner's, and
+   the marshy and reedy ground looks as if one would sink into it; but
+   what all this has to do with the Ascension I cannot see. The figure of
+   Christ is not undignified, but by no means either interesting or
+   sublime.
+
+   19. _Pool of Bethesda._ I have no doubt the principal figures have
+   been repainted; but as the colors are faded, and the subject
+   disgusting, I have not paid this picture sufficient attention to say
+   how far the injury extends; nor need any one spend time upon it,
+   unless after having first examined all the other Tintorets in Venice.
+   All the great Italian painters appear insensible to the feeling of
+   disgust at disease; but this study of the population of an hospital is
+   without any points of contrast, and I wish Tintoret had not
+   condescended to paint it. This and the six preceding paintings have
+   all been uninteresting,--I believe chiefly owing to the observance in
+   them of Sir Joshua's rule for the heroic, "that drapery is to be mere
+   drapery, and not silk, nor satin, nor brocade." However wise such a
+   rule may be when applied to works of the purest religious art, it is
+   anything but wise as respects works of color. Tintoret is never quite
+   himself unless he has fur or velvet, or rich stuff of one sort or the
+   other, or jewels, or armor, or something that he can put play of color
+   into, among his figures, and not dead folds of linsey-woolsey; and I
+   believe that even the best pictures of Raffaelle and Angelico are not
+   a little helped by their hems of robes, jewelled crowns, priests'
+   copes, and so on; and the pictures that have nothing of this kind in
+   them, as for instance the "Transfiguration," are to my mind not a
+   little dull.
+
+   20. _Temptation._ This picture singularly illustrates what has just
+   been observed; it owes great part of its effect to the lustre of the
+   jewels in the armlet of the evil angel, and to the beautiful colors of
+   his wings. These are slight accessaries apparently, but they enhance
+   the value of all the rest, and they have evidently been enjoyed by the
+   painter. The armlet is seen by reflected light, its stones shining by
+   inward lustre; this occult fire being the only hint given of the real
+   character of the Tempter, who is otherways represented in the form of
+   a beautiful angel, though the face is sensual: we can hardly tell how
+   far it was intended to be therefore expressive of evil; for Tintoret's
+   good angels have not always the purest features; but there is a
+   peculiar subtlety in this telling of the story by so slight a
+   circumstance as the glare of the jewels in the darkness. It is curious
+   to compare this imagination with that of the mosaics in St. Mark's, in
+   which Satan is a black monster, with horns, and head, and tail,
+   complete. The whole of the picture is powerfully and carefully
+   painted, though very broadly; it is a strong effect of light, and
+   therefore, as usual, subdued in color. The painting of the stones in
+   the foreground I have always thought, and still think, the best piece
+   of rock drawing before Turner, and the most amazing instance of
+   Tintoret's perceptiveness afforded by any of his pictures.
+
+   21. _St. Rocco._ Three figures occupy the spandrils of the window
+   above this and the following picture, painted merely in light and
+   shade, two larger than life, one rather smaller. I believe these to be
+   by Tintoret; but as they are quite in the dark, so that the execution
+   cannot be seen, and very good designs of the kind have been furnished
+   by other masters, I cannot answer for them. The figure of St. Rocco,
+   as well as its companion, St. Sebastian, is colored; they occupy the
+   narrow intervals between the windows, and are of course invisible
+   under ordinary circumstances. By a great deal of straining of the
+   eyes, and sheltering them with the hand from the light, some little
+   idea of the design may be obtained. The "St. Rocco" is a fine figure,
+   though rather coarse, but, at all events, worth as much light as would
+   enable us to see it.
+
+   22. _St. Sebastian._ This, the companion figure, is one of the finest
+   things in the whole room, and assuredly the most majestic Saint
+   Sebastian in existence; as far as mere humanity can be majestic, for
+   there is no effort at any expression of angelic or saintly
+   resignation; the effort is simply to realize the fact of the
+   martyrdom, and it seems to me that this is done to an extent not even
+   attempted by any other painter. I never saw a man die a violent death,
+   and therefore cannot say whether this figure be true or not, but it
+   gives the grandest and most intense impression of truth. The figure is
+   dead, and well it may be, for there is one arrow through the forehead
+   and another through the heart; but the eyes are open, though glazed,
+   and the body is rigid in the position in which it last stood, the left
+   arm raised and the left limb advanced, something in the attitude of a
+   soldier sustaining an attack under his shield, while the dead eyes are
+   still turned in the direction from which the arrows came: but the most
+   characteristic feature is the way these arrows are fixed. In the
+   common martyrdoms of St. Sebastian they are stuck into him here and
+   there like pins, as if they had been shot from a great distance and
+   had come faltering down, entering the flesh but a little way, and
+   rather bleeding the saint to death than mortally wounding him; but
+   Tintoret had no such ideas about archery. He must have seen bows drawn
+   in battle, like that of Jehu when he smote Jehoram between the
+   harness: all the arrows in the saint's body lie straight in the same
+   direction, broad-feathered and strong-shafted, and sent apparently
+   with the force of thunderbolts; every one of them has gone through him
+   like a lance, two through the limbs, one through the arm, one through
+   the heart, and the last has crashed through the forehead, nailing the
+   head to the tree behind as if it had been dashed in by a
+   sledge-hammer. The face, in spite of its ghastliness, is beautiful,
+   and has been serene; and the light which enters first and glistens on
+   the plumes of the arrows, dies softly away upon the curling hair, and
+   mixes with the glory upon the forehead. There is not a more remarkable
+   picture in Venice, and yet I do not suppose that one in a thousand of
+   the travellers who pass through the Scuola so much as perceives there
+   is a picture in the place which it occupies.
+
+   [Illustration: Third Group. On the roof of the upper room.
+
+      23. Moses striking the Rock.       29. Elijah.
+      24. Plague of Serpents.            30. Jonah.
+      25. Fall of Manna.                 31. Joshua.
+      26. Jacob's Dream.                 32. Sacrifice of Isaac.
+      27. Ezekiel's Vision.              33. Elijah at the Brook.
+      28. Fall of Man.                   34. Paschal Feast.
+                 35. Elisha feeding the People.]
+
+   23. _Moses striking the Rock._ We now come to the series of pictures
+   upon which the painter concentrated the strength he had reserved for
+   the upper room; and in some sort wisely, for, though it is not
+   pleasant to examine pictures on a ceiling, they are at least
+   distinctly visible without straining the eyes against the light. They
+   are carefully conceived and thoroughly well painted in proportion to
+   their distance from the eye. This carefulness of thought is apparent
+   at a glance: the "Moses striking the Rock" embraces the whole of the
+   seventeenth chapter of Exodus, and even something more, for it is not
+   from that chapter, but from parallel passages that we gather the facts
+   of the impatience of Moses and the wrath of God at the waters of
+   Meribah; both which facts are shown by the leaping of the stream out
+   of the rock half-a-dozen ways at once, forming a great arch over the
+   head of Moses, and by the partial veiling of the countenance of the
+   Supreme Being. This latter is the most painful part of the whole
+   picture, at least as it is seen from below; and I believe that in some
+   repairs of the roof this head must have been destroyed and repainted.
+   It is one of Tintoret's usual fine thoughts that the lower part of the
+   figure is veiled, not merely by clouds, but in a kind of watery
+   sphere, showing the Deity coming to the Israelites at that particular
+   moment as the Lord of the Rivers and of the Fountain of the Waters.
+   The whole figure, as well as that of Moses and the greater number of
+   those in the foreground, is at once dark and warm, black and red being
+   the prevailing colors, while the distance is bright gold touched with
+   blue, and seems to open into the picture like a break of blue sky
+   after rain. How exquisite is this expression, by mere color, of the
+   main force of the fact represented! that is to say, joy and
+   refreshment after sorrow and scorching heat. But, when we examine of
+   what this distance consists, we shall find still more cause for
+   admiration. The blue in it is not the blue of sky, it is obtained by
+   blue stripes upon white tents glowing in the sunshine; and in front of
+   these tents is seen that great battle with Amalek of which the account
+   is given in the remainder of the chapter, and for which the Israelites
+   received strength in the streams which ran out of the rock in Horeb.
+   Considered merely as a picture, the opposition of cool light to warm
+   shadow is one of the most remarkable pieces of color in the Scuola,
+   and the great mass of foliage which waves over the rocks on the left
+   appears to have been elaborated with his highest power and his most
+   sublime invention. But this noble passage is much injured, and now
+   hardly visible.
+
+   24. _Plague of Serpents._ The figures in the distance are remarkably
+   important in this picture, Moses himself being among them; in fact,
+   the whole scene is filled chiefly with middle-sized figures, in order
+   to increase the impression of space. It is interesting to observe the
+   difference in the treatment of this subject by the three great
+   painters, Michael Angelo, Rubens, and Tintoret. The first two, equal
+   to the latter in energy, had less love of liberty: they were fond of
+   binding their compositions into knots, Tintoret of scattering his far
+   and wide: they all alike preserve the unity of composition, but the
+   unity in the first two is obtained by binding, and that of the last by
+   springing from one source; and, together with this feeling, comes his
+   love of space, which makes him less regard the rounding and form of
+   objects themselves, than their relations of light and shade and
+   distance. Therefore Rubens and Michael Angelo made the fiery serpents
+   huge boa constrictors, and knotted the sufferers together with them.
+   Tintoret does not like to be so bound; so he makes the serpents little
+   flying and fluttering monsters like lampreys with wings; and the
+   children of Israel, instead of being thrown into convulsed and
+   writhing groups, are scattered, fainting in the fields, far away in
+   the distance. As usual, Tintoret's conception, while thoroughly
+   characteristic of himself, is also truer to the words of Scripture. We
+   are told that "the Lord sent fiery serpents among the people, and they
+   _bit_ the people;" we are not told that they crushed the people to
+   death. And while thus the truest, it is also the most terrific
+   conception. M. Angelo's would be terrific if one could believe in it:
+   but our instinct tells us that boa constrictors do not come in armies;
+   and we look upon the picture with as little emotion as upon the handle
+   of a vase, or any other form worked out of serpents, where there is no
+   probability of serpents actually occurring. But there is a probability
+   in Tintoret's conception. We feel that it is not impossible that there
+   should come up a swarm of these small winged reptiles: and their
+   horror is not diminished by their smallness: not that they have any of
+   the grotesque terribleness of German invention; they might have been
+   made infinitely uglier with small pains, but it is their
+   _veritableness_ which makes them awful. They have triangular heads
+   with sharp beaks or muzzle; and short, rather thick bodies, with bony
+   processes down the back like those of sturgeons; and small wings
+   spotted with orange and black; and round glaring eyes, not very large,
+   but very ghastly, with an intense delight in biting expressed in them.
+   (It is observable, that the Venetian painter has got his main idea of
+   them from the sea-horses and small reptiles of the Lagoons.) These
+   monsters are fluttering and writhing about everywhere, fixing on
+   whatever they come near with their sharp venomous heads; and they are
+   coiling about on the ground, and all the shadows and thickets are full
+   of them, so that there is no escape anywhere: and, in order to give
+   the idea of greater extent to the plague, Tintoret has not been
+   content with one horizon; I have before mentioned the excessive
+   strangeness of this composition, in having a cavern open in the right
+   of the foreground, through which is seen another sky and another
+   horizon. At the top of the picture, the Divine Being is seen borne by
+   angels, apparently passing over the congregation in wrath, involved in
+   masses of dark clouds; while, behind, an Angel of mercy is descending
+   toward Moses, surrounded by a globe of white light. This globe is
+   hardly seen from below; it is not a common glory, but a transparent
+   sphere, like a bubble, which not only envelopes the angel, but crosses
+   the figure of Moses, throwing the upper part of it into a subdued pale
+   color, as if it were crossed by a sunbeam. Tintoret is the only
+   painter who plays these tricks with transparent light, the only man
+   who seems to have perceived the effects of sunbeams, mists, and
+   clouds, in the far away atmosphere; and to have used what he saw on
+   towers, clouds, or mountains, to enhance the sublimity of his figures.
+   The whole upper part of this picture is magnificent, less with respect
+   to individual figures, than for the drift of its clouds, and
+   originality and complication of its light and shade; it is something
+   like Raffaelle's "Vision of Ezekiel," but far finer. It is difficult
+   to understand how any painter, who could represent floating clouds so
+   nobly as he has done here, could ever paint the odd, round, pillowy
+   masses which so often occur in his more carelessly designed sacred
+   subjects. The lower figures are not so interesting, and the whole is
+   painted with a view to effect from below, and gains little by close
+   examination.
+
+   25. _Fall of Manna._ In none of these three large compositions has the
+   painter made the slightest effort at expression in the human
+   countenance; everything is done by gesture, and the faces of the
+   people who are drinking from the rock, dying from the serpent-bites,
+   and eating the manna, are all alike as calm as if nothing was
+   happening; in addition to this, as they are painted for distant
+   effect, the heads are unsatisfactory and coarse when seen near, and
+   perhaps in this last picture the more so, and yet the story is
+   exquisitely told. We have seen in the Church of San Giorgio Maggiore
+   another example of his treatment of it, where, however, the gathering
+   of manna is a subordinate employment, but here it is principal. Now,
+   observe, we are told of the manna, that it was found in the morning;
+   that then there lay round about the camp a small round thing like the
+   hoar-frost, and that "when the sun waxed hot it melted." Tintoret has
+   endeavored, therefore, first of all, to give the idea of coolness; the
+   congregation are reposing in a soft green meadow, surrounded by blue
+   hills, and there are rich trees above them, to the branches of one of
+   which is attached a great grey drapery to catch the manna as it comes
+   down. In any other picture such a mass of drapery would assuredly have
+   had some vivid color, but here it is grey; the fields are cool frosty
+   green, the mountains cold blue, and, to complete the expression and
+   meaning of all this, there is a most important point to be noted in
+   the form of the Deity, seen above, through an opening in the clouds.
+   There are at least ten or twelve other pictures in which the form of
+   the Supreme Being occurs, to be found in the Scuola di San Rocco
+   alone; and in every one of these instances it is richly colored, the
+   garments being generally red and blue, but in this picture of the
+   manna the figure is _snow white_. Thus the painter endeavors to show
+   the Deity as the giver of bread, just as in the "Striking of the Rock"
+   we saw that he represented Him as the Lord of the rivers, the
+   fountains, and the waters. There is one other very sweet incident at
+   the bottom of the picture; four or five sheep, instead of pasturing,
+   turn their heads aside to catch the manna as it comes down, or seem to
+   be licking it off each other's fleeces. The tree above, to which the
+   drapery is tied, is the most delicate and delightful piece of leafage
+   in all the Scuola; it has a large sharp leaf, something like that of a
+   willow, but five times the size.
+
+   26. _Jacob's Dream._ A picture which has good effect from below, but
+   gains little when seen near. It is an embarrassing one for any
+   painter, because angels always look awkward going up and down stairs;
+   one does not see the use of their wings. Tintoret has thrown them into
+   buoyant and various attitudes, but has evidently not treated the
+   subject with delight; and it is seen to all the more disadvantage
+   because just above the painting of the "Ascension," in which the full
+   fresh power of the painter is developed. One would think this latter
+   picture had been done just after a walk among hills, for it is full of
+   the most delicate effects of transparent cloud, more or less veiling
+   the faces and forms of the angels, and covering with white light the
+   silvery sprays of the palms, while the clouds in the "Jacob's Dream"
+   are the ordinary rotundities of the studio.
+
+   27. _Ezekiel's Vision._ I suspect this has been repainted, it is so
+   heavy and dead in color; a fault, however, observable in many of the
+   small pictures on the ceiling, and perhaps the natural result of the
+   fatigue of such a mind as Tintoret's. A painter who threw such intense
+   energy into some of his works can hardly but have been languid in
+   others in a degree never experienced by the more tranquil minds of
+   less powerful workmen; and when this languor overtook him whilst he
+   was at work on pictures where a certain space had to be covered by
+   mere force of arm, this heaviness of color could hardly but have been
+   the consequence: it shows itself chiefly in reds and other hot hues,
+   many of the pictures in the Ducal Palace also displaying it in a
+   painful degree. This "Ezekiel's Vision" is, however, in some measure
+   worthy of the master, in the wild and horrible energy with which the
+   skeletons are leaping up about the prophet; but it might have been
+   less horrible and more sublime, no attempt being made to represent the
+   space of the Valley of Dry Bones, and the whole canvas being occupied
+   only by eight figures, of which five are half skeletons. It it is
+   strange that, in such a subject, the prevailing hues should be red and
+   brown.
+
+   28. _Fall of Man._ The two canvases last named are the most
+   considerable in size upon the roof, after the centre pieces. We now
+   come to the smaller subjects which surround the "Striking the Rock;"
+   of these this "Fall of Man" is the best, and I should think it very
+   fine anywhere but in the Scuola di San Rocco; there is a grand light
+   on the body of Eve, and the vegetation is remarkably rich, but the
+   faces are coarse, and the composition uninteresting. I could not get
+   near enough to see what the grey object is upon which Eve appears to
+   be sitting, nor could I see any serpent. It is made prominent in the
+   picture of the Academy of this same subject, so that I suppose it is
+   hidden in the darkness, together with much detail which it would be
+   necessary to discover in order to judge the work justly.
+
+   29. _Elijah (?)._ A prophet holding down his face, which is covered
+   with his hand. God is talking with him, apparently in rebuke. The
+   clothes on his breast are rent, and the action of the figures might
+   suggest the idea of the scene between the Deity and Elijah at Horeb:
+   but there is no suggestion of the past magnificent scenery,--of the
+   wind, the earthquake, or the fire; so that the conjecture is good for
+   very little. The painting is of small interest; the faces are vulgar,
+   and the draperies have too much vapid historical dignity to be
+   delightful.
+
+   30. _Jonah._ The whale here occupies fully one-half of the canvas;
+   being correspondent in value with a landscape background. His mouth is
+   as large as a cavern, and yet, unless the mass of red color in the
+   foreground be a piece of drapery, his tongue is too large for it. He
+   seems to have lifted Jonah out upon it, and not yet drawn it back, so
+   that it forms a kind of crimson cushion for him to kneel upon in his
+   submission to the Deity. The head to which this vast tongue belongs is
+   sketched in somewhat loosely, and there is little remarkable about it
+   except its size, nor much in the figures, though the submissiveness of
+   Jonah is well given. The great thought of Michael Angelo renders one
+   little charitable to any less imaginative treatment of this subject.
+
+   31. _Joshua (?)._ This is a most interesting picture, and it is a
+   shame that its subject is not made out, for it is not a common one.
+   The figure has a sword in its hand, and looks up to a sky full of
+   fire, out of which the form of the Deity is stooping, represented as
+   white and colorless. On the other side of the picture there is seen
+   among the clouds a pillar apparently falling, and there is a crowd at
+   the feet of the principal figure, carrying spears. Unless this be
+   Joshua at the fall of Jericho, I cannot tell what it means; it is
+   painted with great vigor, and worthy of a better place.
+
+   32. _Sacrifice of Isaac._ In conception, it is one of the least worthy
+   of the master in the whole room, the three figures being thrown into
+   violent attitudes, as inexpressive as they are strained and
+   artificial. It appears to have been vigorously painted, but vulgarly;
+   that is to say, the light is concentrated upon the white beard and
+   upturned countenance of Abraham, as it would have been in one of the
+   dramatic effects of the French school, the result being that the head
+   is very bright and very conspicuous, and perhaps, in some of the late
+   operations upon the roof, recently washed and touched. In consequence,
+   every one who comes into the room, is first invited to observe the
+   "bella testa di Abramo." The only thing characteristic of Tintoret is
+   the way in which the pieces of ragged wood are tossed hither and
+   thither in the pile upon which Isaac is bound, although this
+   scattering of the wood is inconsistent with the Scriptural account of
+   Abraham's deliberate procedure, for we are told of him that "he set
+   the wood in order." But Tintoret had probably not noticed this, and
+   thought the tossing of the timber into the disordered heap more like
+   the act of the father in his agony.
+
+   33. _Elijah at the Brook Cherith (?)._ I cannot tell if I have rightly
+   interpreted the meaning of this picture, which merely represents a
+   noble figure couched upon the ground, and an angel appearing to him;
+   but I think that between the dark tree on the left, and the recumbent
+   figure, there is some appearance of a running stream, at all events
+   there is of a mountainous and stony place. The longer I study this
+   master, the more I feel the strange likeness between him and Turner,
+   in our never knowing what subject it is that will stir him to
+   exertion. We have lately had him treating Jacob's Dream, Ezekiel's
+   Vision, Abraham's Sacrifice, and Jonah's Prayer, (all of them subjects
+   on which the greatest painters have delighted to expend their
+   strength,) with coldness, carelessness, and evident absence of
+   delight; and here, on a sudden, in a subject so indistinct that one
+   cannot be sure of its meaning, and embracing only two figures, a man
+   and an angel, forth he starts in his full strength. I believe he must
+   somewhere or another, the day before, have seen a kingfisher; for this
+   picture seems entirely painted for the sake of the glorious downy
+   wings of the angel,--white clouded with blue, as the bird's head and
+   wings are with green,--the softest and most elaborate in plumage that
+   I have seen in any of his works: but observe also the general
+   sublimity obtained by the mountainous lines of the drapery of the
+   recumbent figure, dependent for its dignity upon these forms alone, as
+   the face is more than half hidden, and what is seen of it
+   expressionless.
+
+   34. _The Paschal Feast._ I name this picture by the title given in the
+   guide-books; it represents merely five persons watching the increase
+   of a small fire lighted on a table or altar in the midst of them. It
+   is only because they have all staves in their hands that one may
+   conjecture this fire to be that kindled to consume the Paschal
+   offering. The effect is of course a fire light; and, like all mere
+   fire lights that I have ever seen, totally devoid of interest.
+
+   35. _Elisha feeding the People._ I again guess at the subject: the
+   picture only represents a figure casting down a number of loaves
+   before a multitude; but, as Elisha has not elsewhere occurred, I
+   suppose that these must be the barley loaves brought from
+   Baalshalisha. In conception and manner of painting, this picture and
+   the last, together with the others above-mentioned, in comparison with
+   the "Elijah at Cherith," may be generally described as "dregs of
+   Tintoret:" they are tired, dead, dragged out upon the canvas
+   apparently in the heavy-hearted state which a man falls into when he
+   is both jaded with toil and sick of the work he is employed upon. They
+   are not hastily painted; on the contrary, finished with considerably
+   more care than several of the works upon the walls; but those, as, for
+   instance, the "Agony in the Garden," are hurried sketches with the
+   man's whole heart in them, while these pictures are exhausted
+   fulfilments of an appointed task. Whether they were really amongst the
+   last painted, or whether the painter had fallen ill at some
+   intermediate time, I cannot say; but we shall find him again in his
+   utmost strength in the room which we last enter.
+
+   [Illustration: Fourth Group. Inner room on the upper floor.
+
+                              On the Roof.
+
+      36 to 39. Children's Heads.          41 to 44. Children.
+      40. St. Rocco in Heaven.             45 to 56. Allegorical Figures.
+
+                             On the Walls.
+
+      57. Figure in Niche.                 60. Ecce Homo.
+      58. Figure in Niche.                 61. Christ bearing his Cross.
+      59. Christ before Pilate.            62. CRUCIFIXION.]
+
+   36 to 39. _Four Children's Heads_, which it is much to be regretted
+   should be thus lost in filling small vacuities of the ceiling.
+
+   40. _St. Rocco in Heaven._ The central picture of the roof, in the
+   inner room. From the well-known anecdote respecting the production of
+   this picture, whether in all its details true or not, we may at least
+   gather that having been painted in competition with Paul Veronese and
+   other powerful painters of the day, it was probably Tintoret's
+   endeavor to make it as popular and showy as possible. It is quite
+   different from his common works; bright in all its tints and tones;
+   the faces carefully drawn, and of an agreeable type; the outlines
+   firm, and the shadows few; the whole resembling Correggio more than
+   any Venetian painter. It is, however, an example of the danger, even
+   to the greatest artist, of leaving his own style; for it lacks all the
+   great virtues of Tintoret, without obtaining the lusciousness of
+   Correggio. One thing, at all events, is remarkable in it,--that,
+   though painted while the competitors were making their sketches, it
+   shows no sign of haste or inattention.
+
+   41 to 44. _Figures of Children_, merely decorative.
+
+   45 to 56. _Allegorical Figures on the Roof._ If these were not in the
+   same room with the "Crucifixion," they would attract more public
+   attention than any works in the Scuola, as there are here no black
+   shadows, nor extravagances of invention, but very beautiful figures
+   richly and delicately colored, a good deal resembling some of the best
+   works of Andrea del Sarto. There is nothing in them, however,
+   requiring detailed examination. The two figures between the windows
+   are very slovenly, if they are his at all; and there are bits of
+   marbling and fruit filling the cornices, which may or may not be his:
+   if they are, they are tired work, and of small importance.
+
+   59. _Christ before Pilate._ A most interesting picture, but, which is
+   unusual, best seen on a dark day, when the white figure of Christ
+   alone draws the eye, looking almost like a spirit; the painting of the
+   rest of the picture being both somewhat thin and imperfect. There is a
+   certain meagreness about all the minor figures, less grandeur and
+   largeness in the limbs and draperies, and less solidity, it seems,
+   even in the color, although its arrangements are richer than in many
+   of the compositions above described. I hardly know whether it is owing
+   to this thinness of color, or on purpose, that the horizontal clouds
+   shine through the crimson flag in the distance; though I should think
+   the latter, for the effect is most beautiful. The passionate action of
+   the Scribe in lifting his hand to dip the pen into the ink-horn is,
+   however, affected and overstrained, and the Pilate is very mean;
+   perhaps intentionally, that no reverence might be withdrawn from the
+   person of Christ. In work of the thirteenth and fourteenth centuries,
+   the figures of Pilate and Herod are always intentionally made
+   contemptible.
+
+   _Ecce Homo._ As usual, Tintoret's own peculiar view of the subject.
+   Christ is laid fainting on the ground, with a soldier standing on one
+   side of him; while Pilate, on the other, withdraws the robe from the
+   scourged and wounded body, and points it out to the Jews. Both this
+   and the picture last mentioned resemble Titian more than Tintoret in
+   the style of their treatment.
+
+   61. _Christ bearing his Cross._ Tintoret is here recognizable again in
+   undiminished strength. He has represented the troops and attendants
+   climbing Calvary by a winding path, of which two turns are seen, the
+   figures on the uppermost ledge, and Christ in the centre of them,
+   being relieved against the sky; but, instead of the usual simple
+   expedient of the bright horizon to relieve the dark masses, there is
+   here introduced, on the left, the head of a white horse, which blends
+   itself with the sky in one broad mass of light. The power of the
+   picture is chiefly in effect, the figure of Christ being too far off
+   to be very interesting, and only the malefactors being seen on the
+   nearer path; but for this very reason it seems to me more impressive,
+   as if one had been truly present at the scene, though not exactly in
+   the right place for seeing it.
+
+   62. _The Crucifixion._ I must leave this picture to work its will on
+   the spectator; for it is beyond all analysis, and above all praise.
+
+
+    S
+
+ SAGREDO, PALAZZO, on the Grand Canal, II. 256. Much defaced, but full
+   of interest. Its sea story is restored; its first floor has a most
+   interesting arcade of the early thirteenth century third order
+   windows; its upper windows are the finest fourth and fifth orders of
+   early fourteenth century; the group of fourth orders in the centre
+   being brought into some resemblance to the late Gothic traceries by
+   the subsequent introduction of the quatrefoils above them.
+
+ SALUTE, CHURCH OF STA. MARIA DELLA, on the Grand Canal, II. 378. One
+   of the earliest buildings of the Grotesque Renaissance, rendered
+   impressive by its position, size, and general proportions. These
+   latter are exceedingly good; the grace of the whole building being
+   chiefly dependent on the inequality of size in its cupolas, and pretty
+   grouping of the two campaniles behind them. It is to be generally
+   observed that the proportions of buildings have nothing whatever to
+   do with the style or general merits of their architecture. An
+   architect trained in the worst schools, and utterly devoid of all
+   meaning or purpose in his work, may yet have such a natural gift of
+   massing and grouping as will render all his structures effective when
+   seen from a distance: such a gift is very general with the late
+   Italian builders, so that many of the most contemptible edifices in
+   the country have good stage effect so long as we do not approach them.
+   The Church of the Salute is farther assisted by the beautiful flight
+   of steps in front of it down to the canal; and its fa�ade is rich and
+   beautiful of its kind, and was chosen by Turner for the principal
+   object in his well-known view of the Grand Canal. The principal faults
+   of the building are the meagre windows in the sides of the cupola, and
+   the ridiculous disguise of the buttresses under the form of colossal
+   scrolls; the buttresses themselves being originally a hypocrisy, for
+   the cupola is stated by Lazari to be of timber, and therefore needs
+   none. The sacristy contains several precious pictures: the three on
+   its roof by Titian, much vaunted, are indeed as feeble as they are
+   monstrous; but the small Titian, "St. Mark, with Sts. Cosmo and
+   Damian," was, when I first saw it, to my judgment, by far the first
+   work of Titian's in Venice. It has since been restored by the Academy,
+   and it seemed to me entirely destroyed, but I had not time to examine
+   it carefully.
+
+   At the end of the larger sacristy is the lunette which once decorated
+   the tomb of the Doge Francesco Dandolo (see above, page 74); and, at
+   the side of it, one of the most highly finished Tintorets in Venice,
+   namely:
+
+   _The Marriage in Cana._ An immense picture, some twenty-five feet long
+   by fifteen high, and said by Lazari to be one of the few which
+   Tintoret signed with his name. I am not surprised at his having done
+   so in this case. Evidently the work has been a favorite with him, and
+   he has taken as much pains as it was ever necessary for his colossal
+   strength to take with anything. The subject is not one which admits of
+   much singularity or energy in composition. It was always a favorite
+   one with Veronese, because it gave dramatic interest to figures in gay
+   costumes and of cheerful countenances; but one is surprised to find
+   Tintoret, whose tone of mind was always grave, and who did not like to
+   make a picture out of brocades and diadems, throwing his whole
+   strength into the conception of a marriage feast; but so it is, and
+   there are assuredly no female heads in any of his pictures in Venice
+   elaborated so far as those which here form the central light. Neither
+   is it often that the works of this mighty master conform themselves to
+   any of the rules acted upon by ordinary painters; but in this instance
+   the popular laws have been observed, and an academy student would be
+   delighted to see with what severity the principal light is arranged in
+   a central mass, which is divided and made more brilliant by a vigorous
+   piece of shadow thrust into the midst of it, and which dies away in
+   lesser fragments and sparkling towards the extremities of the picture.
+   This mass of light is as interesting by its composition as by its
+   intensity. The cicerone who escorts the stranger round the sacristy in
+   the course of five minutes, and allows him some forty seconds for the
+   contemplation of a picture which the study of six months would not
+   entirely fathom, directs his attention very carefully to the "bell'
+   effetto di prospettivo," the whole merit of the picture being, in the
+   eyes of the intelligent public, that there is a long table in it, one
+   end of which looks farther off than the other; but there is more in
+   the "bell' effetto di prospettivo" than the observance of the common
+   laws of optics. The table is set in a spacious chamber, of which the
+   windows at the end let in the light from the horizon, and those in the
+   side wall the intense blue of an Eastern sky. The spectator looks all
+   along the table, at the farther end of which are seated Christ and the
+   Madonna, the marriage guests on each side of it,--on one side men, on
+   the other women; the men are set with their backs to the light, which
+   passing over their heads and glancing slightly on the tablecloth,
+   falls in full length along the line of young Venetian women, who thus
+   fill the whole centre of the picture with one broad sunbeam, made up
+   of fair faces and golden hair. Close to the spectator a woman has
+   risen in amazement, and stretches across the table to show the wine in
+   her cup to those opposite; her dark red dress intercepts and enhances
+   the mass of gathered light. It is rather curious, considering the
+   subject of the picture, that one cannot distinguish either the bride
+   or the bridegroom; but the fourth figure from the Madonna in the line
+   of women, who wears a white head-dress of lace and rich chains of
+   pearls in her hair, may well be accepted for the former, and I think
+   that between her and the woman on the Madonna's left hand the unity of
+   the line of women is intercepted by a male figure; be this as it may,
+   this fourth female face is the most beautiful, as far as I recollect,
+   that occurs in the works of the painter, with the exception only of
+   the Madonna in the "Flight into Egypt." It is an ideal which occurs
+   indeed elsewhere in many of his works, a face at once dark and
+   delicate, the Italian cast of feature moulded with the softness and
+   childishness of English beauty some half a century ago; but I have
+   never seen the ideal so completely worked out by the master. The face
+   may best be described as one of the purest and softest of Stothard's
+   conceptions, executed with all the strength of Tintoret. The other
+   women are all made inferior to this one, but there are beautiful
+   profiles and bendings of breasts and necks along the whole line. The
+   men are all subordinate, though there are interesting portraits among
+   them; perhaps the only fault of the picture being that the faces are a
+   little too conspicuous, seen like balls of light among the crowd of
+   minor figures which fill the background of the picture. The tone of
+   the whole is sober and majestic in the highest degree; the dresses are
+   all broad masses of color, and the only parts of the picture which lay
+   claim to the expression of wealth or splendor are the head-dresses of
+   the women. In this respect the conception of the scene differs widely
+   from that of Veronese, and approaches more nearly to the probable
+   truth. Still the marriage is not an unimportant one; an immense crowd,
+   filling the background, forming superbly rich mosaic of color against
+   the distant sky. Taken as a whole, the picture is perhaps the most
+   perfect example which human art has produced of the utmost possible
+   force and sharpness of shadow united with richness of local color. In
+   all the other works of Tintoret, and much more of other colorists,
+   either the light and shade or the local color is predominant; in the
+   one case the picture has a tendency to look as if painted by
+   candle-light, in the other it becomes daringly conventional, and
+   approaches the conditions of glass-painting. This picture unites
+   color as rich as Titian's with light and shade as forcible as
+   Rembrandt's, and far more decisive.
+
+   There are one or two other interesting pictures of the early Venetian
+   schools in this sacristy, and several important tombs in the adjoining
+   cloister; among which that of Francesco Dandolo, transported here from
+   the Church of the Frari, deserves especial attention. See above, p.
+   74.
+
+ SALVATORE, CHURCH OF ST. Base Renaissance, occupying the place of the
+   ancient church, under the porch of which the Pope Alexander III. is
+   said to have passed the night. M. Lazari states it to have been richly
+   decorated with mosaics; now all is gone.
+
+   In the interior of the church are some of the best examples of
+   Renaissance sculptural monuments in Venice. (See above, Chap. II. �
+   LXXX.) It is said to possess an important pala of silver, of the
+   thirteenth century, one of the objects in Venice which I much regret
+   having forgotten to examine; besides two Titians, a Bonifazio, and a
+   John Bellini. The latter ("The Supper at Emmaus") must, I think, have
+   been entirely repainted: it is not only unworthy of the master, but
+   unlike him; as far, at least, as I could see from below, for it is
+   hung high.
+
+ SANUDO PALAZZO. At the Miracoli. A noble Gothic palace of the fourteenth
+   century, with Byzantine fragments and cornices built into its walls,
+   especially round the interior court, in which the staircase is very
+   noble. Its door, opening on the quay, is the only one in Venice
+   entirely uninjured; retaining its wooden valve richly sculptured, its
+   wicket for examination of the stranger demanding admittance, and its
+   quaint knocker in the form of a fish.
+
+ SCALZI, CHURCH OF THE. It possesses a fine John Bellini, and is renowned
+   through Venice for its precious marbles. I omitted to notice above, in
+   speaking of the buildings of the Grotesque Renaissance, that many of
+   them are remarkable for a kind of dishonesty, even in the use of
+   _true_ marbles, resulting not from motives of economy, but from mere
+   love of juggling and falsehood for their own sake. I hardly know which
+   condition of mind is meanest, that which has pride in plaster made to
+   look like marble, or that which takes delight in marble made to look
+   like silk. Several of the later churches in Venice, more especially
+   those of the Jesuiti, of San Clemente, and this of the Scalzi, rest
+   their chief claims to admiration on their having curtains and cushions
+   cut out of rock. The most ridiculous example is in San Clemente, and
+   the most curious and costly are in the Scalzi; which latter church is
+   a perfect type of the vulgar abuse of marble in every possible way, by
+   men who had no eye for color, and no understanding of any merit in a
+   work of art but that which arises from costliness of material, and
+   such powers of imitation as are devoted in England to the manufacture
+   of peaches and eggs out of Derbyshire spar.
+
+ SEBASTIAN, CHURCH OF ST. The tomb, and of old the monument, of Paul
+   Veronese. It is full of his noblest pictures, or of what once were
+   such; but they seemed to me for the most part destroyed by repainting.
+   I had not time to examine them justly, but I would especially direct
+   the traveller's attention to the small Madonna over the second altar
+   on the right of the nave, still a perfect and priceless treasure.
+
+ SERVI, CHURCH OF THE. Only two of its gates and some ruined walls are
+   left, in one of the foulest districts of the city. It was one of the
+   most interesting monuments of the early fourteenth century Gothic; and
+   there is much beauty in the fragments yet remaining. How long they may
+   stand I know not, the whole building having been offered me for sale,
+   ground and all, or stone by stone, as I chose, by its present
+   proprietor, when I was last in Venice. More real good might at present
+   be effected by any wealthy person who would devote his resources to
+   the preservation of such monuments wherever they exist, by freehold
+   purchase of the entire ruin, and afterwards by taking proper charge of
+   it, and forming a garden round it, than by any other mode of
+   protecting or encouraging art. There is no school, no lecturer, like a
+   ruin of the early ages.
+
+ SEVERO, FONDAMENTA SAN, palace at, II. 264.
+
+ SILVESTRO, CHURCH OF ST. Of no importance in itself, but it contains
+   two very interesting pictures: the first, a "St. Thomas of Canterbury
+   with the Baptist and St. Francis," by Girolamo Santa Croce, a superb
+   example of the Venetian religious school; the second by Tintoret,
+   namely:
+
+   _The Baptism of Christ._ (Over the first altar on the right of the
+   nave.) An upright picture, some ten feet wide by fifteen high; the top
+   of it is arched, representing the Father supported by angels. It
+   requires little knowledge of Tintoret to see that these figures are
+   not by his hand. By returning to the opposite side of the nave, the
+   join in the canvas may be plainly seen, the upper part of the picture
+   having been entirely added on: whether it had this upper part before
+   it was repainted, or whether originally square, cannot now be told,
+   but I believe it had an upper part which has been destroyed. I am not
+   sure if even the dove and the two angels which are at the top of the
+   older part of the picture are quite genuine. The rest of it is
+   magnificent, though both the figures of the Saviour and the Baptist
+   show some concession on the part of the painter to the imperative
+   requirement of his age, that nothing should be done except in an
+   attitude; neither are there any of his usual fantastic imaginations.
+   There is simply the Christ in the water and the St. John on the shore,
+   without attendants, disciples, or witnesses of any kind; but the power
+   of the light and shade, and the splendor of the landscape, which on
+   the whole is well preserved, render it a most interesting example. The
+   Jordan is represented as a mountain brook, receiving a tributary
+   stream in a cascade from the rocks, in which St. John stands: there is
+   a rounded stone in the centre of the current; and the parting of the
+   water at this, as well as its rippling among the roots of some dark
+   trees on the left, are among the most accurate remembrances of nature
+   to be found in any of the works of the great masters. I hardly know
+   whether most to wonder at the power of the man who thus broke through
+   the neglect of nature which was universal at his time; or at the
+   evidences, visible throughout the whole of the conception, that he was
+   still content to paint from slight memories of what he had seen in
+   hill countries, instead of following out to its full depth the
+   fountain which he had opened. There is not a stream among the hills of
+   Priuli which in any quarter of a mile of its course would not have
+   suggested to him finer forms of cascade than those which he has idly
+   painted at Venice.
+
+ SIMEONE, PROFETA, CHURCH OF ST. Very important, though small, possessing
+   the precious statue of St. Simeon, above noticed, II. 309. The rare
+   early Gothic capitals of the nave are only interesting to the
+   architect; but in the little passage by the side of the church,
+   leading out of the Campo, there is a curious Gothic monument built
+   into the wall, very beautiful in the placing of the angels in the
+   spandrils, and rich in the vine-leaf moulding above.
+
+ SIMEONE, PICCOLO, CHURCH OF ST. One of the ugliest churches in Venice or
+   elsewhere. Its black dome, like an unusual species of gasometer, is
+   the admiration of modern Italian architects.
+
+
+ SOSPIRI, PONTE DE'. The well known "Bridge of Sighs," a work of no
+   merit, and of a late period (see Vol. II. p. 304), owing the interest
+   it possesses chiefly to its pretty name, and to the ignorant
+   sentimentalism of Byron.
+
+ SPIRITO SANTO, CHURCH OF THE. Of no importance.
+
+ STEFANO, CHURCH OF ST. An interesting building of central Gothic, the
+   best ecclesiastical example of it in Venice. The west entrance is much
+   later than any of the rest, and is of the richest Renaissance Gothic,
+   a little anterior to the Porta della Carta, and first-rate of its
+   kind. The manner of the introduction of the figure of the angel at the
+   top of the arch is full of beauty. Note the extravagant crockets and
+   cusp finials as signs of decline.
+
+ STEFANO, CHURCH OF ST., at Murano (pugnacity of its abbot), II. 33. The
+   church no longer exists.
+
+ STROPE, CAMPIELLO DELLA, house in, II. 266.
+
+
+    T
+
+
+ TANA, windows at the, II. 260.
+
+ TIEPOLO, PALAZZO, on the Grand Canal. Of no importance.
+
+ TOLENTINI, CHURCH OF THE. One of the basest and coldest works of the
+   late Renaissance. It is said to contain two Bonifazios.
+
+ TOMA, CHURCH OF ST. Of no importance.
+
+ TOMA, PONTE SAN. There is an interesting ancient doorway opening on the
+   canal close to this bridge, probably of the twelfth century, and a
+   good early Gothic door, opening upon the bridge itself.
+
+ TORCELLO, general aspect of, II. 12; Santa Fosca at, I. 117, II. 13;
+   duomo, II. 14; mosaics of, II. 196; measures of, II. 378; date of, II.
+   380.
+
+ TREVISAN, PALAZZO, I. 369, III. 212.
+
+ TRON, PALAZZO. Of no importance.
+
+ TROVASO, CHURCH OF ST. Itself of no importance, but containing two
+   pictures by Tintoret, namely:
+
+   1. _The Temptation of St. Anthony._ (Altar piece in the chapel on the
+   left of the choir.) A small and very carefully finished picture, but
+   marvellously temperate and quiet in treatment, especially considering
+   the subject, which one would have imagined likely to inspire the
+   painter with one of his most fantastic visions. As if on purpose to
+   disappoint us, both the effect, and the conception of the figures, are
+   perfectly quiet, and appear the result much more of careful study than
+   of vigorous imagination. The effect is one of plain daylight; there
+   are a few clouds drifting in the distance, but with no wildness in
+   them, nor is there any energy or heat in the flames which mantle about
+   the waist of one of the figures. But for the noble workmanship, we
+   might almost fancy it the production of a modern academy; yet as we
+   begin to read the picture, the painter's mind becomes felt. St.
+   Anthony is surrounded by four figures, one of which only has the form
+   of a demon, and he is in the background, engaged in no more terrific
+   act of violence toward St. Anthony, than endeavoring to pull off his
+   mantle; he has, however, a scourge over his shoulder, but this is
+   probably intended for St. Anthony's weapon of self-discipline, which
+   the fiend, with a very Protestant turn of mind, is carrying off. A
+   broken staff, with a bell hanging to it, at the saint's feet, also
+   expresses his interrupted devotion. The three other figures beside him
+   are bent on more cunning mischief: the woman on the left is one of
+   Tintoret's best portraits of a young and bright-eyed Venetian beauty.
+   It is curious that he has given so attractive a countenance to a type
+   apparently of the temptation to violate the power of poverty, for this
+   woman places one hand in a vase full of coins, and shakes golden
+   chains with the other. On the opposite side of the saint, another
+   woman, admirably painted, but of a far less attractive countenance, is
+   a type of the lusts of the flesh, yet there is nothing gross or
+   immodest in her dress or gesture. She appears to have been baffled,
+   and for the present to have given up addressing the saint: she lays
+   one hand upon her breast, and might be taken for a very respectable
+   person, but that there are flames playing about her loins. A recumbent
+   figure on the ground is of less intelligible character, but may
+   perhaps be meant for Indolence; at all events, he has torn the saint's
+   book to pieces. I forgot to note, that under the figure representing
+   Avarice, there is a creature like a pig; whether actual pig or not is
+   unascertainable, for the church is dark, the little light that comes
+   on the picture falls on it the wrong way, and one third of the lower
+   part of it is hidden by a white case, containing a modern daub, lately
+   painted by way of an altar piece; the meaning, as well as the merit,
+   of the grand old picture being now far beyond the comprehension both
+   of priests and people.
+
+   2. _The Last Supper._ (On the left-hand side of the Chapel of the
+   Sacrament.) A picture which has been through the hands of the Academy,
+   and is therefore now hardly worth notice. Its conception seems always
+   to have been vulgar, and far below Tintoret's usual standard; there is
+   singular baseness in the circumstance, that one of the near Apostles,
+   while all the others are, as usual, intent upon Christ's words, "One
+   of you shall betray me," is going to help himself to wine out of a
+   bottle which stands behind him. In so doing he stoops towards the
+   table, the flask being on the floor. If intended for the action of
+   Judas at this moment, there is the painter's usual originality in the
+   thought; but it seems to me rather done to obtain variation of
+   posture, in bringing the red dress into strong contrast with the
+   tablecloth. The color has once been fine, and there are fragments of
+   good painting still left; but the light does not permit these to be
+   seen, and there is too much perfect work of the master's in Venice, to
+   permit us to spend time on retouched remnants. The picture is only
+   worth mentioning, because it is ignorantly and ridiculously referred
+   to by Kugler as characteristic of Tintoret.
+
+
+    V
+
+ VITALI, CHURCH OF ST. Said to contain a picture by Vittor Carpaccio,
+   over the high altar: otherwise of no importance.
+
+
+ VOLTO SANTO, CHURCH OF THE. An interesting but desecrated ruin of the
+   fourteenth century; fine in style. Its roof retains some fresco
+   coloring, but, as far as I recollect, of later date than the
+   architecture.
+
+
+    Z
+
+ ZACCARIA, CHURCH OF ST. Early Renaissance, and fine of its kind; a
+   Gothic chapel attached to it is of great beauty. It contains the best
+   John Bellini in Venice, after that of San G. Grisostomo, "The Virgin,
+   with Four Saints;" and is said to contain another John Bellini and a
+   Tintoret, neither of which I have seen.
+
+ ZITELLE, CHURCH OF THE. Of no importance.
+
+ ZOBENIGO, CHURCH OF SANTA MARIA, III. 124. It contains one valuable
+   Tintoret, namely:
+
+   _Christ with Sta. Justina and St. Augustin._ (Over the third altar on
+   the south side of the nave.) A picture of small size, and upright,
+   about ten feet by eight. Christ appears to be descending out of the
+   clouds between the two saints, who are both kneeling on the sea shore.
+   It is a Venetian sea, breaking on a flat beach, like the Lido, with a
+   scarlet galley in the middle distance, of which the chief use is to
+   unite the two figures by a point of color. Both the saints are
+   respectable Venetians of the lower class, in homely dresses and with
+   homely faces. The whole picture is quietly painted, and somewhat
+   slightly; free from all extravagance, and displaying little power
+   except in the general truth or harmony of colors so easily laid on. It
+   is better preserved than usual, and worth dwelling upon as an instance
+   of the style of the master when _at rest_.
+
+
+FOOTNOTES:
+
+  [71]  "Am I in Italy? Is this the Mincius?
+         Are those the distant turrets of Verona?
+         And shall I sup where Juliet at the Masque
+         Saw her loved Montague, and now sleeps by him?
+         Such questions hourly do I ask myself;
+         And not a stone in a crossway inscribed
+         'To Mantua,' 'To Ferrara,' but excites
+         Surprise, and doubt, and self-congratulation."
+
+    Alas, after a few short months, spent even in the scenes dearest to
+    history, we can feel thus no more.
+
+  [72] I have always called this church, in the text, simply "St. John
+    and Paul," not Sts. John and Paul, just as the Venetians say San
+    Giovanni e Paolo, and not Santi G., &c.
+
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+CORRECTIONS MADE TO THE ORIGINAL TEXT.
+
+Page 69: 'Italian sarcophagi are kept massive, smoth and gloomy' smoth
+            corrected to smooth.
+
+Page 74: 'fallen back peacefully uppon his pillow' uppon corrected to
+            upon.
+
+Page 100: 'men's modes of life, and tones of throught' throught changed
+             to thought.
+
+Page 121: 'breathed upon her beaaty, until it melted away' beaaty
+             corrected to beauty.
+
+Page 157: 'morbid action by terror, accompained by the belief'
+             accompained changed to accompanied.
+
+Page 207: 'finds him by a fountaiu side' fountaiu corrected to fountain.
+
+Page 222: 'Pietro di Castello, for the feast of St. Mary' Mary changed
+             to Mark.
+
+Page 233: Number 2. misplaced. Moved to 'a. Lower arcade, Fondaco de'
+            Turchi.'
+
+Page 233: Missing 4. added before 'a. Fondaco de' Turchi, central shaft,
+            upper arcade.'
+
+Page 237: 'fourth order windows in Campo Sta. Ma Mater Domini' Ma
+             changed to M^a.
+
+Page 293: 'the usual inportant purposes of the modern Italians.'
+             inportant changed to important.
+
+Page 294: 'not the slightest touch os it but is delicious.' os corrected
+             to of.
+
+Page 318: 'examine the two large tintorets' tintorets changed to
+             Tintorets.
+
+Page 319: 'Mlaipiero, Palazzo, on the Campo St. M. Formosa.' Mlaipiero
+             corrected to Malipiero.
+
+Page 358: 'drift of its clouds, and originalty and complication.'
+             originalty corrected to originality.
+
+
+
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+The Project Gutenberg eBook, The Stones of Venice, Volume III (of 3), by
+John Ruskin
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: The Stones of Venice, Volume III (of 3)
+
+
+Author: John Ruskin
+
+
+
+Release Date: December 31, 2009  [eBook #30756]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK THE STONES OF VENICE, VOLUME III
+(OF 3)***
+
+
+E-text prepared by Marius Masi, Juliet Sutherland, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations and also
+      the index for all three volumes of the set with links
+      to the other two volumes.
+      See 30756-h.htm or 30756-h.zip:
+      (https://www.gutenberg.org/files/30756/30756-h/30756-h.htm)
+      or
+      (https://www.gutenberg.org/files/30756/30756-h.zip)
+
+      Volumes I and II are available in the Project Gutenberg
+      Library:
+      Volume I--see https://www.gutenberg.org/etext/30754
+      Volume II--see https://www.gutenberg.org/etext/30755
+
+
+Transcriber's note:
+
+      A few typographical errors have been corrected. They are
+      listed at the end of the text.
+
+      Characters following a caret were printed as superscript
+      in the original. For example, "M^a,"; here the "a." is a
+      superscript.
+
+
+
+
+
+The Complete Works of John Ruskin
+
+Volume IX
+
+STONES OF VENICE
+
+VOLUME III
+
+
+[Illustration:
+     THE BRIDGE OF SIGHS
+     FROM A PHOTOGRAPH]
+
+
+Library Edition
+
+The Complete Works of John Ruskin
+
+STONES OF VENICE
+
+VOLUME III
+
+Giotto
+Lectures on Architecture
+Harbours of England
+A Joy Forever
+
+
+
+
+
+
+
+National Library Association
+New York             Chicago
+
+
+
+
+THE
+STONES OF VENICE
+
+VOLUME III.
+
+THE FALL
+
+
+
+
+CONTENTS.
+
+
+  THIRD, OR RENAISSANCE, PERIOD.
+
+                          CHAPTER I.
+                                                      PAGE
+    Early Renaissance,                                   1
+
+                         CHAPTER II.
+    Roman Renaissance,                                  32
+
+                         CHAPTER III.
+    Grotesque Renaissance,                             112
+
+                         CHAPTER IV.
+    Conclusion,                                        166
+
+
+  APPENDIX.
+
+     1. Architect of the Ducal Palace,                 199
+     2. Theology of Spenser,                           205
+     3. Austrian Government in Italy,                  209
+     4. Date of the Palaces of the Byzantine
+          Renaissance,                                 211
+     5. Renaissance Side of Ducal Palace,              212
+     6. Character of the Doge Michele Morosini,        213
+     7. Modern Education,                              214
+     8. Early Venetian Marriages,                      222
+     9. Character of the Venetian Aristocracy,         223
+    10. Final Appendix,                                224
+
+
+  INDICES.
+
+     I. Personal Index,                                263
+    II. Local Index,                                   268
+   III. Topical Index,                                 271
+    IV. Venetian Index,                                287
+
+
+
+
+LIST OF PLATES.
+
+                                                    Facing Page
+
+ PLATE 1. Temperance and Intemperance in Ornament,            6
+   "   2. Gothic Capitals,                                    8
+   "   3. Noble and Ignoble Grotesque,                      125
+   "   4. Mosaic of Olive Tree and Flowers,                 179
+   "   5. Byzantine Bases,                                  225
+   "   6. Byzantine Jambs,                                  229
+   "   7. Gothic Jambs,                                     230
+   "   8. Byzantine Archivolts,                             244
+   "   9. Gothic Archivolts,                                245
+   "  10. Cornices,                                         248
+   "  11. Tracery Bars,                                     252
+   "  12. Capitals of Fondaco de Turchi,                    304
+
+
+
+
+THE
+
+STONES OF VENICE.
+
+THIRD, OR RENAISSANCE, PERIOD.
+
+
+
+
+CHAPTER I.
+
+EARLY RENAISSANCE.
+
+
+Sec. I. I trust that the reader has been enabled, by the preceding
+chapters, to form some conception of the magnificence of the streets of
+Venice during the course of the thirteenth and fourteenth centuries. Yet
+by all this magnificence she was not supremely distinguished above the
+other cities of the middle ages. Her early edifices have been preserved
+to our times by the circuit of her waves; while continual recurrences of
+ruin have defaced the glory of her sister cities. But such fragments as
+are still left in their lonely squares, and in the corners of their
+streets, so far from being inferior to the buildings of Venice, are even
+more rich, more finished, more admirable in invention, more exuberant in
+beauty. And although, in the North of Europe, civilization was less
+advanced, and the knowledge of the arts was more confined to the
+ecclesiastical orders, so that, for domestic architecture, the period of
+perfection must be there placed much later than in Italy, and considered
+as extending to the middle of the fifteenth century; yet, as each city
+reached a certain point in civilization, its streets became decorated
+with the same magnificence, varied only in style according to the
+materials at hand, and temper of the people. And I am not aware of any
+town of wealth and importance in the middle ages, in which some proof
+does not exist, that, at its period of greatest energy and prosperity,
+its streets were inwrought with rich sculpture, and even (though in
+this, as before noticed, Venice always stood supreme) glowing with color
+and with gold. Now, therefore, let the reader,--forming for himself as
+vivid and real a conception as he is able, either of a group of Venetian
+palaces in the fourteenth century, or, if he likes better, of one of the
+more fantastic but even richer street scenes of Rouen, Antwerp, Cologne,
+or Nuremberg, and keeping this gorgeous image before him,--go out into
+any thoroughfare, representative, in a general and characteristic way,
+of the feeling for domestic architecture in modern times; let him, for
+instance, if in London, walk once up and down Harley Street, or Baker
+Street, or Gower Street; and then, looking upon this picture and on
+this, set himself to consider (for this is to be the subject of our
+following and final inquiry) what have been the causes which have
+induced so vast a change in the European mind.
+
+Sec. II. Renaissance architecture is the school which has conducted
+men's inventive and constructive faculties from the Grand Canal to Gower
+Street; from the marble shaft, and the lancet arch, and the wreathed
+leafage, and the glowing and melting harmony of gold and azure, to the
+square cavity in the brick wall. We have now to consider the causes and
+the steps of this change; and, as we endeavored above to investigate the
+nature of Gothic, here to investigate also the nature of Renaissance.
+
+Sec. III. Although Renaissance architecture assumes very different
+forms among different nations, it may be conveniently referred to three
+heads:--Early Renaissance, consisting of the first corruptions
+introduced into the Gothic schools: Central or Roman Renaissance, which
+is the perfectly formed style: and Grotesque Renaissance, which is the
+corruption of the Renaissance itself.
+
+Sec. IV. Now, in order to do full justice to the adverse cause, we will
+consider the abstract _nature_ of the school with reference only to its
+best or central examples. The forms of building which must be classed
+generally under the term _early_ Renaissance are, in many cases, only
+the extravagances and corruptions of the languid Gothic, for whose
+errors the classical principle is in no wise answerable. It was stated
+in the second chapter of the "Seven Lamps," that, unless luxury had
+enervated and subtlety falsified the Gothic forms, Roman traditions
+could not have prevailed against them; and, although these enervated and
+false conditions are almost instantly colored by the classical
+influence, it would be utterly unfair to lay to the charge of that
+influence the first debasement of the earlier schools, which had lost
+the strength of their system before they could be struck by the plague.
+
+Sec. V. The manner, however, of the debasement of all schools of art, so
+far as it is natural, is in all ages the same; luxuriance of ornament,
+refinement of execution, and idle subtleties of fancy, taking the place
+of true thought and firm handling: and I do not intend to delay the
+reader long by the Gothic sick-bed, for our task is not so much to watch
+the wasting of fever in the features of the expiring king, as to trace
+the character of that Hazael who dipped the cloth in water, and laid it
+upon his face, Nevertheless, it is necessary to the completeness of our
+view of the architecture of Venice, as well as to our understanding of
+the manner in which the Central Renaissance obtained its universal
+dominion, that we glance briefly at the principal forms into which
+Venetian Gothic first declined. They are two in number: one the
+corruption of the Gothic itself; the other a partial return to Byzantine
+forms; for the Venetian mind having carried the Gothic to a point at
+which it was dissatisfied, tried to retrace its steps, fell back first
+upon Byzantine types, and through them passed to the first Roman. But in
+thus retracing its steps, it does not recover its own lost energy. It
+revisits the places through which it had passed in the morning light,
+but it is now with wearied limbs, and under the gloomy shadows of
+evening.
+
+Sec. VI. It has just been said that the two principal causes of natural
+decline in any school, are over-luxuriance and over-refinement. The
+corrupt Gothic of Venice furnishes us with a curious instance of the
+one, and the corrupt Byzantine of the other. We shall examine them in
+succession.
+
+Now, observe, first, I do not mean by _luxuriance_ of ornament,
+_quantity_ of ornament. In the best Gothic in the world there is hardly
+an inch of stone left unsculptured. But I mean that character of
+extravagance in the ornament itself which shows that it was addressed to
+jaded faculties; a violence and coarseness in curvature, a depth of
+shadow, a lusciousness in arrangement of line, evidently arising out of
+an incapability of feeling the true beauty of chaste form and restrained
+power. I do not know any character of design which may be more easily
+recognized at a glance than this over-lusciousness; and yet it seems to
+me that at the present day there is nothing so little understood as the
+essential difference between chasteness and extravagance, whether in
+color, shade, or lines. We speak loosely and inaccurately of
+"overcharged" ornament, with an obscure feeling that there is indeed
+something in visible Form which is correspondent to Intemperance in
+moral habits; but without any distinct detection of the character which
+offends us, far less with any understanding of the most important lesson
+which there can be no doubt was intended to be conveyed by the
+universality of this ornamental law.
+
+Sec. VII. In a word, then, the safeguard of highest beauty, in all visible
+work, is exactly that which is also the safeguard of conduct in the
+soul,--Temperance, in the broadest sense; the Temperance which we have
+seen sitting on an equal throne with Justice amidst the Four Cardinal
+Virtues, and, wanting which, there is not any other virtue which may not
+lead us into desperate error. Now, observe: Temperance, in the nobler
+sense, does not mean a subdued and imperfect energy; it does not mean a
+stopping short in any good thing, as in Love or in Faith; but it means
+the power which governs the most intense energy, and prevents its acting
+in any way but as it ought. And with respect to things in which there
+may be excess, it does not mean imperfect enjoyment of them; but the
+regulation of their quantity, so that the enjoyment of them shall be
+greatest. For instance, in the matter we have at present in hand,
+temperance in color does not mean imperfect or dull enjoyment of color;
+but it means that government of color which shall bring the utmost
+possible enjoyment out of all hues. A bad colorist does not _love_
+beautiful color better than the best colorist does, nor half so much.
+But he indulges in it to excess; he uses it in large masses, and
+unsubdued; and then it is a law of Nature, a law as universal as that of
+gravitation, that he shall not be able to enjoy it so much as if he had
+used it in less quantity. His eye is jaded and satiated, and the blue
+and red have life in them no more. He tries to paint them bluer and
+redder, in vain: all the blue has become grey, and gets greyer the more
+he adds to it; all his crimson has become brown, and gets more sere and
+autumnal the more he deepens it. But the great painter is sternly
+temperate in his work; he loves the vivid color with all his heart; but
+for a long time he does not allow himself anything like it, nothing but
+sober browns and dull greys, and colors that have no conceivable beauty
+in them; but these by his government become lovely: and after bringing
+out of them all the life and power they possess, and enjoying them to
+the uttermost,--cautiously, and as the crown of the work, and the
+consummation of its music, he permits the momentary crimson and azure,
+and the whole canvas is in a flame.
+
+Sec. VIII. Again, in curvature, which is the cause of loveliness in all
+form; the bad designer does not enjoy it more than the great designer,
+but he indulges in it till his eye is satiated, and he cannot obtain
+enough of it to touch his jaded feeling for grace. But the great and
+temperate designer does not allow himself any violent curves; he works
+much with lines in which the curvature, though always existing, is long
+before it is perceived. He dwells on all these subdued curvatures to the
+uttermost, and opposes them with still severer lines to bring them out
+in fuller sweetness; and, at last, he allows himself a momentary curve
+of energy, and all the work is, in an instant, full of life and grace.
+
+The curves drawn in Plate VII. of the first volume, were chosen entirely
+to show this character of dignity and restraint, as it appears in the
+lines of nature, together with the perpetual changefulness of the
+degrees of curvature in one and the same line; but although the purpose
+of that plate was carefully explained in the chapter which it
+illustrates, as well as in the passages of "Modern Painters" therein
+referred to (vol. ii. pp. 43, 79), so little are we now in the habit of
+considering the character of abstract lines, that it was thought by many
+persons that this plate only illustrated Hogarth's reversed line of
+beauty, even although the curve of the salvia leaf, which was the one
+taken from that plate for future use, in architecture, was not a
+reversed or serpentine curve at all. I shall now, however, I hope, be
+able to show my meaning better.
+
+Sec. IX. Fig. 1 in Plate I., opposite, is a piece of ornamentation from
+a Norman-French manuscript of the thirteenth century, and fig. 2 from an
+Italian one of the fifteenth. Observe in the first its stern moderation
+in curvature; the gradually united lines _nearly straight_, though none
+quite straight, used for its main limb, and contrasted with the bold but
+simple offshoots of its leaves, and the noble spiral from which it
+shoots, these in their turn opposed by the sharp trefoils and thorny
+cusps. And see what a reserve of resource there is in the whole; how
+easy it would have been to make the curves more palpable and the foliage
+more rich, and how the noble hand has stayed itself, and refused to
+grant one wave of motion more.
+
+[Illustration: Plate I.
+               TEMPERANCE AND INTEMPERANCE.
+               IN CURVATURE.]
+
+Sec. X. Then observe the other example, in which, while the same idea is
+continually repeated, excitement and interest are sought for by means of
+violent and continual curvatures wholly unrestrained, and rolling hither
+and thither in confused wantonness. Compare the character of the
+separate lines in these two examples carefully, and be assured that
+wherever this redundant and luxurious curvature shows itself in
+ornamentation, it is a sign of jaded energy and failing invention. Do
+not confuse it with fulness or richness. Wealth is not necessarily
+wantonness: a Gothic moulding may be buried half a foot deep in thorns
+and leaves, and yet will be chaste in every line; and a late Renaissance
+moulding may be utterly barren and poverty-stricken, and yet will show
+the disposition to luxury in every line.
+
+Sec. XI. Plate XX., in the second volume, though prepared for the special
+illustration of the notices of capitals, becomes peculiarly interesting
+when considered in relation to the points at present under
+consideration. The four leaves in the upper row are Byzantine; the two
+middle rows are transitional, all but fig. 11, which is of the formed
+Gothic; fig. 12 is perfect Gothic of the finest time (Ducal Palace,
+oldest part), fig. 13 is Gothic beginning to decline, fig. 14 is
+Renaissance Gothic in complete corruption.
+
+Now observe, first, the Gothic naturalism advancing gradually from the
+Byzantine severity; how from the sharp, hard, formalized conventionality
+of the upper series the leaves gradually expand into more free and
+flexible animation, until in fig. 12 we have the perfect living leaf as
+if fresh gathered out of the dew. And then, in the last two examples and
+partly in fig. 11, observe how the forms which can advance no longer in
+animation, advance, or rather decline, into luxury and effeminacy as the
+strength of the school expires.
+
+Sec. XII. In the second place, note that the Byzantine and Gothic schools,
+however differing in degree of life, are both alike in _temperance_,
+though the temperance of the Gothic is the nobler, because it consists
+with entire animation. Observe how severe and subtle the curvatures are
+in all the leaves from fig. 1 to fig. 12, except only in fig. 11; and
+observe especially the firmness and strength obtained by the close
+approximation to the straight line in the lateral ribs of the leaf, fig.
+12. The longer the eye rests on these temperate curvatures the more it
+will enjoy them, but it will assuredly in the end be wearied by the
+morbid exaggeration of the last example.
+
+[Illustration: Plate II.
+               GOTHIC CAPITALS.]
+
+Sec. XIII. Finally, observe--and this is very important--how one and the
+same character in the work may be a sign of totally different states of
+mind, and therefore in one case bad, and in the other good. The
+examples, fig. 3. and fig. 12., are both equally pure in line; but one
+is subdivided in the extreme, the other broad in the extreme, and both
+are beautiful. The Byzantine mind delighted in the delicacy of
+subdivision which nature shows in the fern-leaf or parsley-leaf; and so,
+also, often the Gothic mind, much enjoying the oak, thorn, and thistle.
+But the builder of the Ducal Palace used great breadth in his foliage,
+in order to harmonize with the broad surface of his mighty wall, and
+delighted in this breadth as nature delights in the sweeping freshness
+of the dock-leaf or water-lily. Both breadth and subdivision are thus
+noble, when they are contemplated or conceived by a mind in health; and
+both become ignoble, when conceived by a mind jaded and satiated. The
+subdivision in fig. 13 as compared with the type, fig. 12, which it was
+intended to improve, is the sign, not of a mind which loved intricacy,
+but of one which could not relish simplicity, which had not strength
+enough to enjoy the broad masses of the earlier leaves, and cut them to
+pieces idly, like a child tearing the book which, in its weariness, it
+cannot read. And on the other hand, we shall continually find, in other
+examples of work of the same period, an unwholesome breadth or
+heaviness, which results from the mind having no longer any care for
+refinement or precision, nor taking any delight in delicate forms, but
+making all things blunted, cumbrous, and dead, losing at the same time
+the sense of the elasticity and spring of natural curves. It is as if
+the soul of man, itself severed from the root of its health, and about
+to fall into corruption, lost the perception of life in all things
+around it; and could no more distinguish the wave of the strong
+branches, full of muscular strength and sanguine circulation, from the
+lax bending of a broken cord, nor the sinuousness of the edge of the
+leaf, crushed into deep folds by the expansion of its living growth,
+from the wrinkled contraction of its decay.[1] Thus, in morals, there
+is a care for trifles which proceeds from love and conscience, and is
+most holy; and a care for trifles which comes of idleness and frivolity,
+and is most base. And so, also, there is a gravity proceeding from
+thought, which is most noble; and a gravity proceeding from dulness and
+mere incapability of enjoyment, which is most base. Now, in the various
+forms assumed by the later Gothic of Venice, there are one or two
+features which, under other circumstances, would not have been signs of
+decline; but, in the particular manner of their occurrence here,
+indicate the fatal weariness of decay. Of all these features the most
+distinctive are its crockets and finials.
+
+Sec. XIV. There is not to be found a single crocket or finial upon any
+part of the Ducal Palace built during the fourteenth century; and although
+they occur on contemporary, and on some much earlier, buildings, they
+either indicate detached examples of schools not properly Venetian, or
+are signs of incipient decline.
+
+The reason of this is, that the finial is properly the ornament of
+gabled architecture; it is the compliance, in the minor features of the
+building, with the spirit of its towers, ridged roof, and spires.
+Venetian building is not gabled, but horizontal in its roots and general
+masses; therefore the finial is a feature contradictory to its spirit,
+and adopted only in that search for morbid excitement which is the
+infallible indication of decline. When it occurs earlier, it is on
+fragments of true gabled architecture, as, for instance, on the porch of
+the Carmini.
+
+In proportion to the unjustifiableness of its introduction was the
+extravagance of the form it assumed; becoming, sometimes, a tuft at the
+top of the ogee windows, half as high as the arch itself, and
+consisting, in the richest examples, of a human figure, half emergent
+out of a cup of leafage, as, for instance, in the small archway of the
+Campo San Zaccaria: while the crockets, as being at the side of the
+arch, and not so strictly connected with its balance and symmetry,
+appear to consider themselves at greater liberty even than the finials,
+and fling themselves, hither and thither, in the wildest contortions.
+Fig. 4. in Plate I, is the outline of one, carved in stone, from the
+later Gothic of St. Mark's; fig. 3. a crocket from the fine Veronese
+Gothic; in order to enable the reader to discern the Renaissance
+character better by comparison with the examples of curvature above
+them, taken from the manuscripts. And not content with this exuberance
+in the external ornaments of the arch, the finial interferes with its
+traceries. The increased intricacy of these, as such, being a natural
+process in the developement of Gothic, would have been no evil; but they
+are corrupted by the enrichment of the finial at the point of the
+cusp,--corrupted, that is to say, in Venice: for at Verona the finial,
+in the form of a fleur-de-lis, appears long previously at the cusp
+point, with exquisite effect; and in our own best Northern Gothic it is
+often used beautifully in this place, as in the window from Salisbury,
+Plate XII. (Vol. II.), fig. 2. But in Venice, such a treatment of it was
+utterly contrary to the severe spirit of the ancient traceries; and the
+adoption of a leafy finial at the extremity of the cusps in the door of
+San Stefano, as opposed to the simple ball which terminates those of the
+Ducal Palace, is an unmistakable indication of a tendency to decline.
+
+In like manner, the enrichment and complication of the jamb mouldings,
+which, in other schools, might and did take place in the healthiest
+periods, are, at Venice, signs of decline, owing to the entire
+inconsistency of such mouldings with the ancient love of the single
+square jamb and archivolt. The process of enrichment in them is shown by
+the successive examples given in Plate VII., below. They are numbered,
+and explained in the Appendix.
+
+Sec. XV. The date at which this corrupt form of Gothic first prevailed
+over the early simplicity of the Venetian types can be determined in an
+instant, on the steps of the choir of the Church of St. John and Paul.
+On our left hand, as we enter, is the tomb of the Doge Marco Cornaro,
+who died in 1367. It is rich and fully developed Gothic, with crockets
+and finials, but not yet attaining any extravagant developement.
+Opposite to it is that of the Doge Andrea Morosini, who died in 1382.
+Its Gothic is voluptuous, and over-wrought; the crockets are bold and
+florid, and the enormous finial represents a statue of St. Michael.
+There is no excuse for the antiquaries who, having this tomb before
+them, could have attributed the severe architecture of the Ducal Palace
+to a later date; for every one of the Renaissance errors is here in
+complete developement, though not so grossly as entirely to destroy the
+loveliness of the Gothic forms. In the Porta della Carta, 1423, the vice
+reaches its climax.
+
+Sec. XVI. Against this degraded Gothic, then, came up the Renaissance
+armies; and their first assault was in the requirement of universal
+perfection. For the first time since the destruction of Rome, the world
+had seen, in the work of the greatest artists of the fifteenth
+century,--in the painting of Ghirlandajo, Masaccio, Francia, Perugino,
+Pinturicchio, and Bellini; in the sculpture of Mino da Fiesole, of
+Ghiberti, and Verrocchio,--a perfection of execution and fulness of
+knowledge which cast all previous art into the shade, and which, being
+in the work of those men united with all that was great in that of
+former days, did indeed justify the utmost enthusiasm with which their
+efforts were, or could be, regarded. But when this perfection had once
+been exhibited in anything, it was required in everything; the world
+could no longer be satisfied with less exquisite execution, or less
+disciplined knowledge. The first thing that it demanded in all work was,
+that it should be done in a consummate and learned way; and men
+altogether forgot that it was possible to consummate what was
+contemptible, and to know what was useless. Imperatively requiring
+dexterity of touch, they gradually forgot to look for tenderness of
+feeling; imperatively requiring accuracy of knowledge, they gradually
+forgot to ask for originality of thought. The thought and the feeling
+which they despised departed from them, and they were left to
+felicitate themselves on their small science and their neat fingering.
+This is the history of the first attack of the Renaissance upon the
+Gothic schools, and of its rapid results, more fatal and immediate in
+architecture than in any other art, because there the demand for
+perfection was less reasonable, and less consistent with the
+capabilities of the workman; being utterly opposed to that rudeness or
+savageness on which, as we saw above, the nobility of the elder schools
+in great part depends. But inasmuch as the innovations were founded on
+some of the most beautiful examples of art, and headed by some of the
+greatest men that the world ever saw, and as the Gothic with which they
+interfered was corrupt and valueless, the first appearance of the
+Renaissance feeling had the appearance of a healthy movement. A new
+energy replaced whatever weariness or dulness had affected the Gothic
+mind; an exquisite taste and refinement, aided by extended knowledge,
+furnished the first models of the new school; and over the whole of
+Italy a style arose, generally now known as cinque-cento, which in
+sculpture and painting, as I just stated, produced the noblest masters
+which the world ever saw, headed by Michael Angelo, Raphael, and
+Leonardo; but which failed of doing the same in architecture, because,
+as we have seen above, perfection is therein not possible, and failed
+more totally than it would otherwise have done, because the classical
+enthusiasm had destroyed the best types of architectural form.
+
+Sec. XVII. For, observe here very carefully, the Renaissance principle,
+as it consisted in a demand for universal perfection, is quite distinct
+from the Renaissance principle as it consists in a demand for classical
+and Roman _forms_ of perfection. And if I had space to follow out the
+subject as I should desire, I would first endeavor to ascertain what
+might have been the course of the art of Europe if no manuscripts of
+classical authors had been recovered, and no remains of classical
+architecture left, in the fifteenth century; so that the executive
+perfection to which the efforts of all great men had tended for five
+hundred years, and which now at last was reached, might have been
+allowed to develope itself in its own natural and proper form, in
+connexion with the architectural structure of earlier schools. This
+refinement and perfection had indeed its own perils, and the history of
+later Italy, as she sank into pleasure and thence into corruption, would
+probably have been the same whether she had ever learned again to write
+pure Latin or not. Still the inquiry into the probable cause of the
+enervation which might naturally have followed the highest exertion of
+her energies, is a totally distinct one from that into the particular
+form given to this enervation by her classical learning; and it is
+matter of considerable regret to me that I cannot treat these two
+subjects separately: I must be content with marking them for separation
+in the mind of the reader.
+
+Sec. XVIII. The effect, then, of the sudden enthusiasm for classical
+literature, which gained strength during every hour of the fifteenth
+century, was, as far as respected architecture, to do away with the
+entire system of Gothic science. The pointed arch, the shadowy vault,
+the clustered shaft, the heaven-pointing spire, were all swept away; and
+no structure was any longer permitted but that of the plain cross-beam
+from pillar to pillar, over the round arch, with square or circular
+shafts, and a low-gabled roof and pediment: two elements of noble form,
+which had fortunately existed in Rome, were, however, for that reason,
+still permitted; the cupola, and, internally, the waggon vault.
+
+Sec. XIX. These changes in form were all of them unfortunate; and it is
+almost impossible to do justice to the occasionally exquisite
+ornamentation of the fifteenth century, on account of its being placed
+upon edifices of the cold and meagre Roman outline. There is, as far as
+I know, only one Gothic building in Europe, the Duomo of Florence, in
+which, though the ornament be of a much earlier school, it is yet so
+exquisitely finished as to enable us to imagine what might have been the
+effect of the perfect workmanship of the Renaissance, coming out of the
+hands of men like Verrocchio and Ghiberti, had it been employed on the
+magnificent framework of Gothic structure. This is the question which,
+as I shall note in the concluding chapter, we ought to set ourselves
+practically to solve in modern times.
+
+Sec. XX. The changes effected in form, however, were the least part of
+the evil principles of the Renaissance. As I have just said, its main
+mistake, in its early stages, was the unwholesome demand for
+_perfection_, at any cost. I hope enough has been advanced, in the
+chapter on the Nature of Gothic, to show the reader that perfection is
+_not_ to be had from the general workman, but at the cost of
+everything,--of his whole life, thought, and energy. And Renaissance
+Europe thought this a small price to pay for manipulative perfection.
+Men like Verrocchio and Ghiberti were not to be had every day, nor in
+every place; and to require from the common workman execution or
+knowledge like theirs, was to require him to become their copyist. Their
+strength was great enough to enable them to join science with invention,
+method with emotion, finish with fire; but, in them, the invention and
+the fire were first, while Europe saw in them only the method and the
+finish. This was new to the minds of men, and they pursued it to the
+neglect of everything else. "This," they cried, "we must have in all our
+work henceforward:" and they were obeyed. The lower workman secured
+method and finish, and lost, in exchange for them, his soul.
+
+Sec. XXI. Now, therefore, do not let me be misunderstood when I speak
+generally of the evil spirit of the Renaissance. The reader may look
+through all I have written, from first to last, and he will not find one
+word but of the most profound reverence for those mighty men who could
+wear the Renaissance armor of proof, and yet not feel it encumber their
+living limbs,[2]--Leonardo and Michael Angelo, Ghirlandajo and Masaccio,
+Titian and Tintoret. But I speak of the Renaissance as an evil time,
+because, when it saw those men go burning forth into the battle, it
+mistook their armor for their strength: and forthwith encumbered with
+the painful panoply every stripling who ought to have gone forth only
+with his own choice of three smooth stones out of the brook.
+
+Sec. XXII. This, then, the reader must always keep in mind when he is
+examining for himself any examples of cinque-cento work. When it has
+been done by a truly great man, whose life and strength could not be
+oppressed, and who turned to good account the whole science of his day,
+nothing is more exquisite. I do not believe, for instance, that there is
+a more glorious work of sculpture existing in the world than that
+equestrian statue of Bartolomeo Colleone, by Verrocchio, of which, I
+hope, before these pages are printed, there will be a cast in England.
+But when the cinque-cento work has been done by those meaner men, who,
+in the Gothic times, though in a rough way, would yet have found some
+means of speaking out what was in their hearts, it is utterly
+inanimate,--a base and helpless copy of more accomplished models; or, if
+not this, a mere accumulation of technical skill, in gaining which the
+workman had surrendered all other powers that were in him.
+
+There is, therefore, of course, an infinite gradation in the art of the
+period, from the Sistine Chapel down to modern upholstery; but, for the
+most part, since in architecture the workman must be of an inferior
+order, it will be found that this cinque-cento painting and higher
+religious sculpture is noble, while the cinque-cento architecture, with
+its subordinate sculpture, is universally bad; sometimes, however,
+assuming forms, in which the consummate refinement almost atones for the
+loss of force.
+
+Sec. XXIII. This is especially the case with that second branch of the
+Renaissance which, as above noticed, was engrafted at Venice on the
+Byzantine types. So soon as the classical enthusiasm required the
+banishment of Gothic forms, it was natural that the Venetian mind should
+turn back with affection to the Byzantine models in which the round
+arches and simple shafts, necessitated by recent law, were presented
+under a form consecrated by the usage of their ancestors. And,
+accordingly, the first distinct school of architecture[3] which arose
+under the new dynasty, was one in which the method of inlaying marble,
+and the general forms of shaft and arch, were adopted from the buildings
+of the twelfth century, and applied with the utmost possible refinements
+of modern skill. Both at Verona and Venice the resulting architecture is
+exceedingly beautiful. At Verona it is, indeed, less Byzantine, but
+possesses a character of richness and tenderness almost peculiar to that
+city. At Venice it is more severe, but yet adorned with sculpture which,
+for sharpness of touch and delicacy of minute form, cannot be rivalled,
+and rendered especially brilliant and beautiful by the introduction of
+those inlaid circles of colored marble, serpentine, and porphyry, by
+which Phillippe de Commynes was so much struck on his first entrance
+into the city. The two most refined buildings in this style in Venice
+are, the small Church of the Miracoli, and the Scuola di San Marco
+beside the Church of St. John and St. Paul. The noblest is the Rio
+Facade of the Ducal Palace. The Casa Dario, and Casa Manzoni, on the
+Grand Canal, are exquisite examples of the school, as applied to
+domestic architecture; and, in the reach of the canal between the Casa
+Foscari and the Rialto, there are several palaces, of which the Casa
+Contarini (called "delle Figure") is the principal, belonging to the
+same group, though somewhat later, and remarkable for the association of
+the Byzantine principles of color with the severest lines of the Roman
+pediment, gradually superseding the round arch. The precision of
+chiselling and delicacy of proportion in the ornament and general lines
+of these palaces cannot be too highly praised; and I believe that the
+traveller in Venice, in general, gives them rather too little attention
+than too much. But while I would ask him to stay his gondola beside each
+of them long enough to examine their every line, I must also warn him to
+observe, most carefully, the peculiar feebleness and want of soul in the
+conception of their ornament, which mark them as belonging to a period
+of decline; as well as the absurd mode of introduction of their pieces
+of colored marble: these, instead of being simply and naturally inserted
+in the masonry, are placed in small circular or oblong frames of
+sculpture, like mirrors or pictures, and are represented as suspended by
+ribands against the wall; a pair of wings being generally fastened on to
+the circular tablets, as if to relieve the ribands and knots from their
+weight, and the whole series tied under the chin of a little cherub at
+the top, who is nailed against the facade like a hawk on a barn door.
+
+But chiefly let him notice, in the Casa Contarini delle Figure, one most
+strange incident, seeming to have been permitted, like the choice of the
+subjects at the three angles of the Ducal Palace, in order to teach us,
+by a single lesson, the true nature of the style in which it occurs. In
+the intervals of the windows of the first story, certain shields and
+torches are attached, in the form of trophies, to the stems of two trees
+whose boughs have been cut off, and only one or two of their faded
+leaves left, scarcely observable, but delicately sculptured here and
+there, beneath the insertions of the severed boughs.
+
+It is as if the workman had intended to leave us an image of the
+expiring naturalism of the Gothic school. I had not seen this sculpture
+when I wrote the passage referring to its period, in the first volume of
+this work (Chap. XX. Sec. XXXI.):--"Autumn came,--the leaves were
+shed,--and the eye was directed to the extremities of the delicate
+branches. _The Renaissance frosts came, and all perished!_"
+
+Sec. XXIV. And the hues of this autumn of the early Renaissance are
+the last which appear in architecture. The winter which succeeded was
+colorless as it was cold; and although the Venetian painters struggled
+long against its influence, the numbness of the architecture prevailed
+over them at last, and the exteriors of all the latter palaces were
+built only in barren stone. As at this point of our inquiry, therefore,
+we must bid farewell to color, I have reserved for this place the
+continuation of the history of chromatic decoration, from the Byzantine
+period, when we left it in the fifth chapter of the second volume, down
+to its final close.
+
+Sec. XXV. It was above stated, that the principal difference in general
+form and treatment between the Byzantine and Gothic palaces was the
+contraction of the marble facing into the narrow spaces between the
+windows, leaving large fields of brick wall perfectly bare. The reason
+for this appears to have been, that the Gothic builders were no longer
+satisfied with the faint and delicate hues of the veined marble; they
+wished for some more forcible and piquant mode of decoration,
+corresponding more completely with the gradually advancing splendor of
+chivalric costume and heraldic device. What I have said above of the
+simple habits of life of the thirteenth century, in no wise refers
+either to costumes of state, or of military service; and any
+illumination of the thirteenth and early fourteenth centuries (the great
+period being, it seems to me, from 1250 to 1350), while it shows a
+peculiar majesty and simplicity in the fall of the robes (often worn
+over the chain armor), indicates, at the same time, an exquisite
+brilliancy of color and power of design in the hems and borders, as well
+as in the armorial bearings with which they are charged; and while, as
+we have seen, a peculiar simplicity is found also in the _forms_ of the
+architecture, corresponding to that of the folds of the robes, its
+_colors_ were constantly increasing in brilliancy and decision,
+corresponding to those of the quartering of the shield, and of the
+embroidery of the mantle.
+
+Sec. XXVI. Whether, indeed, derived from the quarterings of the knights'
+shields, or from what other source, I know not; but there is one
+magnificent attribute of the coloring of the late twelfth, the whole
+thirteenth, and the early fourteenth century, which I do not find
+definitely in any previous work, nor afterwards in general art, though
+constantly, and necessarily, in that of great colorists, namely, the
+union of one color with another by reciprocal interference: that is to
+say, if a mass of red is to be set beside a mass of blue, a piece of the
+red will be carried into the blue, and a piece of the blue carried into
+the red; sometimes in nearly equal portions, as in a shield divided into
+four quarters, of which the uppermost on one side will be of the same
+color as the lowermost on the other; sometimes in smaller fragments,
+but, in the periods above named, always definitely and grandly, though
+in a thousand various ways. And I call it a magnificent principle, for
+it is an eternal and universal one, not in art only,[4] but in human
+life. It is the great principle of Brotherhood, not by equality, nor by
+likeness, but by giving and receiving; the souls that are unlike, and
+the nations that are unlike, and the natures that are unlike, being
+bound into one noble whole by each receiving something from, and of, the
+others' gifts and the others' glory. I have not space to follow out this
+thought,--it is of infinite extent and application,--but I note it for
+the reader's pursuit, because I have long believed, and the whole second
+volume of "Modern Painters" was written to prove, that in whatever has
+been made by the Deity externally delightful to the human sense of
+beauty, there is some type of God's nature or of God's laws; nor are any
+of His laws, in one sense, greater than the appointment that the most
+lovely and perfect unity shall be obtained by the taking of one nature
+into another. I trespass upon too high ground; and yet I cannot fully
+show the reader the extent of this law, but by leading him thus far. And
+it is just because it is so vast and so awful a law, that it has rule
+over the smallest things; and there is not a vein of color on the
+lightest leaf which the spring winds are at this moment unfolding in the
+fields around us, but it is an illustration of an ordainment to which
+the earth and its creatures owe their continuance, and their Redemption.
+
+Sec. XXVII. It is perfectly inconceivable, until it has been made a
+subject of special inquiry, how perpetually Nature employs this principle
+in the distribution of her light and shade; how by the most extraordinary
+adaptations, apparently accidental, but always in exactly the right
+place, she contrives to bring darkness into light, and light into
+darkness; and that so sharply and decisively, that at the very instant
+when one object changes from light to dark, the thing relieved upon it
+will change from dark to light, and yet so subtly that the eye will not
+detect the transition till it looks for it. The secret of a great part
+of the grandeur in all the noblest compositions is the doing of this
+delicately in _degree_, and broadly in _mass_; in color it may be done
+much more decisively than in light and shade, and, according to the
+simplicity of the work, with greater frankness of confession, until, in
+purely decorative art, as in the illumination, glass-painting, and
+heraldry of the great periods, we find it reduced to segmental accuracy.
+Its greatest masters, in high art, are Tintoret, Veronese, and Turner.
+
+Sec. XXVIII. Together with this great principle of quartering is
+introduced another, also of very high value as far as regards the delight
+of the eye, though not of so profound meaning. As soon as color began to
+be used in broad and opposed fields, it was perceived that the mass of it
+destroyed its brilliancy, and it was _tempered_ by chequering it with
+some other color or colors in smaller quantities, mingled with minute
+portions of pure white. The two moral principles of which this is the
+type, are those of Temperance and Purity; the one requiring the fulness
+of the color to be subdued, and the other that it shall be subdued
+without losing either its own purity or that of the colors with which it
+is associated.
+
+Sec. XXIX. Hence arose the universal and admirable system of the diapered
+or chequered background of early ornamental art. They are completely
+developed in the thirteenth century, and extend through the whole of
+the fourteenth gradually yielding to landscape, and other pictorial
+backgrounds, as the designers lost perception of the purpose of their
+art, and of the value of color. The chromatic decoration of the Gothic
+palaces of Venice was of course founded on these two great principles,
+which prevailed constantly wherever the true chivalric and Gothic spirit
+possessed any influence. The windows, with their intermediate spaces of
+marble, were considered as the objects to be relieved, and variously
+quartered with vigorous color. The whole space of the brick wall was
+considered as a background; it was covered with stucco, and painted in
+fresco, with diaper patterns.
+
+Sec. XXX. What? the reader asks in some surprise,--Stucco! and in the
+great Gothic period? Even so, but _not stucco to imitate stone_. Herein
+lies all the difference; it is stucco confessed and understood, and laid
+on the bricks precisely as gesso is laid on canvas, in order to form them
+into a ground for receiving color from the human hand,--color which, if
+well laid on, might render the brick wall more precious than if it had
+been built of emeralds. Whenever we wish to paint, we may prepare our
+paper as we choose; the value of the ground in no wise adds to the value
+of the picture. A Tintoret on beaten gold would be of no more value than
+a Tintoret on coarse canvas; the gold would merely be wasted. All that
+we have to do is to make the ground as good and fit for the color as
+possible, by whatever means.
+
+Sec. XXXI. I am not sure if I am right in applying the term "stucco" to
+the ground of fresco; but this is of no consequence; the reader will
+understand that it was white, and that the whole wall of the palace was
+considered as the page of a book to be illuminated: but he will
+understand also that the sea winds are bad librarians; that, when once
+the painted stucco began to fade or to fall, the unsightliness of the
+defaced color would necessitate its immediate restoration; and that
+therefore, of all the chromatic decoration of the Gothic palaces, there
+is hardly a fragment left.
+
+Happily, in the pictures of Gentile Bellini, the fresco coloring of the
+Gothic palaces is recorded, as it still remained in his time; not with
+rigid accuracy, but quite distinctly enough to enable us, by comparing
+it with the existing colored designs in the manuscripts and glass of the
+period, to ascertain precisely what it must have been.
+
+Sec. XXXII. The walls were generally covered with chequers of very warm
+color, a russet inclining to scarlet, more or less relieved with white,
+black, and grey; as still seen in the only example which, having been
+executed in marble, has been perfectly preserved, the front of the Ducal
+Palace. This, however, owing to the nature of its materials, was a
+peculiarly simple example; the ground is white, crossed with double bars
+of pale red, and in the centre of each chequer there is a cross,
+alternately black with a red centre and red with a black centre where
+the arms cross. In painted work the grounds would be, of course, as
+varied and complicated as those of manuscripts; but I only know of one
+example left, on the Casa Sagredo, where, on some fragments of stucco, a
+very early chequer background is traceable, composed of crimson
+quatrefoils interlaced, with cherubim stretching their wings filling the
+intervals. A small portion of this ground is seen beside the window
+taken from the palace, Vol. II. Plate XIII. fig. 1.
+
+Sec. XXXIII. It ought to be especially noticed, that, in all chequered
+patterns employed in the colored designs of these noble periods, the
+greatest care is taken to mark that they are _grounds_ of design rather
+than designs themselves. Modern architects, in such minor imitations as
+they are beginning to attempt, endeavor to dispose the parts in the
+patterns so as to occupy certain symmetrical positions with respect to
+the parts of the architecture. A Gothic builder never does this: he cuts
+his ground into pieces of the shape he requires with utter
+remorselessness, and places his windows or doors upon it with no regard
+whatever to the lines in which they cut the pattern: and, in
+illuminations of manuscripts, the chequer itself is constantly changed
+in the most subtle and arbitrary way, wherever there is the least chance
+of its regularity attracting the eye, and making it of importance. So
+_intentional_ is this, that a diaper pattern is often set obliquely to
+the vertical lines of the designs, for fear it should appear in any way
+connected with them.
+
+Sec. XXXIV. On these russet or crimson backgrounds the entire space of
+the series of windows was relieved, for the most part, as a subdued white
+field of alabaster; and on this delicate and veined white were set the
+circular disks of purple and green. The arms of the family were of
+course blazoned in their own proper colors, but I think generally on a
+pure azure ground; the blue color is still left behind the shields in
+the Casa Priuli and one or two more of the palaces which are unrestored,
+and the blue ground was used also to relieve the sculptures of religious
+subject. Finally, all the mouldings, capitals, cornices, cusps, and
+traceries, were either entirely gilded or profusely touched with gold.
+
+The whole front of a Gothic palace in Venice may, therefore, be simply
+described as a field of subdued russet, quartered with broad sculptured
+masses of white and gold; these latter being relieved by smaller inlaid
+fragments of blue, purple, and deep green.
+
+Sec. XXXV. Now, from the beginning of the fourteenth century, when
+painting and architecture were thus united, two processes of change
+went on simultaneously to the beginning of the seventeenth. The merely
+decorative chequerings on the walls yielded gradually to more elaborate
+paintings of figure-subject; first small and quaint, and then enlarging
+into enormous pictures filled by figures generally colossal. As these
+paintings became of greater merit and importance, the architecture with
+which they were associated was less studied; and at last a style was
+introduced in which the framework of the building was little more
+interesting than that of a Manchester factory, but the whole space of
+its walls was covered with the most precious fresco paintings. Such
+edifices are of course no longer to be considered as forming an
+architectural school; they were merely large preparations of artists'
+panels; and Titian, Giorgione, and Veronese no more conferred merit on
+the later architecture of Venice, as such, by painting on its facades,
+than Landseer or Watts could confer merit on that of London by first
+whitewashing and then painting its brick streets from one end to the
+other.
+
+Sec. XXXVI. Contemporarily with this change in the relative values of the
+color decoration and the stone-work, one equally important was taking
+place in the opposite direction, but of course in another group of
+buildings. For in proportion as the architect felt himself thrust aside
+or forgotten in one edifice, he endeavored to make himself principal in
+another; and, in retaliation for the painter's entire usurpation of
+certain fields of design, succeeded in excluding him totally from those
+in which his own influence was predominant. Or, more accurately
+speaking, the architects began to be too proud to receive assistance
+from the colorists; and these latter sought for ground which the
+architect had abandoned, for the unrestrained display of their own
+skill. And thus, while one series of edifices is continually becoming
+feebler in design and richer in superimposed paintings, another, that of
+which we have so often spoken as the earliest or Byzantine Renaissance,
+fragment by fragment rejects the pictorial decoration; supplies its
+place first with marbles, and then, as the latter are felt by the
+architect, daily increasing in arrogance and deepening in coldness, to
+be too bright for his dignity, he casts even these aside one by one: and
+when the last porphyry circle has vanished from the facade, we find two
+palaces standing side by side, one built, so far as mere masonry goes,
+with consummate care and skill, but without the slightest vestige of
+color in any part of it; the other utterly without any claim to interest
+in its architectural form, but covered from top to bottom with paintings
+by Veronese. At this period, then, we bid farewell to color, leaving the
+painters to their own peculiar field; and only regretting that they
+waste their noblest work on walls, from which in a couple of centuries,
+if not before, the greater part of their labor must be effaced. On the
+other hand, the architecture whose decline we are tracing, has now
+assumed an entirely new condition, that of the Central or True
+Renaissance, whose nature we are to examine in the next chapter.
+
+Sec. XXXVII. But before leaving these last palaces over which the
+Byzantine influence extended itself, there is one more lesson to be
+learned from them of much importance to us. Though in many respects
+debased in style, they are consummate in workmanship, and unstained in
+honor; there is no imperfection in them, and no dishonesty. That there is
+absolutely _no_ imperfection, is indeed, as we have seen above, a proof of
+their being wanting in the highest qualities of architecture; but, as
+lessons in masonry, they have their value, and may well be studied for the
+excellence they display in methods of levelling stones, for the
+precision of their inlaying, and other such qualities, which in them are
+indeed too principal, yet very instructive in their particular way.
+
+Sec. XXXVIII. For instance, in the inlaid design of the dove with the
+olive branch, from the Casa Trevisan (Vol. I. Plate XX. p. 369), it is
+impossible for anything to go beyond the precision with which the olive
+leaves are cut out of the white marble; and, in some wreaths of laurel
+below, the rippled edge of each leaf is as finely and easily drawn, as
+if by a delicate pencil. No Florentine table is more exquisitely
+finished than the facade of this entire palace; and as ideals of an
+executive perfection, which, though we must not turn aside from our main
+path to reach it, may yet with much advantage be kept in our sight and
+memory, these palaces are most notable amidst the architecture of
+Europe. The Rio Facade of the Ducal Palace, though very sparing in
+color, is yet, as an example of finished masonry in a vast building, one
+of the finest things, not only in Venice, but in the world. It differs
+from other work of the Byzantine Renaissance, in being on a very large
+scale; and it still retains one pure Gothic character, which adds not a
+little to its nobleness, that of perpetual variety. There is hardly one
+window of it, or one panel, that is like another; and this continual
+change so increases its apparent size by confusing the eye, that, though
+presenting no bold features, or striking masses of any kind, there are
+few things in Italy more impressive than the vision of it overhead, as
+the gondola glides from beneath the Bridge of Sighs. And lastly (unless
+we are to blame these buildings for some pieces of very childish
+perspective), they are magnificently honest, as well as perfect. I do
+not remember even any gilding upon them; all is pure marble, and of the
+finest kind.[5]
+
+And therefore, in finally leaving the Ducal Palace,[6] let us take with
+us one more lesson, the last which we shall receive from the Stones of
+Venice, except in the form of a warning.
+
+Sec. XXXIX. The school of architecture which we have just been examining
+is, as we have seen above, redeemed from severe condemnation by its
+careful and noble use of inlaid marbles as a means of color. From that
+time forward, this art has been unknown, or despised; the frescoes of
+the swift and daring Venetian painters long contended with the inlaid
+marbles, outvying them with color, indeed more glorious than theirs, but
+fugitive as the hues of woods in autumn; and, at last, as the art itself
+of painting in this mighty manner failed from among men,[7] the modern
+decorative system established itself, which united the meaninglessness
+of the veined marble with the evanescence of the fresco, and completed
+the harmony by falsehood.
+
+Sec. XL. Since first, in the second chapter of the "Seven Lamps," I
+endeavored to show the culpableness, as well as the baseness, of our
+common modes of decoration by painted imitation of various woods or
+marbles, the subject has been discussed in various architectural works,
+and is evidently becoming one of daily increasing interest. When it is
+considered how many persons there are whose means of livelihood consist
+altogether in these spurious arts, and how difficult it is, even for the
+most candid, to admit a conviction contrary both to their interests and
+to their inveterate habits of practice and thought, it is rather a
+matter of wonder, that the cause of Truth should have found even a few
+maintainers, than that it should have encountered a host of adversaries.
+It has, however, been defended repeatedly by architects themselves, and
+so successfully, that I believe, so far as the desirableness of this or
+that method of ornamentation is to be measured by the fact of its simple
+honesty or dishonesty, there is little need to add anything to what has
+been already urged upon the subject. But there are some points connected
+with the practice of imitating marble, which I have been unable to touch
+upon until now, and by the consideration of which we may be enabled to
+see something of the _policy_ of honesty in this matter, without in the
+least abandoning the higher ground of principle.
+
+Sec. XLI. Consider, then, first, what marble seems to have been made for.
+Over the greater part of the surface of the world, we find that a rock
+has been providentially distributed, in a manner particularly pointing
+it out as intended for the service of man. Not altogether a common rock,
+it is yet rare enough to command a certain degree of interest and
+attention wherever it is found; but not so rare as to preclude its use
+for any purpose to which it is fitted. It is exactly of the consistence
+which is best adapted for sculpture: that is to say, neither hard nor
+brittle, nor flaky nor splintery, but uniform, and delicately, yet not
+ignobly, soft,--exactly soft enough to allow the sculptor to work it
+without force, and trace on it the finest lines of finished form; and
+yet so hard as never to betray the touch or moulder away beneath the
+steel; and so admirably crystallized, and of such permanent elements,
+that no rains dissolve it, no time changes it, no atmosphere decomposes
+it: once shaped, it is shaped for ever, unless subjected to actual
+violence or attrition. This rock, then, is prepared by Nature for the
+sculptor and architect, just as paper is prepared by the manufacturer
+for the artist, with as great--nay, with greater--care, and more perfect
+adaptation of the material to the requirements. And of this marble
+paper, some is white and some colored; but more is colored than white,
+because the white is evidently meant for sculpture, and the colored for
+the covering of large surfaces.
+
+Sec. XLII. Now, if we would take Nature at her word, and use this precious
+paper which she has taken so much care to provide for us (it is a long
+process, the making of that paper; the pulp of it needing the subtlest
+possible solution, and the pressing of it--for it is all
+hot-pressed--having to be done under the saw, or under something at
+least as heavy); if, I say, we use it as Nature would have us, consider
+what advantages would follow. The colors of marble are mingled for us
+just as if on a prepared palette. They are of all shades and hues
+(except bad ones), some being united and even, some broken, mixed, and
+interrupted, in order to supply, as far as possible, the want of the
+painter's power of breaking and mingling the color with the brush. But
+there is more in the colors than this delicacy of adaptation. There is
+history in them. By the manner in which they are arranged in every piece
+of marble, they record the means by which that marble has been produced,
+and the successive changes through which it has passed. And in all their
+veins and zones, and flame-like stainings, or broken and disconnected
+lines, they write various legends, never untrue, of the former political
+state of the mountain kingdom to which they belonged, of its infirmities
+and fortitudes, convulsions and consolidations, from the beginning of
+time.
+
+Now, if we were never in the habit of seeing anything but real marbles,
+this language of theirs would soon begin to be understood; that is to
+say, even the least observant of us would recognize such and such stones
+as forming a peculiar class, and would begin to inquire where they came
+from, and, at last, take some feeble interest in the main question, Why
+they were only to be found in that or the other place, and how they
+came to make a part of this mountain, and not of that? And in a little
+while, it would not be possible to stand for a moment at a shop door,
+leaning against the pillars of it, without remembering or questioning of
+something well worth the memory or the inquiry, touching the hills of
+Italy, or Greece, or Africa, or Spain; and we should be led on from
+knowledge to knowledge, until even the unsculptured walls of our streets
+became to us volumes as precious as those of our libraries.
+
+Sec. XLIII. But the moment we admit imitation of marble, this source of
+knowledge is destroyed. None of us can be at the pains to go through the
+work of verification. If we knew that every colored stone we saw was
+natural, certain questions, conclusions, interests, would force
+themselves upon us without any effort of our own; but we have none of us
+time to stop in the midst of our daily business, to touch and pore over,
+and decide with painful minuteness of investigation, whether such and
+such a pillar be stucco or stone. And the whole field of this knowledge,
+which Nature intended us to possess when we were children, is hopelessly
+shut out from us. Worse than shut out, for the mass of coarse imitations
+confuses our knowledge acquired from other sources; and our memory of
+the marbles we have perhaps once or twice carefully examined, is
+disturbed and distorted by the inaccuracy of the imitations which are
+brought before us continually.
+
+Sec. XLIV. But it will be said, that it is too expensive to employ real
+marbles in ordinary cases. It may be so: yet not always more expensive
+than the fitting windows with enormous plate glass, and decorating them
+with elaborate stucco mouldings and other useless sources of expenditure
+in modern building; nay, not always in the end more expensive than the
+frequent repainting of the dingy pillars, which a little water dashed
+against them would refresh from day to day, if they were of true stone.
+But, granting that it be so, in that very costliness, checking their
+common use in certain localities, is part of the interest of marbles,
+considered as history. Where they are not found, Nature has supplied
+other materials,--clay for brick, or forest for timber,--in the working
+of which she intends other characters of the human mind to be developed,
+and by the proper use of which certain local advantages will assuredly
+be attained, while the delightfulness and meaning of the precious
+marbles will be felt more forcibly in the districts where they occur, or
+on the occasions when they may be procured.
+
+Sec. XLV. It can hardly be necessary to add, that, as the imitation of
+marbles interferes with and checks the knowledge of geography and
+geology, so the imitation of wood interferes with that of botany; and
+that our acquaintance with the nature, uses, and manner of growth of the
+timber trees of our own and of foreign countries, would probably, in the
+majority of cases, become accurate and extensive, without any labor or
+sacrifice of time, were not all inquiry checked, and all observation
+betrayed, by the wretched labors of the "Grainer."
+
+Sec. XLVI. But this is not all. As the practice of imitation retards
+knowledge, so also it retards art.
+
+There is not a meaner occupation for the human mind than the imitation
+of the stains and striae of marble and wood. When engaged in any easy and
+simple mechanical occupation, there is still some liberty for the mind
+to leave the literal work; and the clash of the loom or the activity of
+the fingers will not always prevent the thoughts from some happy
+expatiation in their own domains. But the grainer must think of what he
+is doing; and veritable attention and care, and occasionally
+considerable skill, are consumed in the doing of a more absolute nothing
+than I can name in any other department of painful idleness. I know not
+anything so humiliating as to see a human being, with arms and limbs
+complete, and apparently a head, and assuredly a soul, yet into the
+hands of which when you have put a brush and pallet, it cannot do
+anything with them but imitate a piece of wood. It cannot color, it has
+no ideas of color; it cannot draw, it has no ideas of form; it cannot
+caricature, it has no ideas of humor. It is incapable of anything beyond
+knots. All its achievement, the entire result of the daily application
+of its imagination and immortality, is to be such a piece of texture as
+the sun and dew are sucking up out of the muddy ground, and weaving
+together, far more finely, in millions of millions of growing branches,
+over every rood of waste woodland and shady hill.
+
+Sec. XLVII. But what is to be done, the reader asks, with men who are
+capable of nothing else than this? Nay, they may be capable of
+everything else, for all we know, and what we are to do with them I will
+try to say in the next chapter; but meanwhile one word more touching the
+higher principles of action in this matter, from which we have descended
+to those of expediency. I trust that some day the language of Types will
+be more read and understood by us than it has been for centuries; and
+when this language, a better one than either Greek or Latin, is again
+recognized amongst us, we shall find, or remember, that as the other
+visible elements of the universe--its air, its water, and its flame--set
+forth, in their pure energies, the life-giving, purifying, and
+sanctifying influences of the Deity upon His creatures, so the earth, in
+its purity, sets forth His eternity and His TRUTH. I have dwelt above on
+the historical language of stones; let us not forget this, which is
+their theological language; and, as we would not wantonly pollute the
+fresh waters when they issue forth in their clear glory from the rock,
+nor stay the mountain winds into pestilential stagnancy, nor mock the
+sunbeams with artificial and ineffective light; so let us not by our own
+base and barren falsehoods, replace the crystalline strength and burning
+color of the earth from which we were born, and to which we must return;
+the earth which, like our own bodies, though dust in its degradation, is
+full of splendor when God's hand gathers its atoms; and which was for
+ever sanctified by Him, as the symbol no less of His love than of His
+truth, when He bade the high priest bear the names of the Children of
+Israel on the clear stones of the Breastplate of Judgment.
+
+
+FOOTNOTES:
+
+  [1] There is a curious instance of this in the modern imitations of
+    the Gothic capitals of the Casa d' Oro, employed in its
+    restorations. The old capitals look like clusters of leaves, the
+    modern ones like kneaded masses of dough with holes in them.
+
+  [2] Not that even these men were able to wear it altogether without
+    harm, as we shall see in the next chapter.
+
+  [3] Appendix 4, "Date of Palaces of Byzantine Renaissance."
+
+  [4] In the various works which Mr. Prout has written on light and
+    shade, no principle will be found insisted on more strongly than
+    this carrying of the dark into the light, and _vice versa_. It is
+    curious to find the untaught instinct of a merely picturesque artist
+    in the nineteenth century, fixing itself so intensely on a principle
+    which regulated the entire sacred composition of the thirteenth. I
+    say "untaught" instinct, for Mr. Prout was, throughout his life, the
+    discoverer of his own principles; fortunately so, considering what
+    principles were taught in his time, but unfortunately in the
+    abstract, for there were gifts in him, which, had there been any
+    wholesome influences to cherish them, might have made him one of the
+    greatest men of his age. He was great, under all adverse
+    circumstances, but the mere wreck of what he might have been, if,
+    after the rough training noticed in my pamphlet on Pre-Raphaelitism,
+    as having fitted him for his great function in the world, he had met
+    with a teacher who could have appreciated his powers, and directed
+    them.
+
+  [5] There may, however, be a kind of dishonesty even in the use of
+    marble, if it is attempted to make the marble look like something
+    else. See the final or Venetian Index under head "Scalzi."
+
+  [6] Appendix 5, "Renaissance Side of Ducal Palace."
+
+  [7] We have, as far as I _know_, at present among us, only one
+    painter, G. F. Watts, who is capable of design in color on a large
+    scale. He stands alone among our artists of the old school, in his
+    perception of the value of breadth in distant masses, and in the
+    vigor of invention by which such breadth must be sustained; and his
+    power of expression and depth of thought are not less remarkable
+    than his bold conception of color effect. Very probably some of the
+    Pre-Raphaelites have the gift also; I am nearly certain that Rosetti
+    has it, and I think also Millais; but the experiment has yet to be
+    tried. I wish it could be made in Mr. Hope's church in Margaret
+    Street.
+
+
+
+
+CHAPTER II.
+
+ROMAN RENAISSANCE.
+
+
+Sec. I. Of all the buildings in Venice, later in date than the final
+additions to the Ducal Palace, the noblest is, beyond all question, that
+which, having been condemned by its proprietor, not many years ago, to
+be pulled down and sold for the value of its materials, was rescued by
+the Austrian government, and appropriated--the government officers
+having no other use for it--to the business of the Post-Office; though
+still known to the gondolier by its ancient name, the Casa Grimani. It
+is composed of three stories of the Corinthian order, at once simple,
+delicate, and sublime; but on so colossal a scale, that the
+three-storied palaces on its right and left only reach to the cornice
+which marks the level of its first floor. Yet it is not at first
+perceived to be so vast; and it is only when some expedient is employed
+to hide it from the eye, that by the sudden dwarfing of the whole reach
+of the Grand Canal, which it commands, we become aware that it is to the
+majesty of the Casa Grimani that the Rialto itself, and the whole group
+of neighboring buildings, owe the greater part of their impressiveness.
+Nor is the finish of its details less notable than the grandeur of their
+scale. There is not an erring line, nor a mistaken proportion,
+throughout its noble front; and the exceeding fineness of the chiselling
+gives an appearance of lightness to the vast blocks of stone out of
+whose perfect union that front is composed. The decoration is sparing,
+but delicate: the first story only simpler than the rest, in that it has
+pilasters instead of shafts, but all with Corinthian capitals, rich in
+leafage, and fruited delicately; the rest of the walls flat and smooth,
+and the mouldings sharp and shallow, so that the bold shafts look like
+crystals of beryl running through a rock of quartz.
+
+Sec. II. This palace is the principal type at Venice, and one of the best
+in Europe, of the central architecture of the Renaissance schools; that
+carefully studied and perfectly executed architecture to which those
+schools owe their principal claims to our respect, and which became the
+model of most of the important works subsequently produced by civilized
+nations. I have called it the Roman Renaissance, because it is founded,
+both in its principles of superimposition, and in the style of its
+ornament, upon the architecture of classic Rome at its best period. The
+revival of Latin literature both led to its adoption, and directed its
+form; and the most important example of it which exists is the modern
+Roman basilica of St. Peter's. It had, at its Renaissance or new birth,
+no resemblance either to Greek, Gothic, or Byzantine forms, except in
+retaining the use of the round arch, vault, and dome; in the treatment
+of all details, it was exclusively Latin; the last links of connexion
+with mediaeval tradition having been broken by its builders in their
+enthusiasm for classical art, and the forms of true Greek or Athenian
+architecture being still unknown to them. The study of these noble Greek
+forms has induced various modifications of the Renaissance in our own
+times; but the conditions which are found most applicable to the uses of
+modern life are still Roman, and the entire style may most fitly be
+expressed by the term "Roman Renaissance."
+
+Sec. III. It is this style, in its purity and fullest form,--represented
+by such buildings as the Casa Grimani at Venice (built by San Micheli),
+the Town Hall at Vicenza (by Palladio), St. Peter's at Rome (by Michael
+Angelo), St. Paul's and Whitehall in London (by Wren and Inigo
+Jones),--which is the true antagonist of the Gothic school. The
+intermediate, or corrupt conditions of it, though multiplied over
+Europe, are no longer admired by architects, or made the subjects of
+their study; but the finished work of this central school is still, in
+most cases, the model set before the student of the nineteenth century,
+as opposed to those Gothic, Romanesque, or Byzantine forms which have
+long been considered barbarous, and are so still by most of the leading
+men of the day. That they are, on the contrary, most noble and
+beautiful, and that the antagonistic Renaissance is, in the main,
+unworthy and unadmirable, whatever perfection of a certain kind it may
+possess, it was my principal purpose to show, when I first undertook the
+labor of this work. It has been attempted already to put before the
+reader the various elements which unite in the Nature of Gothic, and to
+enable him thus to judge, not merely of the beauty of the forms which
+that system has produced already, but of its future applicability to the
+wants of mankind, and endless power over their hearts. I would now
+endeavor, in like manner, to set before the reader the Nature of
+Renaissance, and thus to enable him to compare the two styles under the
+same light, and with the same enlarged view of their relations to the
+intellect, and capacities for the service, of man.
+
+Sec. IV. It will not be necessary for me to enter at length into any
+examination of its external form. It uses, whether for its roofs of
+aperture or roofs proper, the low gable or circular arch: but it differs
+from Romanesque work in attaching great importance to the horizontal
+lintel or architrave _above_ the arch; transferring the energy of the
+principal shafts to the supporting of this horizontal beam, and thus
+rendering the arch a subordinate, if not altogether a superfluous,
+feature. The type of this arrangement has been given already at _c_,
+Fig. XXXVI., p. 145, Vol. I.: and I might insist at length upon the
+absurdity of a construction in which the shorter shaft, which has the
+real weight of wall to carry, is split into two by the taller one, which
+has nothing to carry at all,--that taller one being strengthened,
+nevertheless, as if the whole weight of the building bore upon it; and
+on the ungracefulness, never conquered in any Palladian work, of the two
+half-capitals glued, as it were, against the slippery round sides of the
+central shaft. But it is not the form of this architecture against which
+I would plead. Its defects are shared by many of the noblest forms of
+earlier building, and might have been entirely atoned for by excellence
+of spirit. But it is the moral nature of it which is corrupt, and which
+it must, therefore, be our principal business to examine and expose.
+
+Sec. V. The moral, or immoral, elements which unite to form the spirit
+of Central Renaissance architecture are, I believe, in the main,
+two,--Pride and Infidelity; but the pride resolves itself into three
+main branches,--Pride of Science, Pride of State, and Pride of System:
+and thus we have four separate mental conditions which must be examined
+successively.
+
+Sec. VI. 1. PRIDE OF SCIENCE. It would have been more charitable, but more
+confusing, to have added another element to our list, namely the _Love_
+of Science; but the love is included in the pride, and is usually so
+very subordinate an element that it does not deserve equality of
+nomenclature. But, whether pursued in pride or in affection (how far by
+either we shall see presently), the first notable characteristic of the
+Renaissance central school is its introduction of accurate knowledge
+into all its work, so far as it possesses such knowledge; and its
+evident conviction, that such science is necessary to the excellence of
+the work, and is the first thing to be expressed therein. So that all
+the forms introduced, even in its minor ornament, are studied with the
+utmost care; the anatomy of all animal structure is thoroughly
+understood and elaborately expressed, and the whole of the execution
+skilful and practised in the highest degree. Perspective, linear and
+aerial, perfect drawing and accurate light and shade in painting, and
+true anatomy in all representations of the human form, drawn or
+sculptured, are the first requirements in all the work of this school.
+
+Sec. VII. Now, first considering all this in the most charitable light,
+as pursued from a real love of truth, and not from vanity, it would, of
+course, have been all excellent and admirable, had it been regarded as
+the aid of art, and not as its essence. But the grand mistake of the
+Renaissance schools lay in supposing that science and art are the same
+things, and that to advance in the one was necessarily to perfect the
+other. Whereas they are, in reality, things not only different, but so
+opposed, that to advance in the one is, in ninety-nine cases out of the
+hundred, to retrograde in the other. This is the point to which I would
+at present especially bespeak the reader's attention.
+
+Sec. VIII. Science and art are commonly distinguished by the nature of
+their actions; the one as knowing, the other as changing, producing, or
+creating. But there is a still more important distinction in the nature
+of the things they deal with. Science deals exclusively with things as
+they are in themselves; and art exclusively with things as they affect
+the human senses and human soul.[8] Her work is to portray the
+appearance of things, and to deepen the natural impressions which they
+produce upon living creatures. The work of science is to substitute
+facts for appearances, and demonstrations for impressions. Both,
+observe, are equally concerned with truth; the one with truth of aspect,
+the other with truth of essence. Art does not represent things falsely,
+but truly as they appear to mankind. Science studies the relations of
+things to each other: but art studies only their relations to man; and
+it requires of everything which is submitted to it imperatively this,
+and only this,--what that thing is to the human eyes and human heart,
+what it has to say to men, and what it can become to them: a field of
+question just as much vaster than that of science, as the soul is larger
+than the material creation.
+
+Sec. IX. Take a single instance. Science informs us that the sun is
+ninety-five millions of miles distant from, and 111 times broader than,
+the earth; that we and all the planets revolve round it; and that it
+revolves on its own axis in 25 days, 14 hours and 4 minutes. With all
+this, art has nothing whatsoever to do. It has no care to know anything
+of this kind. But the things which it does care to know, are these: that
+in the heavens God hath set a tabernacle for the sun, "which is as a
+bridegroom coming out of his chamber, and rejoiceth as a strong man to
+run a race. His going forth is from the end of the heaven, and his
+circuit unto the ends of it, and there is nothing hid from the heat
+thereof."
+
+Sec. X. This, then, being the kind of truth with which art is exclusively
+concerned, how is such truth as this to be ascertained and accumulated?
+Evidently, and only, by perception and feeling. Never either by
+reasoning, or report. Nothing must come between Nature and the artist's
+sight; nothing between God and the artist's soul. Neither calculation
+nor hearsay,--be it the most subtle of calculations, or the wisest of
+sayings,--may be allowed to come between the universe, and the witness
+which art bears to its visible nature. The whole value of that witness
+depends on its being _eye_-witness; the whole genuineness,
+acceptableness, and dominion of it depend on the personal assurance of
+the man who utters it. All its victory depends on the veracity of the
+one preceding word, "Vidi."
+
+The whole function of the artist in the world is to be a seeing and
+feeling creature; to be an instrument of such tenderness and
+sensitiveness, that no shadow, no hue, no line, no instantaneous and
+evanescent expression of the visible things around him, nor any of the
+emotions which they are capable of conveying to the spirit which has
+been given him, shall either be left unrecorded, or fade from the book
+of record. It is not his business either to think, to judge, to argue,
+or to know. His place is neither in the closet, nor on the bench, nor at
+the bar, nor in the library. They are for other men and other work. He
+may think, in a by-way; reason, now and then, when he has nothing better
+to do; know, such fragments of knowledge as he can gather without
+stooping, or reach without pains; but none of these things are to be his
+care. The work of his life is to be twofold only: to see, to feel.
+
+Sec. XI. Nay, but, the reader perhaps pleads with me, one of the great
+uses of knowledge is to open the eyes; to make things perceivable which,
+never would have been seen, unless first they had been known.
+
+Not so. This could only be said or believed by those who do not know
+what the perceptive faculty of a great artist is, in comparison with
+that of other men. There is no great painter, no great workman in any
+art, but he sees more with the glance of a moment than he could learn by
+the labor of a thousand hours. God has made every man fit for his work;
+He has given to the man whom he means for a student, the reflective,
+logical, sequential faculties; and to the man whom He means for an
+artist, the perceptive, sensitive, retentive faculties. And neither of
+these men, so far from being able to do the other's work, can even
+comprehend the way in which it is done. The student has no understanding
+of the vision, nor the painter of the process; but chiefly the student
+has no idea of the colossal grasp of the true painter's vision and
+sensibility.
+
+The labor of the whole Geological Society, for the last fifty years, has
+but now arrived at the ascertainment of those truths respecting mountain
+form which Turner saw and expressed with a few strokes of a camel's hair
+pencil fifty years ago, when he was a boy. The knowledge of all the laws
+of the planetary system, and of all the curves of the motion of
+projectiles, would never enable the man of science to draw a waterfall
+or a wave; and all the members of Surgeons' Hall helping each other
+could not at this moment see, or represent, the natural movement of a
+human body in vigorous action, as a poor dyer's son did two hundred
+years ago.[9]
+
+Sec. XII. But surely, it is still insisted, granting this peculiar faculty
+to the painter, he will still see more as he knows more, and the more
+knowledge he obtains, therefore, the better. No; not even so. It is
+indeed true, that, here and there, a piece of knowledge will enable the
+eye to detect a truth which might otherwise have escaped it; as, for
+instance, in watching a sunrise, the knowledge of the true nature of the
+orb may lead the painter to feel more profoundly, and express more
+fully, the distance between the bars of cloud that cross it, and the
+sphere of flame that lifts itself slowly beyond them into the infinite
+heaven. But, for one visible truth to which knowledge thus opens the
+eyes, it seals them to a thousand: that is to say, if the knowledge
+occur to the mind so as to occupy its powers of contemplation at the
+moment when the sight work is to be done, the mind retires inward, fixes
+itself upon the known fact, and forgets the passing visible ones; and a
+_moment_ of such forgetfulness loses more to the painter than a day's
+thought can gain. This is no new or strange assertion. Every person
+accustomed to careful reflection of any kind, knows that its natural
+operation is to close his eyes to the external world. While he is
+thinking deeply, he neither sees nor feels, even though naturally he may
+possess strong powers of sight and emotion. He who, having journeyed all
+day beside the Leman Lake, asked of his companions, at evening, where it
+was,[10] probably was not wanting in sensibility; but he was generally a
+thinker, not a perceiver. And this instance is only an extreme one of
+the effect which, in all cases, knowledge, becoming a subject of
+reflection, produces upon the sensitive faculties. It must be but poor
+and lifeless knowledge, if it has no tendency to force itself forward,
+and become ground for reflection, in despite of the succession of
+external objects. It will not obey their succession. The first that
+comes gives it food enough for its day's work; it is its habit, its
+duty, to cast the rest aside, and fasten upon that. The first thing that
+a thinking and knowing man sees in the course of the day, he will not
+easily quit. It is not his way to quit anything without getting to the
+bottom of it, if possible. But the artist is bound to receive all things
+on the broad, white, lucid field of his soul, not to grasp at one. For
+instance, as the knowing and thinking man watches the sunrise, he sees
+something in the color of a ray, or the change of a cloud, that is new
+to him; and this he follows out forthwith into a labyrinth of optical
+and pneumatical laws, perceiving no more clouds nor rays all the
+morning. But the painter must catch all the rays, all the colors that
+come, and see them all truly, all in their real relations and
+succession; therefore, everything that occupies room in his mind he must
+cast aside for the time, as completely as may be. The thoughtful man is
+gone far away to seek; but the perceiving man must sit still, and open
+his heart to receive. The thoughtful man is knitting and sharpening
+himself into a two-edged sword, wherewith to pierce. The perceiving man
+is stretching himself into a four-cornered sheet wherewith to catch. And
+all the breadth to which he can expand himself, and all the white
+emptiness into which he can blanch himself, will not be enough to
+receive what God has to give him.
+
+Sec. XIII. What, then, it will be indignantly asked, is an utterly
+ignorant and unthinking man likely to make the best artist? No, not so
+neither. Knowledge is good for him so long as he can keep it utterly,
+servilely, subordinate to his own divine work, and trample it under his
+feet, and out of his way, the moment it is likely to entangle him.
+
+And in this respect, observe, there is an enormous difference between
+knowledge and education. An artist need not be a _learned_ man, in all
+probability it will be a disadvantage to him to become so; but he ought,
+if possible, always to be an _educated_ man: that is, one who has
+understanding of his own uses and duties in the world, and therefore of
+the general nature of the things done and existing in the world; and who
+has so trained himself, or been trained, as to turn to the best and most
+courteous account whatever faculties or knowledge he has. The mind of an
+educated man is greater than the knowledge it possesses; it is like the
+vault of heaven, encompassing the earth which lives and flourishes
+beneath it: but the mind of an educated and learned man is like a
+caoutchouc band, with an everlasting spirit of contraction in it,
+fastening together papers which it cannot open, and keeps others from
+opening.
+
+Half our artists are ruined for want of education, and by the possession
+of knowledge; the best that I have known have been educated, and
+illiterate. The ideal of an artist, however, is not that he should be
+illiterate, but well read in the best books, and thoroughly high bred,
+both in heart and in bearing. In a word, he should be fit for the best
+society, _and should keep out of it_.[11]
+
+Sec. XIV. There are, indeed, some kinds of knowledge with which an artist
+ought to be thoroughly furnished; those, for instance, which enable him
+to express himself; for this knowledge relieves instead of encumbering
+his mind, and permits it to attend to its purposes instead of wearying
+itself about means. The whole mystery of manipulation and manufacture
+should be familiar to the painter from a child. He should know the
+chemistry of all colors and materials whatsoever, and should prepare all
+his colors himself, in a little laboratory of his own. Limiting his
+chemistry to this one object, the amount of practical science necessary
+for it, and such accidental discoveries as might fall in his way in the
+course of his work, of better colors or better methods of preparing
+them, would be an infinite refreshment to his mind; a minor subject of
+interest to which it might turn when jaded with comfortless labor, or
+exhausted with feverish invention, and yet which would never interfere
+with its higher functions, when it chose to address itself to them. Even
+a considerable amount of manual labor, sturdy color-grinding and
+canvas-stretching, would be advantageous; though this kind of work ought
+to be in great part done by pupils. For it is one of the conditions of
+perfect knowledge in these matters, that every great master should have
+a certain number of pupils, to whom he is to impart all the knowledge of
+materials and means which he himself possesses, as soon as possible; so
+that, at any rate, by the time they are fifteen years old, they may know
+all that he knows himself in this kind; that is to say, all that the
+world of artists know, and his own discoveries besides, and so never be
+troubled about methods any more. Not that the knowledge even of his own
+particular methods is to be of purpose confined to himself and his
+pupils, but that necessarily it must be so in some degree; for only
+those who see him at work daily can understand his small and
+multitudinous ways of practice. These cannot verbally be explained to
+everybody, nor is it needful that they should, only let them be
+concealed from nobody who cares to see them; in which case, of course,
+his attendant scholars will know them best. But all that can be made
+public in matters of this kind should be so with all speed, every artist
+throwing his discovery into the common stock, and the whole body of
+artists taking such pains in this department of science as that there
+shall be no unsettled questions about any known material or method: that
+it shall be an entirely ascertained and indisputable matter which is the
+best white, and which the best brown; which the strongest canvas, and
+safest varnish; and which the shortest and most perfect way of doing
+everything known up to that time: and if any one discovers a better, he
+is to make it public forthwith. All of them taking care to embarrass
+themselves with no theories or reasons for anything, but to work
+empirically only: it not being in any wise their business to know
+whether light moves in rays or in waves; or whether the blue rays of the
+spectrum move slower or faster than the rest; but simply to know how
+many minutes and seconds such and such a powder must be calcined, to
+give the brightest blue.
+
+Sec. XV. Now it is perhaps the most exquisite absurdity of the whole
+Renaissance system, that while it has encumbered the artist with every
+species of knowledge that is of no use to him, this one precious and
+necessary knowledge it has utterly lost. There is not, I believe, at
+this moment, a single question which could be put respecting pigments
+and methods, on which the body of living artists would agree in their
+answers. The lives of artists are passed in fruitless experiments;
+fruitless, because undirected by experience and uncommunicated in their
+results. Every man has methods of his own, which he knows to be
+insufficient, and yet jealously conceals from his fellow-workmen: every
+colorman has materials of his own, to which it is rare that the artist
+can trust: and in the very front of the majestic advance of chemical
+science, the empirical science of the artist has been annihilated, and
+the days which should have led us to higher perfection are passed in
+guessing at, or in mourning over, lost processes; while the so-called
+Dark ages, possessing no more knowledge of chemistry than a village
+herbalist does now, discovered, established, and put into daily practice
+such methods of operation as have made their work, at this day, the
+despair of all who look upon it.
+
+Sec. XVI. And yet even this, to the painter, the safest of sciences, and
+in some degree necessary, has its temptations, and capabilities of abuse.
+For the simplest means are always enough for a great man; and when once
+he has obtained a few ordinary colors, which he is sure will stand, and
+a white surface that will not darken nor moulder, nor rend, he is master
+of the world, and of his fellow-men. And, indeed, as if in these times
+we were bent on furnishing examples of every species of opposite error,
+while we have suffered the traditions to escape us of the simple methods
+of doing simple things, which are enough for all the arts, and to all
+the ages, we have set ourselves to discover fantastic modes of doing
+fantastic things,--new mixtures and manipulations of metal, and
+porcelain, and leather, and paper, and every conceivable condition of
+false substance and cheap work, to our own infinitely multiplied
+confusion,--blinding ourselves daily more and more to the great,
+changeless, and inevitable truth, that there is but one goodness in art;
+and that is one which the chemist cannot prepare, nor the merchant
+cheapen, for it comes only of a rare human hand, and rare human soul.
+
+Sec. XVII. Within its due limits, however, here is one branch of science
+which the artist may pursue; and, within limits still more strict,
+another also, namely, the science of the appearances of things as they
+have been ascertained and registered by his fellow-men. For no day
+passes but some visible fact is pointed out to us by others, which,
+without their help, we should not have noticed; and the accumulation and
+generalization of visible facts have formed, in the succession of ages,
+the sciences of light and shade, and perspective, linear and aerial: so
+that the artist is now at once put in possession of certain truths
+respecting the appearances of things, which, so pointed out to him, any
+man may in a few days understand and acknowledge; but which, without
+aid, he could not probably discover in his lifetime. I say, probably
+could not, because the time which the history of art shows us to have
+been actually occupied in the discovery and systematization of such
+truth, is no measure of the time _necessary_ for such discovery. The
+lengthened period which elapsed between the earliest and the perfect
+developement of the science of light (if I may so call it) was not
+occupied in the actual effort to ascertain its laws, but in _acquiring
+the disposition to make that effort_. It did not take five centuries to
+find out the appearance of natural objects; but it took five centuries
+to make people care about representing them. An artist of the twelfth
+century did not desire to represent nature. His work was symbolical and
+ornamental. So long as it was intelligible and lovely, he had no care to
+make it like nature. As, for instance, when an old painter represented
+the glory round a saint's head by a burnished plate of pure gold, he had
+no intention of imitating an effect of light. He meant to tell the
+spectator that the figure so decorated was a saint, and to produce
+splendor of effect by the golden circle. It was no matter to him what
+light was like. So soon as it entered into his intention to represent
+the appearance of light, he was not long in discovering the natural
+facts necessary for his purpose.
+
+Sec. XVIII. But, this being fully allowed, it is still true that the
+accumulation of facts now known respecting visible phenomena, is greater
+than any man could hope to gather for himself, and that it is well for
+him to be made acquainted with them; provided always, that he receive
+them only at their true value, and do not suffer himself to be misled by
+them. I say, at their true value; that is, an exceedingly small one. All
+the information which men can receive from the accumulated experience of
+others, is of no use but to enable them more quickly and accurately to
+see for themselves. It will in no wise take the place of this personal
+sight. Nothing can be done well in art, except by vision. Scientific
+principles and experiences are helps to the eye, as a microscope is; and
+they are of exactly as much use _without_ the eye. No science of
+perspective, or of anything else, will enable us to draw the simplest
+natural line accurately, unless we see it and feel it. Science is soon
+at her wits' end. All the professors of perspective in Europe, could
+not, by perspective, draw the line of curve of a sea beach; nay, could
+not outline one pool of the quiet water left among the sand. The eye and
+hand can do it, nothing else. All the rules of aerial perspective that
+ever were written, will not tell me how sharply the pines on the
+hill-top are drawn at this moment on the sky. I shall know if I see
+them, and love them; not till then. I may study the laws of atmospheric
+gradation for fourscore years and ten, and I shall not be able to draw
+so much as a brick-kiln through its own smoke, unless I look at it; and
+that in an entirely humble and unscientific manner, ready to see all
+that the smoke, my master, is ready to show me, and expecting to see
+nothing more.
+
+Sec. XIX. So that all the knowledge a man has must be held cheap, and
+neither trusted nor respected, the moment he comes face to face with
+Nature. If it help him, well; if not, but, on the contrary, thrust
+itself upon him in an impertinent and contradictory temper, and venture
+to set itself in the slightest degree in opposition to, or comparison
+with, his sight, let it be disgraced forthwith. And the slave is less
+likely to take too much upon herself, if she has not been bought for a
+high price. All the knowledge an artist needs, will, in these days, come
+to him almost without his seeking; if he has far to look for it, he may
+be sure he does not want it. Prout became Prout, without knowing a
+single rule of perspective to the end of his days; and all the
+perspective in the Encyclopaedia will never produce us another Prout.
+
+Sec. XX. And observe, also, knowledge is not only very often unnecessary,
+but it is often _untrustworthy_. It is inaccurate, and betrays us where
+the eye would have been true to us. Let us take the single instance of
+the knowledge of aerial perspective, of which the moderns are so proud,
+and see how it betrays us in various ways. First by the conceit of it,
+which often prevents our enjoying work in which higher and better things
+were thought of than effects of mist. The other day I showed a line
+impression of Albert Durer's "St. Hubert" to a modern engraver, who had
+never seen it nor any other of Albert Durer's works. He looked at it for
+a minute contemptuously, then turned away: "Ah, I see that man did not
+know much about aerial perspective!" All the glorious work and thought
+of the mighty master, all the redundant landscape, the living
+vegetation, the magnificent truth of line, were dead letters to him,
+because he happened to have been taught one particular piece of
+knowledge which Durer despised.
+
+Sec. XXI. But not only in the conceit of it, but in the inaccuracy of
+it, this science betrays us. Aerial perspective, as given by the modern
+artist, is, in nine cases out of ten, a gross and ridiculous
+exaggeration, as is demonstrable in a moment. The effect of air in
+altering the hue and depth of color is of course great in the exact
+proportion of the volume of air between the observer and the object. It
+is not violent within the first few yards, and then diminished
+gradually, but it is equal for each foot of interposing air. Now in a
+clear day, and clear climate, such as that generally presupposed in a
+work of fine color, objects are completely visible at a distance of ten
+miles; visible in light and shade, with gradations between the two.
+Take, then, the faintest possible hue of shadow, or of any color, and
+the most violent and positive possible, and set them side by side. The
+interval between them is greater than the real difference (for objects
+may often be seen clearly much farther than ten miles, I have seen Mont
+Blanc at 120) caused by the ten miles of intervening air between any
+given hue of the nearest, and most distant, objects; but let us assume
+it, in courtesy to the masters of aerial perspective, to be the real
+difference. Then roughly estimating a mile at less than it really is,
+also in courtesy to them, or at 5000 feet, we have this difference
+between tints produced by 50,000 feet of air. Then, ten feet of air
+will produce the 5000th part of this difference. Let the reader take the
+two extreme tints, and carefully gradate the one into the other. Let him
+divide this gradated shadow or color into 5000 successive parts; and the
+difference in depth between one of these parts and the next is the exact
+amount of aerial perspective between one object, and another, ten feet
+behind it, on a clear day.
+
+Sec. XXII. Now, in Millais' "Huguenot," the figures were standing about
+three feet from the wall behind them; and the wise world of critics,
+which could find no other fault with the picture, professed to have its
+eyes hurt by the want of an aerial perspective, which, had it been
+accurately given (as, indeed, I believe it was), would have amounted to
+the 10/3-5000th, or less than the 15,000th part of the depth of any
+given color. It would be interesting to see a picture painted by the
+critics, upon this scientific principle. The aerial perspective usually
+represented is entirely conventional and ridiculous; a mere struggle on
+the part of the pretendedly well-informed, but really ignorant, artist,
+to express distances by mist which he cannot by drawing.
+
+It is curious that the critical world is just as much offended by the
+true _presence_ of aerial perspective, over distances of fifty miles,
+and with definite purpose of representing mist, in the works of Turner,
+as by the true _absence_ of aerial perspective, over distances of three
+feet, and in clear weather, in those of Millais.
+
+Sec. XXIII. "Well but," still answers the reader, "this kind of error
+may here and there be occasioned by too much respect for undigested
+knowledge; but, on the whole, the gain is greater than the loss, and the
+fact is, that a picture of the Renaissance period, or by a modern
+master, does indeed represent nature more faithfully than one wrought in
+the ignorance of old times." No, not one whit; for the most part less
+faithfully. Indeed, the outside of nature is more truly drawn; the
+material commonplace, which can be systematized, catalogued, and taught
+to all pains-taking mankind,--forms of ribs and scapulae,[12] of eyebrows
+and lips, and curls of hair. Whatever can be measured and handled,
+dissected and demonstrated,--in a word, whatever is of the body
+only,--that the schools of knowledge do resolutely and courageously
+possess themselves of, and portray. But whatever is immeasurable,
+intangible, indivisible, and of the spirit, that the schools of
+knowledge do as certainly lose, and blot out of their sight, that is to
+say, all that is worth art's possessing or recording at all; for
+whatever can be arrested, measured, and systematized, we can contemplate
+as much as we will in nature herself. But what we want art to do for us
+is to stay what is fleeting, and to enlighten what is incomprehensible,
+to incorporate the things that have no measure, and immortalize the
+things that have no duration. The dimly seen, momentary glance, the
+flitting shadow of faint emotion, the imperfect lines of fading thought,
+and all that by and through such things as these is recorded on the
+features of man, and all that in man's person and actions, and in the
+great natural world, is infinite and wonderful; having in it that spirit
+and power which man may witness, but not weigh; conceive, but not
+comprehend; love, but not limit; and imagine, but not define;--this, the
+beginning and the end of the aim of all noble art, we have, in the
+ancient art, by perception; and we have _not_, in the newer art, by
+knowledge. Giotto gives it us, Orcagna gives it us. Angelico, Memmi,
+Pisano, it matters not who,--all simple and unlearned men, in their
+measure and manner,--give it us; and the learned men that followed them
+give it us not, and we, in our supreme learning, own ourselves at this
+day farther from it than ever.
+
+Sec. XXIV. "Nay," but it is still answered, "this is because we have not
+yet brought our knowledge into right use, but have been seeking to
+accumulate it, rather than to apply it wisely to the ends of art. Let us
+now do this, and we may achieve all that was done by that elder ignorant
+art, and infinitely more." No, not so; for as soon as we try to put our
+knowledge to good use, we shall find that we have much more than we can
+use, and that what more we have is an encumbrance. All our errors in
+this respect arise from a gross misconception as to the true nature of
+knowledge itself. We talk of learned and ignorant men, as if there were
+a certain quantity of knowledge, which to possess was to be learned, and
+which not to possess was to be ignorant; instead of considering that
+knowledge is infinite, and that the man most learned in human estimation
+is just as far from knowing anything as he ought to know it, as the
+unlettered peasant. Men are merely on a lower or higher stage of an
+eminence, whose summit is God's throne, infinitely above all; and there
+is just as much reason for the wisest as for the simplest man being
+discontented with his position, as respects the real quantity of
+knowledge he possesses. And, for both of them, the only true reasons for
+contentment with the sum of knowledge they possess are these: that it is
+the kind of knowledge they need for their duty and happiness in life;
+that all they have is tested and certain, so far as it is in their
+power; that all they have is well in order, and within reach when they
+need it; that it has not cost too much time in the getting; that none of
+it, once got, has been lost; and that there is not too much to be easily
+taken care of.
+
+Sec. XXV. Consider these requirements a little, and the evils that result
+in our education and polity from neglecting them. Knowledge is mental
+food, and is exactly to the spirit what food is to the body (except that
+the spirit needs several sorts of food, of which knowledge is only one),
+and it is liable to the same kind of misuses. It may be mixed and
+disguised by art, till it becomes unwholesome; it may be refined,
+sweetened, and made palatable, until it has lost all its power of
+nourishment; and, even of its best kind, it may be eaten to surfeiting,
+and minister to disease and death.
+
+Sec. XXVI. Therefore, with respect to knowledge, we are to reason and act
+exactly as with respect to food. We no more live to know, than we live
+to eat. We live to contemplate, enjoy, act, adore; and we may know all
+that is to be known in this world, and what Satan knows in the other,
+without being able to do any of these. We are to ask, therefore, first,
+is the knowledge we would have fit food for us, good and simple, not
+artificial and decorated? and secondly, how much of it will enable us
+best for our work; and will leave our hearts light, and our eyes clear?
+For no more than that is to be eaten without the old Eve-sin.
+
+Sec. XXVII. Observe, also, the difference between tasting knowledge,
+and hoarding it. In this respect it is also like food; since, in some
+measure, the knowledge of all men is laid up in granaries, for future
+use; much of it is at any given moment dormant, not fed upon or enjoyed,
+but in store. And by all it is to be remembered, that knowledge in this
+form may be kept without air till it rots, or in such unthreshed
+disorder that it is of no use; and that, however good or orderly, it is
+still only in being tasted that it becomes of use; and that men may
+easily starve in their own granaries, men of science, perhaps, most of
+all, for they are likely to seek accumulation of their store, rather
+than nourishment from it. Yet let it not be thought that I would
+undervalue them. The good and great among them are like Joseph, to whom
+all nations sought to buy corn; or like the sower going forth to sow
+beside all waters, sending forth thither the feet of the ox and the ass:
+only let us remember that this is not all men's work. We are not
+intended to be all keepers of granaries, nor all to be measured by the
+filling of a storehouse; but many, nay, most of us, are to receive day
+by day our daily bread, and shall be as well nourished and as fit for
+our labor, and often, also, fit for nobler and more divine labor, in
+feeding from the barrel of meal that does not waste, and from the cruse
+of oil that does not fail, than if our barns were filled with plenty,
+and our presses bursting out with new wine.
+
+Sec. XXVIII. It is for each man to find his own measure in this matter;
+in great part, also, for others to find it for him, while he is yet a
+youth. And the desperate evil of the whole Renaissance system is, that
+all idea of measure is therein forgotten, that knowledge is thought the
+one and the only good, and it is never inquired whether men are vivified
+by it or paralyzed. Let us leave figures. The reader may not believe the
+analogy I have been pressing so far; but let him consider the subject in
+itself, let him examine the effect of knowledge in his own heart, and
+see whether the trees of knowledge and of life are one now, any more
+than in Paradise. He must feel that the real animating power of
+knowledge is only in the moment of its being first received, when it
+fills us with wonder and joy; a joy for which, observe, the previous
+ignorance is just as necessary as the present knowledge. That man is
+always happy who is in the presence of something which he cannot know to
+the full, which he is always going on to know. This is the necessary
+condition of a finite creature with divinely rooted and divinely
+directed intelligence; this, therefore, its happy state,--but observe, a
+state, not of triumph or joy in what it knows, but of joy rather in the
+continual discovery of new ignorance, continual self-abasement,
+continual astonishment. Once thoroughly our own, the knowledge ceases to
+give us pleasure. It may be practically useful to us, it may be good for
+others, or good for usury to obtain more; but, in itself, once let it be
+thoroughly familiar, and it is dead. The wonder is gone from it, and all
+the fine color which it had when first we drew it up out of the infinite
+sea. And what does it matter how much or how little of it we have laid
+aside, when our only enjoyment is still in the casting of that deep sea
+line? What does it matter? Nay, in one respect, it matters much, and not
+to our advantage. For one effect of knowledge is to deaden the force of
+the imagination and the original energy of the whole man: under the
+weight of his knowledge he cannot move so lightly as in the days of his
+simplicity. The pack-horse is furnished for the journey, the war-horse
+is armed for war; but the freedom of the field and the lightness of the
+limb are lost for both. Knowledge is, at best, the pilgrim's burden or
+the soldier's panoply, often a weariness to them both: and the
+Renaissance knowledge is like the Renaissance armor of plate, binding
+and cramping the human form; while all good knowledge is like the
+crusader's chain mail, which throws itself into folds with the body, yet
+it is rarely so forged as that the clasps and rivets do not gall us. All
+men feel this, though they do not think of it, nor reason out its
+consequences. They look back to the days of childhood as of greatest
+happiness, because those were the days of greatest wonder, greatest
+simplicity, and most vigorous imagination. And the whole difference
+between a man of genius and other men, it has been said a thousand
+times, and most truly, is that the first remains in great part a child,
+seeing with the large eyes of children, in perpetual wonder, not
+conscious of much knowledge,--conscious, rather, of infinite ignorance,
+and yet infinite power; a fountain of eternal admiration, delight, and
+creative force within him meeting the ocean of visible and governable
+things around him.
+
+That is what we have to make men, so far as we may. All are to be men of
+genius in their degree,--rivulets or rivers, it does not matter, so that
+the souls be clear and pure; not dead walls encompassing dead heaps of
+things known and numbered, but running waters in the sweet wilderness of
+things unnumbered and unknown, conscious only of the living banks, on
+which they partly refresh and partly reflect the flowers, and so pass
+on.
+
+Sec. XXIX. Let each man answer for himself how far his knowledge has made
+him this, or how far it is loaded upon him as the pyramid is upon the
+tomb. Let him consider, also, how much of it has cost him labor and time
+that might have been spent in healthy, happy action, beneficial to all
+mankind; how many living souls may have been left uncomforted and
+unhelped by him, while his own eyes were failing by the midnight lamp;
+how many warm sympathies have died within him as he measured lines or
+counted letters; how many draughts of ocean air, and steps on
+mountain-turf, and openings of the highest heaven he has lost for his
+knowledge; how much of that knowledge, so dearly bought, is now
+forgotten or despised, leaving only the capacity of wonder less within
+him, and, as it happens in a thousand instances, perhaps even also the
+capacity of devotion. And let him,--if, after thus dealing with his own
+heart, he can say that his knowledge has indeed been fruitful to
+him,--yet consider how many there are who have been forced by the
+inevitable laws of modern education into toil utterly repugnant to their
+natures, and that in the extreme, until the whole strength of the young
+soul was sapped away; and then pronounce with fearfulness how far, and
+in how many senses, it may indeed be true that the wisdom of this world
+is foolishness with God.
+
+Sec. XXX. Now all this possibility of evil, observe, attaches to knowledge
+pursued for the noblest ends, if it be pursued imprudently. I have
+assumed, in speaking of its effect both on men generally and on the
+artist especially, that it was sought in the true love of it, and with
+all honesty and directness of purpose. But this is granting far too much
+in its favor. Of knowledge in general, and without qualification, it is
+said by the Apostle that "it puffeth up;" and the father of all modern
+science, writing directly in its praise, yet asserts this danger even in
+more absolute terms, calling it a "venomousness" in the very nature of
+knowledge itself.
+
+Sec. XXXI. There is, indeed, much difference in this respect between the
+tendencies of different branches of knowledge; it being a sure rule that
+exactly in proportion as they are inferior, nugatory, or limited in
+scope, their power of feeding pride is greater. Thus philology, logic,
+rhetoric, and the other sciences of the schools, being for the most part
+ridiculous and trifling, have so pestilent an effect upon those who are
+devoted to them, that their students cannot conceive of any higher
+sciences than these, but fancy that all education ends in the knowledge
+of words: but the true and great sciences, more especially natural
+history, make men gentle and modest in proportion to the largeness of
+their apprehension, and just perception of the infiniteness of the
+things they can never know. And this, it seems to me, is the principal
+lesson we are intended to be caught by the book of Job; for there God
+has thrown open to us the heart of a man most just and holy, and
+apparently perfect in all things possible to human nature except
+humility. For this he is tried: and we are shown that no suffering, no
+self-examination, however honest, however stern, no searching out of the
+heart by its own bitterness, is enough to convince man of his
+nothingness before God; but that the sight of God's creation will do it.
+For, when the Deity himself has willed to end the temptation, and to
+accomplish in Job that for which it was sent, He does not vouchsafe to
+reason with him, still less does He overwhelm him with terror, or
+confound him by laying open before his eyes the book of his iniquities.
+He opens before him only the arch of the dayspring, and the fountains of
+the deep; and amidst the covert of the reeds, and on the heaving waves,
+He bids him watch the kings of the children of pride,--"Behold now
+Behemoth, which I made with thee:" And the work is done.
+
+Sec. XXXII. Thus, if, I repeat, there is any one lesson in the whole book
+which stands forth more definitely than another, it is this of the holy
+and humbling influence of natural science on the human heart. And yet,
+even here, it is not the science, but the perception, to which the good
+is owing; and the natural sciences may become as harmful as any others,
+when they lose themselves in classification and catalogue-making. Still,
+the principal danger is with the sciences of words and methods; and it
+was exactly into those sciences that the whole energy of men during the
+Renaissance period was thrown. They discovered suddenly that the world
+for ten centuries had been living in an ungrammatical manner, and they
+made it forthwith the end of human existence to be grammatical. And it
+mattered thenceforth nothing what was said, or what was done, so only
+that it was said with scholarship, and done with system. Falsehood in a
+Ciceronian dialect had no opposers; truth in patois no listeners. A
+Roman phrase was thought worth any number of Gothic facts. The sciences
+ceased at once to be anything more than different kinds of
+grammars,--grammar of language, grammar of logic, grammar of ethics,
+grammar of art; and the tongue, wit, and invention of the human race
+were supposed to have found their utmost and most divine mission in
+syntax and syllogism, perspective and five orders.
+
+Of such knowledge as this, nothing but pride could come; and, therefore,
+I have called the first mental characteristic of the Renaissance
+schools, the "pride" of science. If they had reached any science worth
+the name, they might have loved it; but of the paltry knowledge they
+possessed, they could only be proud. There was not anything in it
+capable of being loved. Anatomy, indeed, then first made a subject of
+accurate study, is a true science, but not so attractive as to enlist
+the affections strongly on its side: and therefore, like its meaner
+sisters, it became merely a ground for pride; and the one main purpose
+of the Renaissance artists, in all their work, was to show how much they
+knew.
+
+Sec. XXXIII. There were, of course, noble exceptions; but chiefly
+belonging to the earliest periods of the Renaissance, when its teaching
+had not yet produced its full effect. Raphael, Leonardo, and Michael
+Angelo were all trained in the old school; they all had masters who knew
+the true ends of art, and had reached them; masters nearly as great as
+they were themselves, but imbued with the old religious and earnest
+spirit, which their disciples receiving from them, and drinking at the
+same time deeply from all the fountains of knowledge opened in their day,
+became the world's wonders. Then the dull wondering world believed that
+their greatness rose out of their new knowledge, instead of out of that
+ancient religious root, in which to abide was life, from which to be
+severed was annihilation. And from that day to this, they have tried to
+produce Michael Angelos and Leonardos by teaching the barren sciences,
+and still have mourned and marvelled that no more Michael Angelos came;
+not perceiving that those great Fathers were only able to receive such
+nourishment because they were rooted on the rock of all ages, and that
+our scientific teaching, nowadays, is nothing more nor less than the
+assiduous watering of trees whose stems are cut through. Nay, I have
+even granted too much in saying that those great men were able to
+receive pure nourishment from the sciences; for my own conviction is,
+and I know it to be shared by most of those who love Raphael
+truly,--that he painted best when he knew least. Michael Angelo was
+betrayed, again and again, into such vain and offensive exhibition of
+his anatomical knowledge as, to this day, renders his higher powers
+indiscernible by the greater part of men; and Leonardo fretted his life
+away in engineering, so that there is hardly a picture left to bear his
+name. But, with respect to all who followed, there can be no question
+that the science they possessed was utterly harmful; serving merely to
+draw away their hearts at once from the purposes of art and the power of
+nature, and to make, out of the canvas and marble, nothing more than
+materials for the exhibition of petty dexterity and useless knowledge.
+
+Sec. XXXIV. It is sometimes amusing to watch the naive and childish way
+in which this vanity is shown. For instance, when perspective was first
+invented, the world thought it a mighty discovery, and the greatest men
+it had in it were as proud of knowing that retiring lines converge, as
+if all the wisdom of Solomon had been compressed into a vanishing point.
+And, accordingly, it became nearly impossible for any one to paint a
+Nativity, but he must turn the stable and manger into a Corinthian
+arcade, in order to show his knowledge of perspective; and half the best
+architecture of the time, instead of being adorned with historical
+sculpture, as of old, was set forth with bas-relief of minor corridors
+and galleries, thrown into perspective.
+
+Now that perspective can be taught to any schoolboy in a week, we can
+smile at this vanity. But the fact is, that all pride in knowledge is
+precisely as ridiculous, whatever its kind, or whatever its degree.
+There is, indeed, nothing of which man has any right to be proud; but
+the very last thing of which, with any show of reason, he can make his
+boast is his knowledge, except only that infinitely small portion of it
+which he has discovered for himself. For what is there to be more proud
+of in receiving a piece of knowledge from another person, than in
+receiving a piece of money? Beggars should not be proud, whatever kind
+of alms they receive. Knowledge is like current coin. A man may have
+some right to be proud of possessing it, if he has worked for the gold
+of it, and assayed it, and stamped it, so that it may be received of
+all men as true; or earned it fairly, being already assayed: but if he
+has done none of these things, but only had it thrown in his face by a
+passer-by, what cause has he to be proud? And though, in this mendicant
+fashion, he had heaped together the wealth of Croesus, would pride any
+more, for this, become him, as, in some sort, it becomes the man who has
+labored for his fortune, however small? So, if a man tells me the sun is
+larger than the earth, have I any cause for pride in knowing it? or, if
+any multitude of men tell me any number of things, heaping all their
+wealth of knowledge upon me, have I any reason to be proud under the
+heap? And is not nearly all the knowledge of which we boast in these
+days cast upon us in this dishonorable way; worked for by other men,
+proved by them, and then forced upon us, even against our wills, and
+beaten into us in our youth, before we have the wit even to know if it
+be good or not? (Mark the distinction between knowledge and thought.)
+Truly a noble possession to be proud of! Be assured, there is no part of
+the furniture of a man's mind which he has a right to exult in, but that
+which he has hewn and fashioned for himself. He who has built himself a
+hut on a desert heath, and carved his bed, and table, and chair out of
+the nearest forest, may have some right to take pride in the appliances
+of his narrow chamber, as assuredly he will have joy in them. But the
+man who has had a palace built, and adorned, and furnished for him, may,
+indeed, have many advantages above the other, but he has no reason to be
+proud of his upholsterer's skill; and it is ten to one if he has half
+the joy in his couches of ivory that the other will have in his pallet
+of pine.
+
+Sec. XXXV. And observe how we feel this, in the kind of respect we pay to
+such knowledge as we are indeed capable of estimating the value of. When
+it is our own, and new to us, we cannot judge of it; but let it be
+another's also, and long familiar to us, and see what value we set on
+it. Consider how we regard a schoolboy, fresh from his term's labor. If
+he begin to display his newly acquired small knowledge to us, and plume
+himself thereupon, how soon do we silence him with contempt! But it is
+not so if the schoolboy begins to feel or see anything. In the strivings
+of his soul within him he is our equal; in his power of sight and
+thought he stands separate from us, and may be a greater than we. We are
+ready to hear him forthwith. "You saw that? you felt that? No matter for
+your being a child; let us hear."
+
+Sec. XXXVI. Consider that every generation of men stands in this relation
+to its successors. It is as the schoolboy: the knowledge of which it is
+proudest will be as the alphabet to those who follow. It had better make
+no noise about its knowledge; a time will come when its utmost, in that
+kind, will be food for scorn. Poor fools! was that all they knew? and
+behold how proud they were! But what we see and feel will never be
+mocked at. All men will be thankful to us for telling them that.
+"Indeed!" they will say, "they felt that in their day? saw that? Would
+God we may be like them, before we go to the home where sight and
+thought are not!"
+
+This unhappy and childish pride in knowledge, then, was the first
+constituent element of the Renaissance mind, and it was enough, of
+itself, to have cast it into swift decline: but it was aided by another
+form of pride, which was above called the Pride of State; and which we
+have next to examine.
+
+Sec. XXXVII. II. PRIDE OF STATE. It was noticed in the second volume of
+"Modern Painters," p. 122, that the principle which had most power in
+retarding the modern school of portraiture was its constant expression
+of individual vanity and pride. And the reader cannot fail to have
+observed that one of the readiest and commonest ways in which the
+painter ministers to this vanity, is by introducing the pedestal or
+shaft of a column, or some fragment, however simple, of Renaissance
+architecture, in the background of the portrait. And this is not merely
+because such architecture is bolder or grander than, in general, that of
+the apartments of a private house. No other architecture would produce
+the same effect in the same degree. The richest Gothic, the most massive
+Norman, would not produce the same sense of exaltation as the simple
+and meagre lines of the Renaissance.
+
+Sec. XXXVIII. And if we think over this matter a little, we shall soon
+feel that in those meagre lines there is indeed an expression of
+aristocracy in its worst characters; coldness, perfectness of training,
+incapability of emotion, want of sympathy with the weakness of lower men,
+blank, hopeless, haughty self-sufficiency. All these characters are
+written in the Renaissance architecture as plainly as if they were graven
+on it in words. For, observe, all other architectures have something in
+them that common men can enjoy; some concession to the simplicities of
+humanity, some daily bread for the hunger of the multitude. Quaint fancy,
+rich ornament, bright color, something that shows a sympathy with men of
+ordinary minds and hearts; and this wrought out, at least in the Gothic,
+with a rudeness showing that the workman did not mind exposing his own
+ignorance if he could please others. But the Renaissance is exactly the
+contrary of all this. It is rigid, cold, inhuman; incapable of glowing,
+of stooping, of conceding for an instant. Whatever excellence it has is
+refined, high-trained, and deeply erudite; a kind which the architect
+well knows no common mind can taste. He proclaims it to us aloud. "You
+cannot feel my work unless you study Vitruvius. I will give you no gay
+color, no pleasant sculpture, nothing to make you happy; for I am a
+learned man. All the pleasure you can have in anything I do is in its
+proud breeding, its rigid formalism, its perfect finish, its cold
+tranquillity. I do not work for the vulgar, only for the men of the
+academy and the court."
+
+Sec. XXXIX. And the instinct of the world felt this in a moment. In the
+new precision and accurate law of the classical forms, they perceived
+something peculiarly adapted to the setting forth of state in an
+appalling manner: Princes delighted in it, and courtiers. The Gothic was
+good for God's worship, but this was good for man's worship. The Gothic
+had fellowship with all hearts, and was universal, like nature: it could
+frame a temple for the prayer of nations, or shrink into the poor man's
+winding stair. But here was an architecture that would not shrink, that
+had in it no submission, no mercy. The proud princes and lords rejoiced
+in it. It was full of insult to the poor in its every line. It would not
+be built of the materials at the poor man's hand; it would not roof
+itself with thatch or shingle, and black oak beams; it would not wall
+itself with rough stone or brick; it would not pierce itself with small
+windows where they were needed; it would not niche itself, wherever
+there was room for it, in the street corners. It would be of hewn stone;
+it would have its windows and its doors, and its stairs and its pillars,
+in lordly order, and of stately size; it would have its wings and its
+corridors, and its halls and its gardens, as if all the earth were its
+own. And the rugged cottages of the mountaineers, and the fantastic
+streets of the laboring burgher were to be thrust out of its way, as of
+a lower species.
+
+Sec. XL. It is to be noted also, that it ministered as much to luxury as to
+pride. Not to luxury of the eye, that is a holy luxury; Nature ministers
+to that in her painted meadows, and sculptured forests, and gilded
+heavens; the Gothic builder ministered to that in his twisted traceries,
+and deep-wrought foliage, and burning casements. The dead Renaissance
+drew back into its earthliness, out of all that was warm and heavenly;
+back into its pride, out of all that was simple and kind; back into its
+stateliness, out of all that was impulsive, reverent, and gay. But it
+understood the luxury of the body; the terraced and scented and grottoed
+garden, with its trickling fountains and slumbrous shades; the spacious
+hall and lengthened corridor for the summer heat; the well-closed
+windows, and perfect fittings and furniture, for defence against the
+cold; and the soft picture, and frescoed wall and roof, covered with the
+last lasciviousness of Paganism;--this is understood and possessed to
+the full, and still possesses. This is the kind of domestic architecture
+on which we pride ourselves, even to this day, as an infinite and
+honorable advance from the rough habits of our ancestors; from the time
+when the king's floor was strewn with rushes, and the tapestries swayed
+before the searching wind in the baron's hall.
+
+Sec. XLI. Let us hear two stories of those rougher times.
+
+At the debate of King Edwin with his courtiers and priests, whether he
+ought to receive the Gospel preached to him by Paulinus, one of his
+nobles spoke as follows:
+
+"The present life, O king! weighed with the time that is unknown, seems
+to me like this. When you are sitting at a feast with your earls and
+thanes in winter time, and the fire is lighted, and the hall is warmed,
+and it rains and snows, and the storm is loud without, there comes a
+sparrow, and flies through the house. It comes in at one door and goes
+out at the other. While it is within, it is not touched by the winter's
+storm; but it is but for the twinkling of an eye, for from winter it
+comes and to winter it returns. So also this life of man endureth for a
+little space; what goes before or what follows after, we know not.
+Wherefore, if this new lore bring anything more certain, it is fit that
+we should follow it."[13]
+
+That could not have happened in a Renaissance building. The bird could
+not have dashed in from the cold into the heat, and from the heat back
+again into the storm. It would have had to come up a flight of marble
+stairs, and through seven or eight antechambers; and so, if it had ever
+made its way into the presence chamber, out again through loggias and
+corridors innumerable. And the truth which the bird brought with it,
+fresh from heaven, has, in like manner, to make its way to the
+Renaissance mind through many antechambers, hardly, and as a despised
+thing, if at all.
+
+Sec. XLII. Hear another story of those early times.
+
+The king of Jerusalem, Godfrey of Bouillon, at the siege of Asshur, or
+Arsur, gave audience to some emirs from Samaria and Naplous. They found
+him seated on the ground on a sack of straw. They expressing surprise,
+Godfrey answered them: "May not the earth, out of which we came, and
+which is to be our dwelling after death, serve us for a seat during
+life?"
+
+It is long since such a throne has been set in the reception chambers
+of Christendom, or such an answer heard from the lips of a king.
+
+Thus the Renaissance spirit became base both in its abstinence and its
+indulgence. Base in its abstinence; curtailing the bright and playful
+wealth of form and thought, which filled the architecture of the earlier
+ages with sources of delight for their hardy spirit, pure, simple, and
+yet rich as the fretwork of flowers and moss, watered by some strong and
+stainless mountain stream: and base in its indulgence; as it granted to
+the body what it withdrew from the heart, and exhausted, in smoothing
+the pavement for the painless feet, and softening the pillow for the
+sluggish brain, the powers of art which once had hewn rough ladders into
+the clouds of heaven, and set up the stones by which they rested for
+houses of God.
+
+Sec. XLIII. And just in proportion as this courtly sensuality lowered
+the real nobleness of the men whom birth or fortune raised above their
+fellows, rose their estimate of their own dignity, together with the
+insolence and unkindness of its expression, and the grossness of the
+flattery with which it was fed. Pride is indeed the first and the last
+among the sins of men, and there is no age of the world in which it has
+not been unveiled in the power and prosperity of the wicked. But there
+was never in any form of slavery, or of feudal supremacy, a
+forgetfulness so total of the common majesty of the human soul, and of
+the brotherly kindness due from man to man, as in the aristocratic
+follies in the Renaissance. I have not space to follow out this most
+interesting and extensive subject; but here is a single and very curious
+example of the kind of flattery with which architectural teaching was
+mingled when addressed to the men of rank of the day.
+
+Sec. XLIV. In St. Mark's library there is a very curious Latin manuscript
+of the twenty-five books of Averulinus, a Florentine architect, upon the
+principles of his art. The book was written in or about 1460, and
+translated into Latin, and richly illuminated for Corvinus, king of
+Hungary, about 1483. I extract from the third book the following passage
+on the nature of stones. "As there are three genera of men,--that is to
+say, nobles, men of the middle classes, and rustics,--so it appears that
+there are of stones. For the marbles and common stones of which we have
+spoken above, set forth the rustics. The porphyries and alabasters, and
+the other harder stones of mingled quality, represent the middle
+classes, if we are to deal in comparisons: and by means of these the
+ancients adorned their temples with incrustations and ornaments in a
+magnificent manner. And after these come the chalcedonies and
+sardonyxes, &c., which are so transparent that there can be seen no spot
+in them.[14] Thus men endowed with nobility lead a life in which no spot
+can be found."
+
+Canute or Coeur de Lion (I name not Godfrey or St. Louis) would have
+dashed their sceptres against the lips of a man who should have dared to
+utter to them flattery such as this. But in the fifteenth century it was
+rendered and accepted as a matter of course, and the tempers which
+delighted in it necessarily took pleasure also in every vulgar or false
+means, of taking worldly superiority. And among such false means
+largeness of scale in the dwelling-house was of course one of the
+easiest and most direct. All persons, however senseless or dull, could
+appreciate size: it required some exertion of intelligence to enter into
+the spirit of the quaint carving of the Gothic times, but none to
+perceive that one heap of stones was higher than another.[15] And
+therefore, while in the execution and manner of work the Renaissance
+builders zealously vindicated for themselves the attribute of cold and
+superior learning, they appealed for such approbation as they needed
+from the multitude, to the lowest possible standard of taste; and while
+the older workman lavished his labor on the minute niche and narrow
+casement, on the doorways no higher than the head, and the contracted
+angles of the turreted chamber, the Renaissance builder spared such cost
+and toil in his detail, that he might spend it in bringing larger stones
+from a distance; and restricted himself to rustication and five orders,
+that he might load the ground with colossal piers, and raise an
+ambitious barrenness of architecture, as inanimate as it was gigantic,
+above the feasts and follies of the powerful or the rich. The Titanic
+insanity extended itself also into ecclesiastical design: the principal
+church in Italy was built with little idea of any other admirableness
+than that which was to result from its being huge; and the religious
+impressions of those who enter it are to this day supposed to be
+dependent, in a great degree, on their discovering that they cannot span
+the thumbs of the statues which sustain the vessels for holy water.
+
+Sec. XLV. It is easy to understand how an architecture which thus appealed
+not less to the lowest instincts of dulness than to the subtlest pride
+of learning, rapidly found acceptance with a large body of mankind; and
+how the spacious pomp of the new manner of design came to be eagerly
+adopted by the luxurious aristocracies, not only of Venice, but of the
+other countries of Christendom, now gradually gathering themselves into
+that insolent and festering isolation, against which the cry of the poor
+sounded hourly in more ominous unison, bursting at last into thunder
+(mark where,--first among the planted walks and plashing fountains of
+the palace wherein the Renaissance luxury attained its utmost height in
+Europe, Versailles); that cry, mingling so much piteousness with its
+wrath and indignation, "Our soul is filled with the scornful reproof of
+the wealthy, and with the despitefulness of the proud."
+
+Sec. XLVI. But of all the evidence bearing upon this subject presented by
+the various arts of the fifteenth century, none is so interesting or so
+conclusive as that deduced from its tombs. For, exactly in proportion as
+the pride of life became more insolent, the fear of death became more
+servile; and the difference in the manner in which the men of early and
+later days adorned the sepulchre, confesses a still greater difference
+in their manner of regarding death. To those he came as the comforter
+and the friend, rest in his right hand, hope in his left; to these as
+the humiliator, the spoiler, and the avenger. And, therefore, we find
+the early tombs at once simple and lovely in adornment, severe and
+solemn in their expression; confessing the power, and accepting the
+peace, of death, openly and joyfully; and in all their symbols marking
+that the hope of resurrection lay only in Christ's righteousness; signed
+always with this simple utterance of the dead, "I will lay me down in
+peace, and take my rest; for it is thou, Lord, only that makest me dwell
+in safety." But the tombs of the later ages are a ghastly struggle of
+mean pride and miserable terror: the one mustering the statues of the
+Virtues about the tomb, disguising the sarcophagus with delicate
+sculpture, polishing the false periods of the elaborate epitaph, and
+filling with strained animation the features of the portrait statue; and
+the other summoning underneath, out of the niche or from behind the
+curtain, the frowning skull, or scythed skeleton, or some other more
+terrible image of the enemy in whose defiance the whiteness of the
+sepulchre had been set to shine above the whiteness of the ashes.
+
+Sec. XLVII. This change in the feeling with which sepulchral monuments
+were designed, from the eleventh to the eighteenth centuries, has been
+common to the whole of Europe. But, as Venice is in other respects the
+centre of the Renaissance system, so also she exhibits this change in
+the manner of the sepulchral monument under circumstances peculiarly
+calculated to teach us its true character. For the severe guard which,
+in earlier times, she put upon every tendency to personal pomp and
+ambition, renders the tombs of her ancient monarchs as remarkable for
+modesty and simplicity as for their religious feeling; so that, in this
+respect, they are separated by a considerable interval from the more
+costly monuments erected at the same periods to the kings or nobles of
+other European states. In later times, on the other hand, as the piety
+of the Venetians diminished, their pride overleaped all limits, and the
+tombs which in recent epochs, were erected for men who had lived only to
+impoverish or disgrace the state, were as much more magnificent than
+those contemporaneously erected for the nobles of Europe, as the
+monuments for the great Doges had been humbler. When, in addition to
+this, we reflect that the art of sculpture, considered as expressive of
+emotion, was at a low ebb in Venice in the twelfth century, and that in
+the seventeenth she took the lead in Italy in luxurious work, we shall
+at once see the chain of examples through which the change of feeling is
+expressed, must present more remarkable extremes here than it can in any
+other city; extremes so startling that their impressiveness cannot be
+diminished, while their intelligibility is greatly increased, by the
+large number of intermediate types which have fortunately been
+preserved.
+
+It would, however, too much weary the general reader if, without
+illustrations, I were to endeavor to lead him step by step through the
+aisles of St. John and Paul; and I shall therefore confine myself to a
+slight notice of those features in sepulchral architecture generally
+which are especially illustrative of the matter at present in hand, and
+point out the order in which, if possible, the traveller should visit
+the tombs in Venice, so as to be most deeply impressed with the true
+character of the lessons they convey.
+
+Sec. XLVIII. I have not such an acquaintance with the modes of entombment
+or memorial in the earliest ages of Christianity as would justify me in
+making any general statement respecting them: but it seems to me that
+the perfect type of a Christian tomb was not developed until toward the
+thirteenth century, sooner or later according to the civilization of
+each country; that perfect type consisting in the raised and perfectly
+visible sarcophagus of stone, bearing upon it a recumbent figure, and
+the whole covered by a canopy. Before that type was entirely developed,
+and in the more ordinary tombs contemporary with it, we find the simple
+sarcophagus, often with only a rough block of stone for its lid,
+sometimes with a low-gabled lid like a cottage roof, derived from
+Egyptian forms, and bearing, either on the sides or the lid, at least a
+sculpture of the cross, and sometimes the name of the deceased, and date
+of erection of the tomb. In more elaborate examples rich
+figure-sculpture is gradually introduced; and in the perfect period the
+sarcophagus, even when it does not bear any recumbent figure, has
+generally a rich sculpture on its sides representing an angel presenting
+the dead, in person and dress as he lived, to Christ or to the Madonna,
+with lateral figures, sometimes of saints, sometimes--as in the tombs of
+the Dukes of Burgundy at Dijon--of mourners; but in Venice almost always
+representing the Annunciation, the angel being placed at one angle of
+the sarcophagus, and the Madonna at the other. The canopy, in a very
+simple foursquare form, or as an arch over a recess, is added above the
+sarcophagus, long before the life-size recumbent figure appears resting
+upon it. By the time that the sculptors had acquired skill enough to
+give much expression to this figure, the canopy attains an exquisite
+symmetry and richness; and, in the most elaborate examples, is
+surmounted by a statue, generally small, representing the dead person in
+the full strength and pride of life, while the recumbent figure shows
+him as he lay in death. And, at this point, the perfect type of the
+Gothic tomb is reached.
+
+Sec. XLIX. Of the simple sarcophagus tomb there are many exquisite
+examples both at Venice and Verona; the most interesting in Venice are
+those which are set in the recesses of the rude brick front of the Church
+of St. John and Paul, ornamented only, for the most part, with two crosses
+set in circles, and the legend with the name of the dead, and an "Orate
+pro anima" in another circle in the centre. And in this we may note one
+great proof of superiority in Italian over English tombs; the latter
+being often enriched with quatrefoils, small shafts, and arches, and
+other ordinary architectural decorations, which destroy their
+seriousness and solemnity, render them little more than ornamental, and
+have no religious meaning whatever; while the Italian sarcophagi are
+kept massive, smooth, and gloomy,--heavy-lidded dungeons of stone, like
+rock-tombs,--but bearing on their surface, sculptured with tender and
+narrow lines, the emblem of the cross, not presumptuously nor proudly,
+but dimly graven upon their granite, like the hope which the human heart
+holds, but hardly perceives in its heaviness.
+
+Sec. L. Among the tombs in front of the Church of St. John and Paul
+there is one which is peculiarly illustrative of the simplicity of these
+earlier ages. It is on the left of the entrance, a massy sarcophagus
+with low horns as of an altar, placed in a rude recess of the outside
+wall, shattered and worn, and here and there entangled among wild grass
+and weeds. Yet it is the tomb of two Doges, Jacopo and Lorenzo Tiepolo,
+by one of whom nearly the whole ground was given for the erection of the
+noble church in front of which his unprotected tomb is wasting away. The
+sarcophagus bears an inscription in the centre, describing the acts of
+the Doges, of which the letters show that it was added a considerable
+period after the erection of the tomb: the original legend is still left
+in other letters on its base, to this effect,
+
+  "Lord James, died 1251. Lord Laurence, died 1288."
+
+At the two corners of the sarcophagus are two angels bearing censers;
+and on its lid two birds, with crosses like crests upon their heads. For
+the sake of the traveller in Venice the reader will, I think, pardon me
+the momentary irrelevancy of telling the meaning of these symbols.
+
+Sec. LI. The foundation of the church of St. John and Paul was laid by the
+Dominicans about 1234, under the immediate protection of the Senate and
+the Doge Giacomo Tiepolo, accorded to them in consequence of a
+miraculous vision appearing to the Doge; of which the following account
+is given in popular tradition:
+
+"In the year 1226, the Doge Giacomo Tiepolo dreamed a dream; and in his
+dream he saw the little oratory of the Dominicans, and, behold, the
+ground all around it (now occupied by the church) was covered with
+roses of the color of vermilion, and the air was filled with their
+fragrance. And in the midst of the roses, there were seen flying to and
+fro a crowd of white doves, with golden crosses upon their heads. And
+while the Doge looked, and wondered, behold, two angels descended from
+heaven with golden censers, and passing through the oratory, and forth
+among the flowers, they filled the place with the smoke of their
+incense. Then the Doge heard suddenly a clear and loud voice which
+proclaimed, 'This is the place that I have chosen for my preachers;' and
+having heard it, straightway he awoke and went to the Senate, and
+declared to them the vision. Then the Senate decreed that forty paces of
+ground should be given to enlarge the monastery; and the Doge Tiepolo
+himself made a still larger grant afterwards."
+
+There is nothing miraculous in the occurrence of such a dream as this to
+the devout Doge; and the fact, of which there is no doubt, that the
+greater part of the land on which the church stands was given by him, is
+partly a confirmation of the story. But, whether the sculptures on the
+tomb were records of the vision, or the vision a monkish invention from
+the sculptures on the tomb, the reader will not, I believe, look upon
+its doves and crosses, or rudely carved angels, any more with disdain;
+knowing how, in one way or another, they were connected with a point of
+deep religious belief.
+
+Sec. LII. Towards the beginning of the fourteenth century, in Venice, the
+recumbent figure begins to appear on the sarcophagus, the first dated
+example being also one of the most beautiful; the statue of the prophet
+Simeon, sculptured upon the tomb which was to receive his relics in the
+church dedicated to him under the name of San Simeone Grande. So soon as
+the figure appears, the sarcophagus becomes much more richly sculptured,
+but always with definite religious purpose. It is usually divided into
+two panels, which are filled with small bas-reliefs of the acts or
+martyrdom of the patron saints of the deceased: between them, in the
+centre, Christ, or the Virgin and Child, are richly enthroned, under a
+curtained canopy; and the two figures representing the Annunciation are
+almost always at the angles; the promise of the Birth of Christ being
+taken as at once the ground and the type of the promise of eternal life
+to all men.
+
+Sec. LIII. These figures are always in Venice most rudely chiselled; the
+progress of figure sculpture being there comparatively tardy. At Verona,
+where the great Pisan school had strong influence, the monumental
+sculpture is immeasurably finer; and, so early as about the year
+1335,[16] the consummate form of the Gothic tomb occurs in the monument
+of Can Grande della Scala at Verona. It is set over the portal of the
+chapel anciently belonging to the family. The sarcophagus is sculptured
+with shallow bas-reliefs, representing (which is rare in the tombs with
+which I am acquainted in Italy, unless they are those of saints) the
+principal achievements of the warrior's life, especially the siege of
+Vicenza and battle of Placenza; these sculptures, however, form little
+more than a chased and roughened groundwork for the fully relieved
+statues representing the Annunciation, projecting boldly from the front
+of the sarcophagus. Above, the Lord of Verona is laid in his long robe
+of civil dignity, wearing the simple bonnet, consisting merely of a
+fillet bound round the brow, knotted and falling on the shoulder. He is
+laid as asleep; his arms crossed upon his body, and his sword by his
+side. Above him, a bold arched canopy is sustained by two projecting
+shafts, and on the pinnacle of its roof is the statue of the knight on
+his war-horse; his helmet, dragon-winged and crested with the dog's
+head, tossed back behind his shoulders, and the broad and blazoned
+drapery floating back from his horse's breast,--so truly drawn by the
+old workman from the life, that it seems to wave in the wind, and the
+knight's spear to shake, and his marble horse to be evermore quickening
+its pace, and starting into heavier and hastier charge, as the silver
+clouds float past behind it in the sky.
+
+Sec. LIV. Now observe, in this tomb, as much concession is made to the
+pride of man as may ever consist with honor, discretion, or dignity. I
+do not enter into any question respecting the character of Can Grande,
+though there can be little doubt that he was one of the best among the
+nobles of his time; but that is not to our purpose. It is not the
+question whether his wars were just, or his greatness honorably
+achieved; but whether, supposing them to have been so, these facts are
+well and gracefully told upon his tomb. And I believe there can be no
+hesitation in the admission of its perfect feeling and truth. Though
+beautiful, the tomb is so little conspicuous or intrusive, that it
+serves only to decorate the portal of the little chapel, and is hardly
+regarded by the traveller as he enters. When it is examined, the history
+of the acts of the dead is found subdued into dim and minute ornament
+upon his coffin; and the principal aim of the monument is to direct the
+thoughts to his image as he lies in death, and to the expression of his
+hope of resurrection; while, seen as by the memory far away, diminished
+in the brightness of the sky, there is set the likeness of his armed
+youth, stately, as it stood of old, in the front of battle, and meet to
+be thus recorded for us, that we may now be able to remember the dignity
+of the frame, of which those who once looked upon it hardly remembered
+that it was dust.
+
+Sec. LV. This, I repeat, is as much as may ever be granted, but this ought
+always to be granted, to the honor and the affection of men. The tomb
+which stands beside that of Can Grande, nearest it in the little field
+of sleep, already shows the traces of erring ambition. It is the tomb of
+Mastino the Second, in whose reign began the decline of his family. It
+is altogether exquisite as a work of art; and the evidence of a less
+wise or noble feeling in its design is found only in this, that the
+image of a virtue, Fortitude, as belonging to the dead, is placed on the
+extremity of the sarcophagus, opposite to the Crucifixion. But for this
+slight circumstance, of which the significance will only be appreciated
+as we examine the series of later monuments, the composition of this
+monument of Can Mastino would have been as perfect as its decoration is
+refined. It consists, like that of Can Grande, of the raised
+sarcophagus, bearing the recumbent statue, protected by a noble
+foursquare canopy, sculptured with ancient Scripture history. On one
+side of the sarcophagus is Christ enthroned, with Can Mastino kneeling
+before Him; on the other, Christ is represented in the mystical form,
+half-rising from the tomb, meant, I believe, to be at once typical of
+His passion and resurrection. The lateral panels are occupied by statues
+of saints. At one extremity of the sarcophagus is the Crucifixion; at
+the other, a noble statue of Fortitude, with a lion's skin thrown over
+her shoulders, its head forming a shield upon her breast, her flowing
+hair bound with a narrow fillet, and a three-edged sword in her
+gauntleted right hand, drawn back sternly behind her thigh, while, in
+her left, she bears high the shield of the Scalas.
+
+Sec. LVI. Close to this monument is another, the stateliest and most
+sumptuous of the three; it first arrests the eye of the stranger, and
+long detains it,--a many-pinnacled pile surrounded by niches with
+statues of the warrior saints.
+
+It is beautiful, for it still belongs to the noble time, the latter part
+of the fourteenth century; but its work is coarser than that of the
+other, and its pride may well prepare us to learn that it was built for
+himself, in his own lifetime, by the man whose statue crowns it, Can
+Signorio della Scala. Now observe, for this is infinitely significant.
+Can Mastino II. was feeble and wicked, and began the ruin of his house;
+his sarcophagus is the first which bears upon it the image of a virtue,
+but he lays claim only to Fortitude. Can Signorio was twice a
+fratricide, the last time when he lay upon his death-bed: _his_ tomb
+bears upon its gables the images of six virtues,--Faith, Hope, Charity,
+Prudence, and (I believe) Justice and Fortitude.
+
+Sec. LVII. Let us now return to Venice, where, in the second chapel
+counting from right to left, at the west end of the Church of the Frari,
+there is a very early fourteenth, or perhaps late thirteenth, century
+tomb, another exquisite example of the perfect Gothic form. It is a
+knight's; but there is no inscription upon it, and his name is unknown.
+It consists of a sarcophagus, supported on bold brackets against the
+chapel wall, bearing the recumbent figure, protected by a simple canopy
+in the form of a pointed arch, pinnacled by the knight's crest; beneath
+which the shadowy space is painted dark blue, and strewn with stars. The
+statue itself is rudely carved; but its lines, as seen from the intended
+distance, are both tender and masterly. The knight is laid in his mail,
+only the hands and face being bare. The hauberk and helmet are of
+chain-mail, the armor for the limbs of jointed steel; a tunic, fitting
+close to the breast, and marking the noble swell of it by two narrow
+embroidered lines, is worn over the mail; his dagger is at his right
+side; his long cross-belted sword, not seen by the spectator from below,
+at his left. His feet rest on a hound (the hound being his crest), which
+looks up towards its master. In general, in tombs of this kind, the face
+of the statue is slightly turned towards the spectator; in this
+monument, on the contrary, it is turned away from him, towards the depth
+of the arch: for there, just above the warrior's breast, is carved a
+small image of St. Joseph bearing the infant Christ, who looks down upon
+the resting figure; and to this image its countenance is turned. The
+appearance of the entire tomb is as if the warrior had seen the vision
+of Christ in his dying moments, and had fallen back peacefully upon his
+pillow, with his eyes still turned to it, and his hands clasped in
+prayer.
+
+Sec. LVIII. On the opposite side of this chapel is another very lovely
+tomb, to Duccio degli Alberti, a Florentine ambassador at Venice;
+noticeable chiefly as being the first in Venice on which any images of
+the Virtues appear. We shall return to it presently, but some account
+must first be given of the more important among the other tombs in
+Venice belonging to the perfect period. Of these, by far the most
+interesting, though not the most elaborate, is that of the great Doge
+Francesco Dandolo, whose ashes, it might have been thought, were
+honorable enough to have been permitted to rest undisturbed in the
+chapter-house of the Frari, where they were first laid. But, as if there
+were not room enough, nor waste houses enough in the desolate city to
+receive a few convent papers, the monks, wanting an "archivio," have
+separated the tomb into three pieces: the canopy, a simple arch
+sustained on brackets, still remains on the blank walls of the
+desecrated chamber; the sarcophagus has been transported to a kind of
+museum of antiquities, established in what was once the cloister of
+Santa Maria della Salute; and the painting which filled the lunette
+behind it is hung far out of sight, at one end of the sacristy of the
+same church. The sarcophagus is completely charged with bas-reliefs: at
+its two extremities are the types of St. Mark and St. John; in front, a
+noble sculpture of the death of the Virgin; at the angles, angels
+holding vases. The whole space is occupied by the sculpture; there are
+no spiral shafts or panelled divisions; only a basic plinth below, and
+crowning plinth above, the sculpture being raised from a deep concave
+field between the two, but, in order to give piquancy and
+picturesqueness to the mass of figures, two small trees are introduced
+at the head and foot of the Madonna's couch, an oak and a stone pine.
+
+Sec. LIX. It was said above,[17] in speaking of the frequent disputes of
+the Venetians with the Pontifical power, which in their early days they
+had so strenuously supported, that "the humiliation of Francesco Dandolo
+blotted out the shame of Barbarossa." It is indeed well that the two
+events should be remembered together. By the help of the Venetians,
+Alexander III. was enabled, in the twelfth century, to put his foot upon
+the neck of the emperor Barbarossa, quoting the words of the Psalm,
+"Thou shalt tread upon the lion and the adder." A hundred and fifty
+years later, the Venetian ambassador, Francesco Dandolo, unable to
+obtain even an audience from the Pope, Clement V., to whom he had been
+sent to pray for a removal of the sentence of excommunication pronounced
+against the republic, concealed himself (according to the common
+tradition) beneath the Pontiff's dining-table; and thence coming out as
+he sat down to meat, embraced his feet, and obtained, by tearful
+entreaties, the removal of the terrible sentence.
+
+I say, "according to the common tradition;" for there are some doubts
+cast upon the story by its supplement. Most of the Venetian historians
+assert that Francesco Dandolo's surname of "Dog" was given him first on
+this occasion, in insult, by the cardinals; and that the Venetians, in
+remembrance of the grace which his humiliation had won for them, made it
+a title of honor to him and to his race. It has, however, been
+proved[18] that the surname was borne by the ancestors of Francesco
+Dandolo long before; and the falsity of this seal of the legend renders
+also its circumstances doubtful. But the main fact of grievous
+humiliation having been undergone, admits of no dispute; the existence
+of such a tradition at all is in itself a proof of its truth; it was not
+one likely to be either invented or received without foundation: and it
+will be well, therefore, that the reader should remember, in connection
+with the treatment of Barbarossa at the door of the Church of St.
+Mark's, that in the Vatican, one hundred and fifty years later, a
+Venetian noble, a future Doge, submitted to a degradation, of which the
+current report among his people was, that he had crept on his hands and
+knees from beneath the Pontiff's table to his feet, and had been spurned
+as a "dog" by the cardinals present.
+
+Sec. LX. There are two principal conclusions to be drawn from this: the
+obvious one respecting the insolence of the Papal dominion in the
+thirteenth century; the second, that there were probably most deep piety
+and humility in the character of the man who could submit to this
+insolence for the sake of a benefit to his country. Probably no motive
+would have been strong enough to obtain such a sacrifice from most men,
+however unselfish; but it was, without doubt, made easier to Dandolo by
+his profound reverence for the Pontifical office; a reverence which,
+however _we_ may now esteem those who claimed it, could not but have
+been felt by nearly all good and faithful men at the time of which we
+are speaking. This is the main point which I wish the reader to remember
+as we look at his tomb, this, and the result of it,--that, some years
+afterwards, when he was seated on the throne which his piety had saved,
+"there were sixty princes' ambassadors in Venice at the same time,
+requesting the judgment of the Senate on matters of various concernment,
+_so great was the fame of the uncorrupted justice of the Fathers_."[19]
+
+Observe, there are no virtues on this tomb. Nothing but religious
+history or symbols; the Death of the Virgin in front, and the types of
+St. Mark and St. John at the extremities.
+
+Sec. LXI. Of the tomb of the Doge Andrea Dandolo, in St. Mark's, I have
+spoken before. It is one of the first in Venice which presents, in a
+canopy, the Pisan idea of angels withdrawing curtains, as of a couch, to
+look down upon the dead. The sarcophagus is richly decorated with
+flower-work; the usual figures of the Annunciation are at the sides; an
+enthroned Madonna in the centre; and two bas-reliefs, one of the
+martyrdom of the Doge's patron saint, St. Andrew, occupy the
+intermediate spaces. All these tombs have been richly colored; the hair
+of the angels has here been gilded, their wings bedropped with silver,
+and their garments covered with the most exquisite arabesques. This
+tomb, and that of St. Isidore in another chapel of St. Mark's, which was
+begun by this very Doge, Andrea Dandolo, and completed after his death
+in 1354, are both nearly alike in their treatment, and are, on the
+whole, the best existing examples of Venetian monumental sculpture.
+
+Sec. LXII. Of much ruder workmanship, though still most precious, and
+singularly interesting from its quaintness, is a sarcophagus in the
+northernmost chapel, beside the choir of St. John and Paul, charged with
+two bas-reliefs and many figures, but which bears no inscription. It
+has, however, a shield with three dolphins on its brackets; and as at
+the feet of the Madonna in its centre there is a small kneeling figure
+of a Doge, we know it to be the tomb of the Doge Giovanni Dolfino, who
+came to the throne in 1356.
+
+He was chosen Doge while, as provveditore, he was in Treviso, defending
+the city against the King of Hungary. The Venetians sent to the
+besiegers, praying that their newly elected Doge might be permitted to
+pass the Hungarian lines. Their request was refused, the Hungarians
+exulting that they held the Doge of Venice prisoner in Treviso. But
+Dolfino, with a body of two hundred horse, cut his way through their
+lines by night, and reached Mestre (Malghera) in safety, where he was
+met by the Senate. His bravery could not avert the misfortunes which
+were accumulating on the republic. The Hungarian war was ignominiously
+terminated by the surrender of Dalmatia: the Doge's heart was broken,
+his eyesight failed him, and he died of the plague four years after he
+had ascended the throne.
+
+Sec. LXIII. It is perhaps on this account, perhaps in consequence of later
+injuries, that the tomb has neither effigy nor inscription: that it has
+been subjected to some violence is evident from the dentil which once
+crowned its leaf-cornice being now broken away, showing the whole front.
+But, fortunately, the sculpture of the sarcophagus itself is little
+injured.
+
+There are two saints, male and female, at its angles, each in a little
+niche; a Christ, enthroned in the centre, the Doge and Dogaressa
+kneeling at his feet; in the two intermediate panels, on one side the
+Epiphany, on the other the Death of the Virgin; the whole supported, as
+well as crowned, by an elaborate leaf-plinth. The figures under the
+niches are rudely cut, and of little interest. Not so the central group.
+Instead of a niche, the Christ is seated under a square tent, or
+tabernacle, formed by curtains running on rods; the idea, of course, as
+usual, borrowed from the Pisan one, but here ingeniously applied. The
+curtains are opened in front, showing those at the back of the tent,
+behind the seated figure; the perspective of the two retiring sides
+being very tolerably suggested. Two angels, of half the size of the
+seated figure, thrust back the near curtains, and look up reverently to
+the Christ; while again, at their feet, about one third of _their_ size,
+and half-sheltered, as it seems, by their garments, are the two kneeling
+figures of the Doge and Dogaressa, though so small and carefully cut,
+full of life. The Christ raising one hand as to bless, and holding a
+book upright and open on the knees, does not look either towards them or
+to the angels, but forward; and there is a very noticeable effort to
+represent Divine abstraction in the countenance: the idea of the three
+magnitudes of spiritual being,--the God, the Angel, and the Man,--is
+also to be observed, aided as it is by the complete subjection of the
+angelic power to the Divine; for the angels are in attitudes of the most
+lowly watchfulness of the face of Christ, and appear unconscious of the
+presence of the human beings who are nestled in the folds of their
+garments.
+
+Sec. LXIV. With this interesting but modest tomb of one of the kings
+of Venice, it is desirable to compare that of one of her senators, of
+exactly the same date, which is raised against the western wall of the
+Frari, at the end of the north aisle. It bears the following remarkable
+inscription:
+
+ "ANNO MCCCLX. prima die Julii Sepultura . Domini . Simonii Dandolo .
+   amador . de . Justisia . e . desiroso . de . acrese . el . ben .
+   chomum."
+
+The "Amador de Justitia" has perhaps some reference to Simon Dandolo's
+having been one of the Giunta who condemned the Doge Faliero. The
+sarcophagus is decorated merely by the Annunciation group, and an
+enthroned Madonna with a curtain behind her throne, sustained by four
+tiny angels, who look over it as they hold it up; but the workmanship of
+the figures is more than usually beautiful.
+
+Sec. LXV. Seven years later, a very noble monument was placed on the
+north side of the choir of St. John and Paul, to the Doge Marco Cornaro,
+chiefly, with respect to our present subject, noticeable for the absence
+of religious imagery from the sarcophagus, which is decorated with
+roses only; three very beautiful statues of the Madonna and two saints
+are, however, set in the canopy above. Opposite this tomb, though about
+fifteen years later in date, is the richest monument of the Gothic
+period in Venice; that of the Doge Michele Morosini, who died in 1382.
+It consists of a highly florid canopy,--an arch crowned by a gable, with
+pinnacles at the flanks, boldly crocketed, and with a huge finial at the
+top representing St. Michael,--a medallion of Christ set in the gable;
+under the arch, a mosaic, representing the Madonna presenting the Doge
+to Christ upon the cross; beneath, as usual, the sarcophagus, with a
+most noble recumbent figure of the Doge, his face meagre and severe, and
+sharp in its lines, but exquisite in the form of its small and princely
+features. The sarcophagus is adorned with elaborate wrinkled leafage,
+projecting in front of it into seven brackets, from which the statues
+are broken away; but by which, for there can be no doubt that these last
+statues represented the theological and cardinal Virtues, we must for a
+moment pause.
+
+Sec. LXVI. It was noticed above, that the tomb of the Florentine
+ambassador, Duccio, was the first in Venice which presented images of
+the Virtues. Its small lateral statues of Justice and Temperance are
+exquisitely beautiful, and were, I have no doubt, executed by a
+Florentine sculptor; the whole range of artistical power and religious
+feeling being, in Florence, full half a century in advance of that of
+Venice. But this is the first truly Venetian tomb which has the Virtues;
+and it becomes of importance, therefore, to know what was the character
+of Morosini.
+
+The reader must recollect, that I dated the commencement of the fall of
+Venice from the death of Carlo Zeno, considering that no state could be
+held as in decline, which numbered such a man amongst its citizens.
+Carlo Zeno was a candidate for the Ducal bonnet together with Michael
+Morosini; and Morosini was chosen. It might be anticipated, therefore,
+that there was something more than usually admirable or illustrious in
+his character. Yet it is difficult to arrive at a just estimate of it,
+as the reader will at once understand by comparing the following
+statements:
+
+   Sec. LXVI. 1. "To him (Andrea Contarini) succeeded Morosini, at the
+   age    of seventy-four years; a most learned and prudent man, who also
+   reformed several laws."--_Sansovino_, Vite de' Principi.
+
+   2. "It was generally believed that, if his reign had been longer, he
+   would have dignified the state by many noble laws and institutes; but
+   by so much as his reign was full of hope, by as much was it short in
+   duration, for he died when he had been at the head of the republic
+   but four months."--_Sabellico_, lib. viii.
+
+   3. "He was allowed but a short time to enjoy this high dignity, which
+   he had so well deserved by his rare virtues, for God called him to
+   Himself on the 15th of October."--_Muratori_, Annali de' Italia.
+
+   4. "Two candidates presented themselves; one was Zeno, the other that
+   Michael Morosini who, during the war, had tripled his fortune by his
+   speculations. The suffrages of the electors fell upon him, and he was
+   proclaimed Doge on the 10th of June."--_Daru_, Histoire de Venise,
+   lib. x.
+
+   5. "The choice of the electors was directed to Michele Morosini, a
+   noble of illustrious birth, derived from a stock which, coeval with
+   the republic itself, had produced the conqueror of Tyre, given a
+   queen to Hungary, and more than one Doge to Venice. The brilliancy of
+   this descent was tarnished in the present chief representative of the
+   family by the most base and grovelling avarice; for at that moment,
+   in the recent war, at which all other Venetians were devoting their
+   whole fortunes to the service of the state, Morosini sought in the
+   distresses of his country an opening for his own private enrichment,
+   and employed his ducats, not in the assistance of the national wants,
+   but in speculating upon houses which were brought to market at a
+   price far beneath their real value, and which, upon the return of
+   peace, insured the purchaser a fourfold profit. 'What matters the
+   fall of Venice to me, so as I fall not together with her?' was his
+   selfish and sordid reply to some one who expressed surprise at the
+   transaction."--_Sketches of Venetian History_. Murray, 1831.
+
+Sec. LXVIII. The writer of the unpretending little history from which the
+last quotation is taken has not given his authority for this statement,
+and I could not find it, but believed, from the general accuracy of the
+book, that some authority might exist better than Daru's. Under these
+circumstances, wishing if possible to ascertain the truth, and to clear
+the character of this great Doge from the accusation, if it proved
+groundless, I wrote to the Count Carlo Morosini, his descendant, and one
+of the few remaining representatives of the ancient noblesse of Venice;
+one, also, by whom his great ancestral name is revered, and in whom it
+is exalted. His answer appears to me altogether conclusive as to the
+utter fallacy of the reports of Daru and the English history. I have
+placed his letter in the close of this volume (Appendix 6), in order
+that the reader may himself be the judge upon this point; and I should
+not have alluded to Daru's report, except for the purpose of
+contradicting it, but that it still appears to me impossible that any
+modern historian should have gratuitously invented the whole story, and
+that, therefore, there must have been a trace in the documents which
+Daru himself possessed, of some scandal of this kind raised by
+Morosini's enemies, perhaps at the very time of the disputed election
+with Carlo Zeno. The occurrence of the Virtues upon his tomb, for the
+first time in Venetian monumental work, and so richly and conspicuously
+placed, may partly have been in public contradiction of such a floating
+rumor. But the face of the statue is a more explicit contradiction
+still; it is resolute, thoughtful, serene, and full of beauty; and we
+must, therefore, for once, allow the somewhat boastful introduction of
+the Virtues to have been perfectly just: though the whole tomb is most
+notable, as furnishing not only the exact intermediate condition in
+style between the pure Gothic and its final Renaissance corruption, but,
+at the same time, the exactly intermediate condition of _feeling_
+between the pure calmness of early Christianity, and the boastful pomp
+of the Renaissance faithlessness; for here we have still the religious
+humility remaining in the mosaic of the canopy, which shows the Doge
+kneeling before the cross, while yet this tendency to self-trust is
+shown in the surrounding of the coffin by the Virtues.
+
+Sec. LXIX. The next tomb by the side of which they appear is that of
+Jacopo Cavalli, in the same chapel of St. John and Paul which contains the
+tomb of the Doge Delfin. It is peculiarly rich in religious imagery,
+adorned by boldly cut types of the four evangelists, and of two saints,
+while, on projecting brackets in front of it, stood three statues of
+Faith, Hope, and Charity, now lost, but drawn in Zanotto's work. It is all
+rich in detail, and its sculptor has been proud of it, thus recording his
+name below the epitaph:
+
+  "QST OPERA DINTALGIO E FATTO IN PIERA,
+   UNVENICIAN LAFE CHANOME POLO,
+   NATO DI JACHOMEL CHATAIAPIERA."
+
+   This work of sculpture is done in stone;
+   A Venetian did it, named Paul,
+   Son of Jachomel the stone-cutter.
+
+Jacopo Cavalli died in 1384. He was a bold and active Veronese soldier,
+did the state much service, was therefore ennobled by it, and became the
+founder of the house of the Cavalli; but I find no especial reason for
+the images of the Virtues, especially that of Charity, appearing at his
+tomb, unless it be this: that at the siege of Feltre, in the war against
+Leopold of Austria, he refused to assault the city, because the senate
+would not grant his soldiers the pillage of the town. The feet of the
+recumbent figure, which is in full armor, rest on a dog, and its head on
+two lions; and these animals (neither of which form any part of the
+knight's bearings) are said by Zanotto to be intended to symbolize his
+bravery and fidelity. If, however, the lions are meant to set forth
+courage, it is a pity they should have been represented as howling.
+
+Sec. LXX. We must next pause for an instant beside the tomb of Michael
+Steno, now in the northern aisle of St. John and Paul, having been
+removed there from the destroyed church of the Servi: first, to note its
+remarkable return to the early simplicity, the sarcophagus being
+decorated only with two crosses in quatrefoils, though it is of the
+fifteenth century, Steno dying in 1413; and, in the second place, to
+observe the peculiarity of the epitaph, which eulogises Steno as having
+been "amator justitie, pacis, et ubertatis," "a lover of justice, peace,
+and plenty." In the epitaphs of this period, the virtues which are made
+most account of in public men are those which were most useful to their
+country. We have already seen one example in the epitaph on Simon
+Dandolo; and similar expressions occur constantly in laudatory mentions
+of their later Doges by the Venetian writers. Thus Sansovino of Marco
+Cornaro, "Era savio huomo, eloquente, e amava molto la pace e l'
+abbondanza della citta;" and of Tomaso Mocenigo, "Huomo oltre modo
+desideroso della pace."
+
+Of the tomb of this last-named Doge mention has before been made. Here,
+as in Morosini's, the images of the Virtues have no ironical power,
+although their great conspicuousness marks the increase of the boastful
+feeling in the treatment of monuments. For the rest, this tomb is the
+last in Venice which can be considered as belonging to the Gothic
+period. Its mouldings are already rudely classical, and it has
+meaningless figures in Roman armor at the angles; but its tabernacle
+above is still Gothic, and the recumbent figure is very beautiful. It
+was carved by two Florentine sculptors in 1423.
+
+Sec. LXXI. Tomaso Mocenigo was succeeded by the renowned Doge, Francesco
+Foscari, under whom, it will be remembered, the last additions were made
+to the Gothic Ducal Palace; additions which, in form only, not in
+spirit, corresponded to the older portions; since, during his reign, the
+transition took place which permits us no longer to consider the
+Venetian architecture as Gothic at all. He died in 1457, and his tomb is
+the first important example of Renaissance art.
+
+Not, however, a good characteristic example. It is remarkable chiefly as
+introducing all the faults of the Renaissance at an early period, when
+its merits, such as they are, were yet undeveloped. Its claim to be
+rated as a classical composition is altogether destroyed by the remnants
+of Gothic feeling which cling to it here and there in their last forms
+of degradation; and of which, now that we find them thus corrupted, the
+sooner we are rid the better. Thus the sarcophagus is supported by a
+species of trefoil arches; the bases of the shafts have still their
+spurs; and the whole tomb is covered by a pediment, with crockets and a
+pinnacle. We shall find that the perfect Renaissance is at least pure in
+its insipidity, and subtle in its vice; but this monument is remarkable
+as showing the refuse of one style encumbering the embryo of another,
+and all principles of life entangled either in the swaddling clothes or
+the shroud.
+
+Sec. LXXII. With respect to our present purpose, however, it is a monument
+of enormous importance. We have to trace, be it remembered, the pride of
+state in its gradual intrusion upon the sepulchre; and the consequent
+and correlative vanishing of the expressions of religious feeling and
+heavenly hope, together with the more and more arrogant setting forth of
+the virtues of the dead. Now this tomb is the largest and most costly we
+have yet seen; but its means of religious expression are limited to a
+single statue of Christ, small and used merely as a pinnacle at the top.
+The rest of the composition is as curious as it is vulgar. The conceit,
+so often noticed as having been borrowed from the Pisan school, of
+angels withdrawing the curtains of the couch to look down upon the dead,
+was brought forward with increasing prominence by every succeeding
+sculptor; but, as we draw nearer to the Renaissance period, we find that
+the _angels_ become of less importance, and the _curtains_ of more. With
+the Pisans, the curtains are introduced as a motive for the angels; with
+the Renaissance sculptors, the angels are introduced merely as a motive
+for the curtains, which become every day more huge and elaborate. In the
+monument of Mocenigo, they have already expanded into a tent, with a
+pole in the centre of it: and in that of Foscari, for the first time,
+the _angels are absent altogether_; while the curtains are arranged in
+the form of an enormous French tent-bed, and are sustained at the flanks
+by two diminutive figures in Roman armor; substituted for the angels,
+merely that the sculptor might _show his knowledge_ of classical
+costume. And now observe how often a fault in feeling induces also a
+fault in style. In the old tombs, the angels used to stand on or by the
+side of the sarcophagus; but their places are here to be occupied by the
+Virtues, and therefore, to sustain the diminutive Roman figures at the
+necessary height, each has a whole Corinthian pillar to himself, a
+pillar whose shaft is eleven feet high, and some three or four feet
+round: and because this was not high enough, it is put on a pedestal
+four feet and a half high; and has a spurred base besides of its own, a
+tall capital, then a huge bracket above the capital, and then another
+pedestal above the bracket, and on the top of all the diminutive figure
+who has charge of the curtains.
+
+Sec. LXXIII. Under the canopy, thus arranged, is placed the sarcophagus
+with its recumbent figure. The statues of the Virgin and the saints have
+disappeared from it. In their stead, its panels are filled with
+half-length figures of Faith, Hope, and Charity; while Temperance and
+Fortitude are at the Doge's feet, Justice and Prudence at his head,
+figures now the size of life, yet nevertheless recognizable only by
+their attributes: for, except that Hope raises her eyes, there is no
+difference in the character or expression of any of their faces,--they
+are nothing more than handsome Venetian women, in rather full and
+courtly dresses, and tolerably well thrown into postures for effect from
+below. Fortitude could not of course be placed in a graceful one without
+some sacrifice of her character, but that was of no consequence in the
+eyes of the sculptors of this period, so she leans back languidly, and
+nearly overthrows her own column; while Temperance, and Justice opposite
+to her, as neither the left hand of the one nor the right hand of the
+other could be seen from below, have been _left with one hand each_.
+
+Sec. LXXIV. Still these figures, coarse and feelingless as they are, have
+been worked with care, because the principal effect of the tomb depends
+on them. But the effigy of the Doge, of which nothing but the side is
+visible, has been utterly neglected; and the ingenuity of the sculptor
+is not so great, at the best, as that he can afford to be slovenly.
+There is, indeed, nothing in the history of Foscari which would lead us
+to expect anything particularly noble in his face; but I trust,
+nevertheless, it has been misrepresented by this despicable carver; for
+no words are strong enough to express the baseness of the portraiture. A
+huge, gross, bony clown's face, with the peculiar sodden and sensual
+cunning in it which is seen so often in the countenances of the worst
+Romanist priest; a face part of iron and part of clay, with the
+immobility of the one, and the foulness of the other, double chinned,
+blunt-mouthed, bony-cheeked, with its brows drawn down into meagre lines
+and wrinkles over the eyelids; the face of a man incapable either of joy
+or sorrow, unless such as may be caused by the indulgence of passion, or
+the mortification of pride. Even had he been such a one, a noble workman
+would not have written it so legibly on his tomb; and I believe it to be
+the image of the carver's own mind that is there hewn in the marble, not
+that of the Doge Foscari. For the same mind is visible enough
+throughout, the traces of it mingled with those of the evil taste of the
+whole time and people. There is not anything so small but it is shown in
+some portion of its treatment; for instance, in the placing of the
+shields at the back of the great curtain. In earlier times, the shield,
+as we have seen, was represented as merely suspended against the tomb by
+a thong, or if sustained in any other manner, still its form was simple
+and undisguised. Men in those days used their shields in war, and
+therefore there was no need to add dignity to their form by external
+ornament. That which, through day after day of mortal danger, had borne
+back from them the waves of battle, could neither be degraded by
+simplicity, nor exalted by decoration. By its rude leathern thong it
+seemed to be fastened to their tombs, and the shield of the mighty was
+not cast away, though capable of defending its master no more.
+
+Sec. LXXV. It was otherwise in the fifteenth and sixteenth centuries.
+The changed system of warfare was rapidly doing away with the practical
+service of the shield; and the chiefs who directed the battle from a
+distance, or who passed the greater part of their lives in the
+council-chamber, soon came to regard the shield as nothing more than a
+field for their armorial bearings. It then became a principal object of
+their Pride of State to increase the conspicuousness of these marks of
+family distinction by surrounding them with various and fantastic
+ornament, generally scroll or flower work, which of course deprived the
+shield of all appearance of being intended for a soldier's use. Thus the
+shield of the Foscari is introduced in two ways. On the sarcophagus,
+the bearings are three times repeated, enclosed in circular disks, which
+are sustained each by a couple of naked infants. Above the canopy, two
+shields of the usual form are set in the centre of circles filled by a
+radiating ornament of shell flutings, which give them the effect of
+ventilators; and their circumference is farther adorned by gilt rays,
+undulating to represent a glory.
+
+Sec. LXXVI. We now approach that period of the early Renaissance which
+was noticed in the preceding chapter as being at first a very visible
+improvement on the corrupted Gothic. The tombs executed during the
+period of the Byzantine Renaissance exhibit, in the first place, a
+consummate skill in handling the chisel, perfect science of drawing and
+anatomy, high appreciation of good classical models, and a grace of
+composition and delicacy of ornament derived, I believe, principally
+from the great Florentine sculptors. But, together with this science,
+they exhibit also, for a short time, some return to the early religious
+feeling, forming a school of sculpture which corresponds to that of the
+school of the Bellini in painting; and the only wonder is that there
+should not have been more workmen in the fifteenth century doing in
+marble what Perugino, Francia, and Bellini did on canvas. There are,
+indeed, some few, as I have just said, in whom the good and pure temper
+shows itself: but the sculptor was necessarily led sooner than the
+painter to an exclusive study of classical models, utterly adverse to
+the Christian imagination; and he was also deprived of the great
+purifying and sacred element of color, besides having much more of
+merely mechanical and therefore degrading labor to go through in the
+realization of his thought. Hence I do not know any example in sculpture
+at this period, at least in Venice, which has not conspicuous faults
+(not faults of imperfection, as in early sculpture, but of purpose and
+sentiment), staining such beauties as it may possess; and the whole
+school soon falls away, and merges into vain pomp and meagre metaphor.
+
+Sec. LXXVII. The most celebrated monument of this period is that to the
+Doge Andrea Vendramin, in the Church of St. John and Paul, sculptured
+about 1480, and before alluded to in the first chapter of the first
+volume. It has attracted public admiration, partly by its costliness,
+partly by the delicacy and precision of its chiselling; being otherwise
+a very base and unworthy example of the school, and showing neither
+invention nor feeling. It has the Virtues, as usual, dressed like
+heathen goddesses, and totally devoid of expression, though graceful and
+well studied merely as female figures. The rest of its sculpture is all
+of the same kind; perfect in workmanship, and devoid of thought. Its
+dragons are covered with marvellous scales, but have no terror nor sting
+in them; its birds are perfect in plumage, but have no song in them; its
+children lovely of limb, but have no childishness in them.
+
+Sec. LXXVIII. Of far other workmanship are the tombs of Pietro and
+Giovanni Mocenigo, in St. John and Paul, and of Pietro Bernardo in the
+Frari; in all which the details are as full of exquisite fancy, as they
+are perfect in execution; and in the two former, and several others of
+similar feeling, the old religious symbols return; the Madonna is again
+seen enthroned under the canopy, and the sarcophagus is decorated with
+legends of the saints. But the fatal errors of sentiment are,
+nevertheless, always traceable. In the first place, the sculptor is
+always seen to be intent upon the exhibition of his skill, more than on
+producing any effect on the spectator's mind; elaborate backgrounds of
+landscape, with tricks of perspective, imitations of trees, clouds, and
+water, and various other unnecessary adjuncts, merely to show how marble
+could be subdued; together with useless under-cutting, and over-finish
+in subordinate parts, continually exhibiting the same cold vanity and
+unexcited precision of mechanism. In the second place, the figures have
+all the peculiar tendency to posture-making, which, exhibiting itself
+first painfully in Perugino, rapidly destroyed the veracity of
+composition in all art. By posture-making I mean, in general, that
+action of figures which results from the painter's considering, in the
+first place, not how, under the circumstances, they would actually have
+walked, or stood, or looked, but how they may most gracefully and
+harmoniously walk or stand. In the hands of a great man, posture, like
+everything else, becomes noble, even when over-studied, as with Michael
+Angelo, who was, perhaps, more than any other, the cause of the
+mischief; but, with inferior men, this habit of composing attitudes ends
+necessarily in utter lifelessness and abortion. Giotto was, perhaps, of
+all painters, the most free from the infection of the poison, always
+conceiving an incident naturally, and drawing it unaffectedly; and the
+absence of posture-making in the works of the Pre-Raphaelites, as
+opposed to the Attitudinarianism of the modern school, has been both one
+of their principal virtues, and of the principal causes of outcry
+against them.
+
+Sec. LXXIX. But the most significant change in the treatment of these
+tombs, with respect to our immediate object, is in the form of the
+sarcophagus. It was above noted, that, exactly in proportion to the
+degree of the pride of life expressed in any monument, would be also the
+fear of death; and therefore, as these tombs increase in splendor, in
+size, and beauty of workmanship, we perceive a gradual desire to _take
+away from the definite character of the sarcophagus_. In the earliest
+times, as we have seen, it was a gloomy mass of stone; gradually it
+became charged with religious sculpture; but never with the slightest
+desire to disguise its form, until towards the middle of the fifteenth
+century. It then becomes enriched with flower-work and hidden by the
+Virtues; and, finally, losing its foursquare form, it is modelled on
+graceful types of ancient vases, made as little like a coffin as
+possible, and refined away in various elegancies, till it becomes, at
+last, a mere pedestal or stage for the portrait statue. This statue, in
+the meantime, has been gradually coming back to life, through a curious
+series of transitions. The Vendramin monument is one of the last which
+shows, or pretends to show, the recumbent figure laid in death. A few
+years later, this idea became disagreeable to polite minds; and, lo! the
+figures which before had been laid at rest upon the tomb pillow, raised
+themselves on their elbows, and began to look round them. The soul of
+the sixteenth century dared not contemplate its body in death.
+
+Sec. LXXX. The reader cannot but remember many instances of this form of
+monument, England being peculiarly rich in examples of them; although,
+with her, tomb sculpture, after the fourteenth century, is altogether
+imitative, and in no degree indicative of the temper of the people. It
+was from Italy that the authority for the change was derived; and in
+Italy only, therefore, that it is truly correspondent to the change in
+the national mind. There are many monuments in Venice of this
+semi-animate type, most of them carefully sculptured, and some very
+admirable as portraits, and for the casting of the drapery, especially
+those in the Church of San Salvador; but I shall only direct the reader
+to one, that of Jacopo Pesaro, Bishop of Paphos, in the Church of the
+Frari; notable not only as a very skilful piece of sculpture, but for
+the epitaph, singularly characteristic of the period, and confirmatory
+of all that I have alleged against it:
+
+ "James Pesaro, Bishop of Paphos, who conquered the Turks in war,
+   himself in peace, transported from a noble family among the Venetians
+   to a nobler among the angels, laid here, expects the noblest crown,
+   which the just Judge shall give to him in that day. He lived the
+   years of Plato. He died 24th March, 1547."[20]
+
+The mingled classicism and carnal pride of this epitaph surely need no
+comment. The crown is expected as a right from the justice of the judge,
+and the nobility of the Venetian family is only a little lower than that
+of the angels. The quaint childishness of the "Vixit annos Platonicos"
+is also very notable.
+
+Sec. LXXXI. The statue, however, did not long remain in this partially
+recumbent attitude. Even the expression of peace became painful to the
+frivolous and thoughtless Italians, and they required the portraiture to
+be rendered in a manner that should induce no memory of death. The
+statue rose up, and presented itself in front of the tomb, like an actor
+upon a stage, surrounded now not merely, or not at all, by the Virtues,
+but by allegorical figures of Fame and Victory, by genii and muses, by
+personifications of humbled kingdoms and adoring nations, and by every
+circumstance of pomp, and symbol of adulation, that flattery could
+suggest, or insolence could claim.
+
+Sec. LXXXII. As of the intermediate monumental type, so also of this, the
+last and most gross, there are unfortunately many examples in our own
+country; but the most wonderful, by far, are still at Venice. I shall,
+however, particularize only two; the first, that of the Doge John
+Pesaro, in the Frari. It is to be observed that we have passed over a
+considerable interval of time; we are now in the latter half of the
+seventeenth century; the progress of corruption has in the meantime been
+incessant, and sculpture has here lost its taste and learning as well as
+its feeling. The monument is a huge accumulation of theatrical scenery
+in marble: four colossal negro caryatides, grinning and horrible, with
+faces of black marble and white eyes, sustain the first story of it;
+above this, two monsters, long-necked, half dog and half dragon, sustain
+an ornamental sarcophagus, on the top of which the full-length statue of
+the Doge in robes of state stands forward with its arms expanded, like
+an actor courting applause, under a huge canopy of metal, like the roof
+of a bed, painted crimson and gold; on each side of him are sitting
+figures of genii, and unintelligible personifications gesticulating in
+Roman armor; below, between the negro caryatides, are two ghastly
+figures in bronze, half corpse, half skeleton, carrying tablets on which
+is written the eulogium: but in large letters graven in gold, the
+following words are the first and last that strike the eye; the first
+two phrases, one on each side, on tablets in the lower story, the last
+under the portrait statue above:
+
+  VIXIT ANNOS LXX.            DEVIXIT ANNO MDCLIX.
+             "HIC REVIXIT ANNO MDCLXIX."
+
+We have here, at last, the horrible images of death in violent contrast
+with the defiant monument, which pretends to bring the resurrection
+down to earth, "Hic revixit;" and it seems impossible for false taste
+and base feeling to sink lower. Yet even this monument is surpassed by
+one in St. John and Paul.
+
+Sec. LXXXIII. But before we pass to this, the last with which I shall
+burden the reader's attention, let us for a moment, and that we may feel
+the contrast more forcibly, return to a tomb of the early times.
+
+In a dark niche in the outer wall of the outer corridor of St.
+Mark's--not even in the church, observe, but in the atrium or porch of
+it, and on the north side of the church,--is a solid sarcophagus of
+white marble, raised only about two feet from the ground on four stunted
+square pillars. Its lid is a mere slab of stone; on its extremities are
+sculptured two crosses; in front of it are two rows of rude figures, the
+uppermost representing Christ with the Apostles: the lower row is of six
+figures only, alternately male and female, holding up their hands in the
+usual attitude of benediction; the sixth is smaller than the rest, and
+the midmost of the other five has a glory round its head. I cannot tell
+the meaning of these figures, but between them are suspended censers
+attached to crosses; a most beautiful symbolic expression of Christ's
+mediatorial function. The whole is surrounded by a rude wreath of vine
+leaves, proceeding out of the foot of a cross.
+
+On the bar of marble which separates the two rows of figures are
+inscribed these words:
+
+  "Here lies the Lord Marin Morosini, Duke."
+
+It is the tomb of the Doge Marino Morosini, who reigned from 1249 to
+1252.
+
+Sec. LXXXIV. From before this rude and solemn sepulchre let us pass to the
+southern aisle of the church of St. John and Paul; and there, towering
+from the pavement to the vaulting of the church, behold a mass of
+marble, sixty or seventy feet in height, of mingled yellow and white,
+the yellow carved into the form of an enormous curtain, with ropes,
+fringes, and tassels, sustained by cherubs; in front of which, in the
+now usual stage attitudes, advance the statues of the Doge Bertuccio
+Valier, his son the Doge Silvester Falier, and his son's wife,
+Elizabeth. The statues of the Doges, though mean and Polonius-like, are
+partly redeemed by the Ducal robes; but that of the Dogaressa is a
+consummation of grossness, vanity, and ugliness,--the figure of a large
+and wrinkled woman, with elaborate curls in stiff projection round her
+face, covered from her shoulders to her feet with ruffs, furs, lace,
+jewels, and embroidery. Beneath and around are scattered Virtues,
+Victories, Fames, genii,--the entire company of the monumental stage
+assembled, as before a drop scene,--executed by various sculptors, and
+deserving attentive study as exhibiting every condition of false taste
+and feeble conception. The Victory in the centre is peculiarly
+interesting; the lion by which she is accompanied, springing on a
+dragon, has been intended to look terrible, but the incapable sculptor
+could not conceive any form of dreadfulness, could not even make the
+lion look angry. It looks only lachrymose; and its lifted forepaws,
+there being no spring nor motion in its body, give it the appearance of
+a dog begging. The inscriptions under the two principal statues are as
+follows:
+
+      "Bertucius Valier, Duke,
+   Great in wisdom and eloquence,
+  Greater in his Hellespontic victory,
+    Greatest in the Prince his son.
+       Died in the year 1658."
+
+         "Elisabeth Quirina,
+       The wife of Silvester,
+    Distinguished by Roman virtue,
+         By Venetian piety,
+       And by the Ducal crown,
+            Died 1708."
+
+The writers of this age were generally anxious to make the world aware
+that they understood the degrees of comparison, and a large number of
+epitaphs are principally constructed with this object (compare, in the
+Latin, that of the Bishop of Paphos, given above): but the latter of
+these epitaphs is also interesting from its mention, in an age now
+altogether given up to the pursuit of worldly honor, of that "Venetian
+piety" which once truly distinguished the city from all others; and of
+which some form and shadow, remaining still, served to point an epitaph,
+and to feed more cunningly and speciously the pride which could not be
+satiated with the sumptuousness of the sepulchre.
+
+Sec. LXXXV. Thus far, then, of the second element of the Renaissance
+spirit, the Pride of State; nor need we go farther to learn the reason
+of the fall of Venice. She was already likened in her thoughts, and was
+therefore to be likened in her ruin, to the Virgin of Babylon. The Pride
+of State and the Pride of Knowledge were no new passions: the sentence
+against them had gone forth from everlasting. "Thou saidst, I shall be a
+lady for ever; so that thou didst not lay these things to thine heart ...
+_Thy wisdom and thy knowledge, it hath perverted thee_; and thou hast
+said in thine heart, I am, and none else beside me. Therefore shall evil
+come upon thee ...; thy merchants from thy youth, they shall wander every
+one to his quarter; none shall save thee."[21]
+
+Sec. LXXXVI. III. PRIDE OF SYSTEM. I might have illustrated these evil
+principles from a thousand other sources, but I have not time to pursue
+the subject farther, and must pass to the third element above named, the
+Pride of System. It need not detain us so long as either of the others,
+for it is at once more palpable and less dangerous. The manner in which
+the pride of the fifteenth century corrupted the sources of knowledge,
+and diminished the majesty, while it multiplied the trappings, of state,
+is in general little observed; but the reader is probably already well
+and sufficiently aware of the curious tendency to formulization and
+system which, under the name of philosophy, encumbered the minds of the
+Renaissance schoolmen. As it was above stated, grammar became the first
+of sciences; and whatever subject had to be treated, the first aim of
+the philosopher was to subject its principles to a code of laws, in the
+observation of which the merit of the speaker, thinker, or worker, in
+or on that subject, was thereafter to consist; so that the whole mind of
+the world was occupied by the exclusive study of Restraints. The sound
+of the forging of fetters was heard from sea to sea. The doctors of all
+the arts and sciences set themselves daily to the invention of new
+varieties of cages and manacles; they themselves wore, instead of gowns,
+a chain mail, whose purpose was not so much to avert the weapon of the
+adversary as to restrain the motions of the wearer; and all the acts,
+thoughts, and workings of mankind,--poetry, painting, architecture, and
+philosophy,--were reduced by them merely to so many different forms of
+fetter-dance.
+
+Sec. LXXXVII. Now, I am very sure that no reader who has given any
+attention to the former portions of this work, or the tendency of what
+else I have written, more especially the last chapter of the "Seven
+Lamps," will suppose me to underrate the importance, or dispute the
+authority, of law. It has been necessary for me to allege these again
+and again, nor can they ever be too often or too energetically alleged,
+against the vast masses of men who now disturb or retard the advance of
+civilization; heady and high-minded, despisers of discipline, and
+refusers of correction. But law, so far as it can be reduced to form and
+system, and is not written upon the heart,--as it is, in a Divine
+loyalty, upon the hearts of the great hierarchies who serve and wait
+about the throne of the Eternal Lawgiver,--this lower and formally
+expressible law has, I say, two objects. It is either for the definition
+and restraint of sin, or the guidance of simplicity; it either explains,
+forbids, and punishes wickedness, or it guides the movements and actions
+both of lifeless things and of the more simple and untaught among
+responsible agents. And so long, therefore, as sin and foolishness are
+in the world, so long it will be necessary for men to submit themselves
+painfully to this lower law, in proportion to their need of being
+corrected, and to the degree of childishness or simplicity by which they
+approach more nearly to the condition of the unthinking and inanimate
+things which are governed by law altogether; yet yielding, in the manner
+of their submission to it, a singular lesson to the pride of
+man,--being obedient more perfectly in proportion to their
+greatness.[22] But, so far as men become good and wise, and rise above
+the state of children, so far they become emancipated from this written
+law, and invested with the perfect freedom which consists in the fulness
+and joyfulness of compliance with a higher and unwritten law; a law so
+universal, so subtle, so glorious, that nothing but the heart can keep
+it.
+
+Sec. LXXXVIII. Now pride opposes itself to the observance of this Divine
+law in two opposite ways: either by brute resistance, which is the way
+of the rabble and its leaders, denying or defying law altogether; or by
+formal compliance, which is the way of the Pharisee, exalting himself
+while he pretends to obedience, and making void the infinite and
+spiritual commandment by the finite and lettered commandment. And it is
+easy to know which law we are obeying: for any law which we magnify and
+keep through pride, is always the law of the letter; but that which we
+love and keep through humility, is the law of the Spirit: And the letter
+killeth, but the Spirit giveth life.
+
+Sec. LXXXIX. In the appliance of this universal principle to what we have
+at present in hand, it is to be noted, that all written or writable law
+respecting the arts is for the childish and ignorant: that in the
+beginning of teaching, it is possible to say that this or that must or
+must not be done; and laws of color and shade may be taught, as laws of
+harmony are to the young scholar in music. But the moment a man begins
+to be anything deserving the name of an artist, all this teachable law
+has become a matter of course with him; and if, thenceforth, he boast
+himself anywise in the law, or pretend that he lives and works by it, it
+is a sure sign that he is merely tithing cummin, and that there is no
+true art nor religion in him. For the true artist has that inspiration
+in him which is above all law, or rather, which is continually working
+out such magnificent and perfect obedience to supreme law, as can in no
+wise be rendered by line and rule. There are more laws perceived and
+fulfilled in the single stroke of a great workman, than could be written
+in a volume. His science is inexpressibly subtle, directly taught him by
+his Maker, not in any wise communicable or imitable.[23] Neither can any
+written or definitely observable laws enable us to do any great thing.
+It is possible, by measuring and administering quantities of color, to
+paint a room wall so that it shall not hurt the eye; but there are no
+laws by observing which we can become Titians. It is possible so to
+measure and administer syllables, as to construct harmonious verse; but
+there are no laws by which we can write Iliads. Out of the poem or the
+picture, once produced, men may elicit laws by the volume, and study
+them with advantage, to the better understanding of the existing poem or
+picture; but no more write or paint another, than by discovering laws of
+vegetation they can make a tree to grow. And therefore, wheresoever we
+find the system and formality of rules much dwelt upon, and spoken of as
+anything else than a help for children, there we may be sure that noble
+art is not even understood, far less reached. And thus it was with all
+the common and public mind in the fifteenth and sixteenth centuries. The
+greater men, indeed, broke through the thorn hedges; and, though much
+time was lost by the learned among them in writing Latin verses and
+anagrams, and arranging the framework of quaint sonnets and dexterous
+syllogisms, still they tore their way through the sapless thicket by
+force of intellect or of piety; for it was not possible that, either in
+literature or in painting, rules could be received by any strong mind,
+so as materially to interfere with its originality: and the crabbed
+discipline and exact scholarship became an advantage to the men who
+could pass through and despise them; so that in spite of the rules of
+the drama we had Shakspeare, and in spite of the rules of art we had
+Tintoret,--both of them, to this day, doing perpetual violence to the
+vulgar scholarship and dim-eyed proprieties of the multitude.
+
+Sec. XC. But in architecture it was not so; for that was the art of the
+multitude, and was affected by all their errors; and the great men who
+entered its field, like Michael Angelo, found expression for all the
+best part of their minds in sculpture, and made the architecture merely
+its shell. So the simpletons and sophists had their way with it: and the
+reader can have no conception of the inanities and puerilities of the
+writers, who, with the help of Vitruvius, re-established its "five
+orders," determined the proportions of each, and gave the various
+recipes for sublimity and beauty, which have been thenceforward followed
+to this day, but which may, I believe, in this age of perfect machinery,
+be followed out still farther. If, indeed, there are only five perfect
+forms of columns and architraves, and there be a fixed proportion to
+each, it is certainly possible, with a little ingenuity, so to regulate
+a stonecutting machine, as that it shall furnish pillars and friezes to
+the size ordered, of any of the five orders, on the most perfect Greek
+models, in any quantity; an epitome, also, of Vitruvius, may be made so
+simple, as to enable any bricklayer to set them up at their proper
+distances, and we may dispense with our architects altogether.
+
+Sec. XCI. But if this be not so, and there be any truth in the faint
+persuasion which still lurks in men's minds that architecture _is_ an
+art, and that it requires some gleam of intellect to practise it, then
+let the whole system of the orders and their proportions be cast out and
+trampled down as the most vain, barbarous, and paltry deception that was
+ever stamped on human prejudice; and let us understand this plain truth,
+common to all work of man, that, if it be good work, it is not a copy,
+nor anything done by rule, but a freshly and divinely imagined thing.
+Five orders! There is not a side chapel in any Gothic cathedral but it
+has fifty orders, the worst of them better than the best of the Greek
+ones, and all new; and a single inventive human soul could create a
+thousand orders in an hour.[24] And this would have been discovered even
+in the worst times, but that, as I said, the greatest men of the age
+found expression for their invention in the other arts, and the best of
+those who devoted themselves to architecture were in great part occupied
+in adapting the construction of buildings to new necessities, such as
+those developed by the invention of gunpowder (introducing a totally new
+and most interesting science of fortification, which directed the
+ingenuity of Sanmicheli and many others from its proper channel), and
+found interest of a meaner kind in the difficulties of reconciling the
+obsolete architectural laws they had consented to revive, and the forms
+of Roman architecture which they agreed to copy, with the requirements
+of the daily life of the sixteenth century.
+
+Sec. XCII. These, then, were the three principal directions in which
+the Renaissance pride manifested itself, and its impulses were rendered
+still more fatal by the entrance of another element, inevitably
+associated with pride. For, as it is written, "He that trusteth in his
+own heart is a fool," so also it is written, "The fool hath said in his
+heart, There is no God;" and the self-adulation which influenced not
+less the learning of the age than its luxury, led gradually to the
+forgetfulness of all things but self, and to an infidelity only the more
+fatal because it still retained the form and language of faith.
+
+Sec. XCIII. IV. INFIDELITY. In noticing the more prominent forms in which
+this faithlessness manifested itself, it is necessary to distinguish
+justly between that which was the consequence of respect for Paganism,
+and that which followed from the corruption of Catholicism. For as the
+Roman architecture is not to be made answerable for the primal
+corruption of the Gothic, so neither is the Roman philosophy to be made
+answerable for the primal corruption of Christianity. Year after year,
+as the history of the life of Christ sank back into the depths of time,
+and became obscured by the misty atmosphere of the history of the
+world,--as intermediate actions and incidents multiplied in number, and
+countless changes in men's modes of life, and tones of thought, rendered
+it more difficult for them to imagine the facts of distant time,--it
+became daily, almost hourly, a greater effort for the faithful heart to
+apprehend the entire veracity and vitality of the story of its Redeemer;
+and more easy for the thoughtless and remiss to deceive themselves as to
+the true character of the belief they had been taught to profess. And
+this must have been the case, had the pastors of the Church never failed
+in their watchfulness, and the Church itself never erred in its practice
+or doctrine. But when every year that removed the truths of the Gospel
+into deeper distance, added to them also some false or foolish
+tradition; when wilful distortion was added to natural obscurity, and
+the dimness of memory was disguised by the fruitfulness of fiction;
+when, moreover, the enormous temporal power granted to the clergy
+attracted into their ranks multitudes of men who, but for such
+temptation, would not have pretended to the Christian name, so that
+grievous wolves entered in among them, not sparing the flock; and when,
+by the machinations of such men, and the remissness of others, the form
+and administrations of Church doctrine and discipline had become little
+more than a means of aggrandizing the power of the priesthood, it was
+impossible any longer for men of thoughtfulness or piety to remain in an
+unquestioning serenity of faith. The Church had become so mingled with
+the world that its witness could no longer be received; and the
+professing members of it, who were placed in circumstances such as to
+enable them to become aware of its corruptions, and whom their interest
+or their simplicity did not bribe or beguile into silence, gradually
+separated themselves into two vast multitudes of adverse energy, one
+tending to Reformation, and the other to Infidelity.
+
+Sec. XCIV. Of these, the last stood, as it were, apart, to watch the
+course of the struggle between Romanism and Protestantism; a struggle
+which, however necessary, was attended with infinite calamity to the
+Church. For, in the first place, the Protestant movement was, in reality,
+not _reformation_ but _reanimation_. It poured new life into the Church,
+but it did not form or define her anew. In some sort it rather broke down
+her hedges, so that all they who passed by might pluck off her grapes.
+The reformers speedily found that the enemy was never far behind the
+sower of good seed; that an evil spirit might enter the ranks of
+reformation as well as those of resistance; and that though the deadly
+blight might be checked amidst the wheat, there was no hope of ever
+ridding the wheat itself from the tares. New temptations were invented
+by Satan wherewith to oppose the revived strength of Christianity: as
+the Romanist, confiding in his human teachers, had ceased to try whether
+they were teachers sent from God, so the Protestant, confiding in the
+teaching of the Spirit, believed every spirit, and did not try the
+spirits whether they were of God. And a thousand enthusiasms and
+heresies speedily obscured the faith and divided the force of the
+Reformation.
+
+Sec. XCV. But the main evils rose out of the antagonism of the two great
+parties; primarily, in the mere fact of the existence of an antagonism.
+To the eyes of the unbeliever the Church of Christ, for the first time
+since its foundation, bore the aspect of a house divided against itself.
+Not that many forms of schism had not before arisen in it; but either
+they had been obscure and silent, hidden among the shadows of the Alps
+and the marshes of the Rhine; or they had been outbreaks of visible and
+unmistakable error, cast off by the Church, rootless, and speedily
+withering away, while, with much that was erring and criminal, she still
+retained within her the pillar and ground of the truth. But here was at
+last a schism in which truth and authority were at issue. The body that
+was cast off withered away no longer. It stretched out its boughs to the
+sea and its branches to the river, and it was the ancient trunk that
+gave signs of decrepitude. On one side stood the reanimated faith, in
+its right hand the book open, and its left hand lifted up to heaven,
+appealing for its proof to the Word of the Testimony and the power of
+the Holy Ghost. On the other stood, or seemed to stand, all beloved
+custom and believed tradition; all that for fifteen hundred years had
+been closest to the hearts of men, or most precious for their help.
+Long-trusted legend; long-reverenced power; long-practised discipline;
+faiths that had ruled the destiny, and sealed the departure, of souls
+that could not be told or numbered for multitude; prayers, that from the
+lips of the fathers to those of the children had distilled like sweet
+waterfalls, sounding through the silence of ages, breaking themselves
+into heavenly dew to return upon the pastures of the wilderness; hopes,
+that had set the face as a flint in the torture, and the sword as a
+flame in the battle, that had pointed the purposes and ministered the
+strength of life, brightened the last glances and shaped the last
+syllables of death; charities, that had bound together the brotherhoods
+of the mountain and the desert, and had woven chains of pitying or
+aspiring communion between this world and the unfathomable beneath and
+above; and, more than these, the spirits of all the innumerable,
+undoubting, dead, beckoning to the one way by which they had been
+content to follow the things that belonged unto their peace;--these all
+stood on the other side: and the choice must have been a bitter one,
+even at the best; but it was rendered tenfold more bitter by the
+natural, but most sinful animosity of the two divisions of the Church
+against each other.
+
+Sec. XCVI. On one side this animosity was, of course, inevitable. The
+Romanist party, though still including many Christian men, necessarily
+included, also, all the worst of those who called themselves Christians.
+In the fact of its refusing correction, it stood confessed as the Church
+of the unholy; and, while it still counted among its adherents many of
+the simple and believing,--men unacquainted with the corruption of the
+body to which they belonged, or incapable of accepting any form of
+doctrine but that which they had been taught from their youth,--it
+gathered together with them whatever was carnal and sensual in
+priesthood or in people, all the lovers of power in the one, and of ease
+in the other. And the rage of these men was, of course, unlimited
+against those who either disputed their authority, reprehended their
+manner of life, or cast suspicion upon the popular methods of lulling
+the conscience in the lifetime, or purchasing salvation on the
+death-bed.
+
+Sec. XCVII. Besides this, the reassertion and defence of various tenets
+which before had been little more than floating errors in the popular
+mind, but which, definitely attacked by Protestantism, it became
+necessary to fasten down with a band of iron and brass, gave a form at
+once more rigid, and less rational, to the whole body of Romanist
+Divinity. Multitudes of minds which in other ages might have brought
+honor and strength to the Church, preaching the more vital truths which
+it still retained, were now occupied in pleading for arraigned
+falsehoods, or magnifying disused frivolities; and it can hardly be
+doubted by any candid observer, that the nascent or latent errors which
+God pardoned in times of ignorance, became unpardonable when they were
+formally defined and defended; that fallacies which were forgiven to the
+enthusiasm of a multitude, were avenged upon the stubbornness of a
+Council; that, above all, the great invention of the age, which rendered
+God's word accessible to every man, left all sins against its light
+incapable of excuse or expiation; and that from the moment when Rome set
+herself in direct opposition to the Bible, the judgment was pronounced
+upon her, which made her the scorn and the prey of her own children, and
+cast her down from the throne where she had magnified herself against
+heaven, so low, that at last the unimaginable scene of the Bethlehem
+humiliation was mocked in the temples of Christianity. Judea had seen
+her God laid in the manger of the beasts of burden; it was for
+Christendom to stable the beasts of burden by the altar of her God.
+
+Sec. XCVIII. Nor, on the other hand, was the opposition of Protestantism
+to the Papacy less injurious to itself. That opposition was, for the most
+part, intemperate, undistinguishing, and incautious. It could indeed
+hardly be otherwise. Fresh bleeding from the sword of Rome, and still
+trembling at her anathema, the reformed churches were little likely to
+remember any of her benefits, or to regard any of her teaching. Forced
+by the Romanist contumely into habits of irreverence, by the Romanist
+fallacies into habits of disbelief, the self-trusting, rashly-reasoning
+spirit gained ground among them daily. Sect branched out of sect,
+presumption rose over presumption; the miracles of the early Church
+were denied and its martyrs forgotten, though their power and palm were
+claimed by the members of every persecuted sect; pride, malice, wrath,
+love of change, masked themselves under the thirst for truth, and
+mingled with the just resentment of deception, so that it became
+impossible even for the best and truest men to know the plague of their
+own hearts; while avarice and impiety openly transformed reformation
+into robbery, and reproof into sacrilege. Ignorance could as easily lead
+the foes of the Church, as lull her slumber; men who would once have
+been the unquestioning recipients, were now the shameless inventors of
+absurd or perilous superstitions; they who were of the temper that
+walketh in darkness, gained little by having discovered their guides to
+be blind; and the simplicity of the faith, ill understood and
+contumaciously alleged, became an excuse for the rejection of the
+highest arts and most tried wisdom of mankind: while the learned
+infidel, standing aloof, drew his own conclusions, both from the rancor
+of the antagonists, and from their errors; believed each in all that he
+alleged against the other; and smiled with superior humanity, as he
+watched the winds of the Alps drift the ashes of Jerome, and the dust of
+England drink the blood of King Charles.
+
+Sec. XCIX. Now all this evil was, of course, entirely independent of the
+renewal of the study of Pagan writers. But that renewal found the faith
+of Christendom already weakened and divided; and therefore it was itself
+productive of an effect tenfold greater than could have been apprehended
+from it at another time. It acted first, as before noticed, in leading
+the attention of all men to words instead of things; for it was
+discovered that the language of the middle ages had been corrupt, and
+the primal object of every scholar became now to purify his style. To
+this study of words, that of forms being added, both as of matters of
+the first importance, half the intellect of the age was at once absorbed
+in the base sciences of grammar, logic, and rhetoric; studies utterly
+unworthy of the serious labor of men, and necessarily rendering those
+employed upon them incapable of high thoughts or noble emotion. Of the
+debasing tendency of philology, no proof is needed beyond once reading
+a grammarian's notes on a great poet: logic is unnecessary for men who
+can reason; and about as useful to those who cannot, as a machine for
+forcing one foot in due succession before the other would be to a man
+who could not walk: while the study of rhetoric is exclusively one for
+men who desire to deceive or be deceived; he who has the truth at his
+heart need never fear the want of persuasion on his tongue, or, if he
+fear it, it is because the base rhetoric of dishonesty keeps the truth
+from being heard.
+
+Sec. C. The study of these sciences, therefore, naturally made men shallow
+and dishonest in general; but it had a peculiarly fatal effect with
+respect to religion, in the view which men took of the Bible. Christ's
+teaching was discovered not to be rhetorical, St. Paul's preaching not
+to be logical, and the Greek of the New Testament not to be grammatical.
+The stern truth, the profound pathos, the impatient period, leaping from
+point to point and leaving the intervals for the hearer to fill, the
+comparatively Hebraized and unelaborate idiom, had little in them of
+attraction for the students of phrase and syllogism; and the chief
+knowledge of the age became one of the chief stumbling-blocks to its
+religion.
+
+Sec. CI. But it was not the grammarian and logician alone who was thus
+retarded or perverted; in them there had been small loss. The men who
+could truly appreciate the higher excellences of the classics were
+carried away by a current of enthusiasm which withdrew them from every
+other study. Christianity was still professed as a matter of form, but
+neither the Bible nor the writings of the Fathers had time left for
+their perusal, still less heart left for their acceptance. The human
+mind is not capable of more than a certain amount of admiration or
+reverence, and that which was given to Horace was withdrawn from David.
+Religion is, of all subjects, that which will least endure a second
+place in the heart or thoughts, and a languid and occasional study of it
+was sure to lead to error or infidelity. On the other hand, what was
+heartily admired and unceasingly contemplated was soon brought nigh to
+being believed; and the systems of Pagan mythology began gradually to
+assume the places in the human mind from which the unwatched
+Christianity was wasting. Men did not indeed openly sacrifice to
+Jupiter, or build silver shrines for Diana, but the ideas of Paganism
+nevertheless became thoroughly vital and present with them at all times;
+and it did not matter in the least, as far as respected the power of
+true religion, whether the Pagan image was believed in or not, so long
+as it entirely occupied the thoughts. The scholar of the sixteenth
+century, if he saw the lightning shining from the east unto the west,
+thought forthwith of Jupiter, not of the coming of the Son of Man; if he
+saw the moon walking in brightness, he thought of Diana, not of the
+throne which was to be established for ever as a faithful witness in
+heaven; and though his heart was but secretly enticed, yet thus he
+denied the God that is above.[25]
+
+And, indeed, this double creed, of Christianity confessed and Paganism
+beloved, was worse than Paganism itself, inasmuch as it refused
+effective and practical belief altogether. It would have been better to
+have worshipped Diana and Jupiter at once, than to have gone on through
+the whole of life naming one God, imagining another, and dreading none.
+Better, a thousandfold, to have been "a Pagan suckled in some creed
+outworn," than to have stood by the great sea of Eternity and seen no
+God walking on its waves, no heavenly world on its horizon.
+
+Sec. CII. This fatal result of an enthusiasm for classical literature was
+hastened and heightened by the misdirection of the powers of art. The
+imagination of the age was actively set to realize these objects of
+Pagan belief; and all the most exalted faculties of man, which, up to
+that period, had been employed in the service of Faith, were now
+transferred to the service of Fiction. The invention which had formerly
+been both sanctified and strengthened by laboring under the command of
+settled intention, and on the ground of assured belief, had now the
+reins laid upon its neck by passion, and all ground of fact cut from
+beneath its feet; and the imagination which formerly had helped men to
+apprehend the truth, now tempted them to believe a falsehood. The
+faculties themselves wasted away in their own treason; one by one they
+fell in the potter's field; and the Raphael who seemed sent and inspired
+from heaven that he might paint Apostles and Prophets, sank at once into
+powerlessness at the feet of Apollo and the Muses.
+
+Sec. CIII. But this was not all. The habit of using the greatest gifts of
+imagination upon fictitious subjects, of course destroyed the honor and
+value of the same imagination used in the cause of truth. Exactly in the
+proportion in which Jupiters and Mercuries were embodied and believed,
+in that proportion Virgins and Angels were disembodied and disbelieved.
+The images summoned by art began gradually to assume one average value
+in the spectator's mind; and incidents from the Iliad and from the
+Exodus to come within the same degrees of credibility. And, farther,
+while the powers of the imagination were becoming daily more and more
+languid, because unsupported by faith, the manual skill and science of
+the artist were continually on the increase. When these had reached a
+certain point, they began to be the principal things considered in the
+picture, and its story or scene to be thought of only as a theme for
+their manifestation. Observe the difference. In old times, men used
+their powers of painting to show the objects of faith; in later times,
+they used the objects of faith that they might show their powers of
+painting. The distinction is enormous, the difference incalculable as
+irreconcilable. And thus, the more skilful the artist, the less his
+subject was regarded; and the hearts of men hardened as their handling
+softened, until they reached a point when sacred, profane, or sensual
+subjects were employed, with absolute indifference, for the display of
+color and execution; and gradually the mind of Europe congealed into
+that state of utter apathy,--inconceivable, unless it had been
+witnessed, and unpardonable, unless by us, who have been infected by
+it,--which permits us to place the Madonna and the Aphrodite side by
+side in our galleries, and to pass, with the same unmoved inquiry into
+the manner of their handling, from a Bacchanal to a Nativity.
+
+Now all this evil, observe, would have been merely the necessary and
+natural operation of an enthusiasm for the classics, and of a delight in
+the mere science of the artist, on the most virtuous mind. But this
+operation took place upon minds enervated by luxury, and which were
+tempted, at the very same period, to forgetfulness or denial of all
+religious principle by their own basest instincts. The faith which had
+been undermined by the genius of Pagans, was overthrown by the crimes of
+Christians; and the ruin which was begun by scholarship, was completed
+by sensuality. The characters of the heathen divinities were as suitable
+to the manners of the time as their forms were agreeable to its taste;
+and Paganism again became, in effect, the religion of Europe. That is to
+say, the civilized world is at this moment, collectively, just as Pagan
+as it was in the second century; a small body of believers being now, as
+they were then, representative of the Church of Christ in the midst of
+the faithless: but there is just this difference, and this very fatal
+one, between the second and nineteenth centuries, that the Pagans are
+nominally and fashionably Christians, and that there is every
+conceivable variety and shade of belief between the two; so that not
+only is it most difficult theoretically to mark the point where
+hesitating trust and failing practice change into definite infidelity,
+but it has become a point of politeness not to inquire too deeply into
+our neighbor's religious opinions; and, so that no one be offended by
+violent breach of external forms, to waive any close examination into
+the tenets of faith. The fact is, we distrust each other and ourselves
+so much, that we dare not press this matter; we know that if, on any
+occasion of general intercourse, we turn to our next neighbor, and put
+to him some searching or testing question, we shall, in nine cases out
+of ten, discover him to be only a Christian in his own way, and as far
+as he thinks proper, and that he doubts of many things which we
+ourselves do not believe strongly enough to hear doubted without danger.
+What is in reality cowardice and faithlessness, we call charity; and
+consider it the part of benevolence sometimes to forgive men's evil
+practice for the sake of their accurate faith, and sometimes to forgive
+their confessed heresy for the sake of their admirable practice. And
+under this shelter of charity, humility, and faintheartedness, the
+world, unquestioned by others or by itself, mingles with and overwhelms
+the small body of Christians, legislates for them, moralizes for them,
+reasons for them; and, though itself of course greatly and beneficently
+influenced by the association, and held much in check by its pretence to
+Christianity, yet undermines, in nearly the same degree, the sincerity
+and practical power of Christianity itself, until at last, in the very
+institutions of which the administration may be considered as the
+principal test of the genuineness of national religion, those devoted to
+education, the Pagan system is completely triumphant; and the entire
+body of the so-called Christian world has established a system of
+instruction for its youth, wherein neither the history of Christ's
+Church, nor the language of God's law, is considered a study of the
+smallest importance; wherein, of all subjects of human inquiry, his own
+religion is the one in which a youth's ignorance is most easily
+forgiven;[26] and in which it is held a light matter that he should be
+daily guilty of lying, or debauchery, or of blasphemy, so only that he
+write Latin verses accurately, and with speed.
+
+I believe that in few years more we shall wake from all these errors in
+astonishment, as from evil dreams; having been preserved, in the midst
+of their madness, by those hidden roots of active and earnest
+Christianity which God's grace has bound in the English nation with iron
+and brass. But in the Venetian, those roots themselves had withered;
+and, from the palace of their ancient religion, their pride cast them
+forth hopelessly to the pasture of the brute. From pride to infidelity,
+from infidelity to the unscrupulous and insatiable pursuit of pleasure,
+and from this to irremediable degradation, the transitions were swift,
+like the falling of a star. The great palaces of the haughtiest nobles
+of Venice were stayed, before they had risen far above their
+foundations, by the blast of a penal poverty; and the wild grass, on the
+unfinished fragments of their mighty shafts, waves at the tide-mark
+where the power of the godless people first heard the "Hitherto shalt
+thou come." And the regeneration in which they had so vainly
+trusted,--the new birth and clear dawning, as they thought it, of all
+art, all knowledge, and all hope,--became to them as that dawn which
+Ezekiel saw on the hills of Israel: "Behold the day; behold, it is come.
+The rod hath blossomed, pride hath budded, violence is risen up into a
+rod of wickedness. None of them shall remain, nor of their multitude;
+let not the buyer rejoice, nor the seller mourn, for wrath is upon all
+the multitude thereof."
+
+
+FOOTNOTES:
+
+  [8] Or, more briefly, science has to do with facts, art with
+    phenomena. To science, phenomena are of use only as they lead to
+    facts; and to art facts are of use only as they lead to phenomena. I
+    use the word "art" here with reference to the fine arts only, for
+    the lower arts of mechanical production I should reserve the word
+    "manufacture."
+
+  [9] Tintoret.
+
+  [10] St. Bernard.
+
+  [11] Society always has a destructive influence upon an artist:
+    first by its sympathy with his meanest powers; secondly, by its
+    chilling want of understanding of his greatest; and, thirdly, by its
+    vain occupation of his time and thoughts. Of course a painter of men
+    must be _among_ men; but it ought to be as a watcher, not as a
+    companion.
+
+  [12] I intended in this place to have introduced some special
+    consideration of the science of anatomy, which I believe to have
+    been in great part the cause of the decline of modern art; but I
+    have been anticipated by a writer better able to treat the subject.
+    I have only glanced at his book; and there is something in the
+    spirit of it which I do not like, and some parts of it are assuredly
+    wrong; but, respecting anatomy, it seems to me to settle the
+    question indisputably, more especially as being written by a master
+    of the science. I quote two passages, and must refer the reader to
+    the sequel.
+
+    "_The scientific men of forty centuries_ have failed to describe so
+    accurately, so beautifully, so artistically, as Homer did, the
+    organic elements constituting the emblems of youth and beauty, and
+    the waste and decay which these sustain by time and age. All these
+    Homer understood better, and has described more truthfully than the
+    scientific men of forty centuries....
+
+    "Before I approach this question, permit me to make a few remarks on
+    the pre-historic period of Greece; that era which seems to have
+    produced nearly all the great men.
+
+    "On looking attentively at the statues within my observation, I
+    cannot find the slightest foundation for the assertion that their
+    sculptors must have dissected the human frame and been well
+    acquainted with the human anatomy. They, like Homer, had discovered
+    Nature's secret, and bestowed their whole attention on the exterior.
+    The exterior they read profoundly, and studied deeply--the _living
+    exterior_ and the _dead_. Above all, they avoided displaying the
+    dead and dissected interior, through the exterior. They had
+    discovered that the interior presents hideous shapes, but not forms.
+    Men during the philosophic era of Greece saw all this, each reading
+    the antique to the best of his abilities. The man of genius
+    rediscovered the canon of the ancient masters, and wrought on its
+    principles. The greater number, as now, unequal to this step, merely
+    imitated and copied those who preceded them."--_Great Artists and
+    Great Anatomists_. By R. Knox, M.D. London, Van Voorst, 1852.
+
+    Respecting the value of literary knowledge in general as regards
+    art, the reader will also do well to meditate on the following
+    sentences from Hallam's "Literature of Europe;" remembering at the
+    same time what I have above said, that "the root of all great art in
+    Europe is struck in the thirteenth century," and that the great time
+    is from 1250 to 1350:
+
+    "In Germany the tenth century, Leibnitz declares, was a golden age
+    of learning compared with the thirteenth."
+
+    "The writers of the thirteenth century display an incredible
+    ignorance, not only of pure idiom, but of common grammatical rules."
+
+    The fourteenth century was "not superior to the thirteenth in
+    learning.... We may justly praise Richard of Bury for his zeal in
+    collecting books. But his erudition appears crude, his style
+    indifferent, and his thoughts superficial."
+
+    I doubt the superficialness of the _thoughts_: at all events, this
+    is not a character of the time, though it may be of the writer; for
+    this would affect art more even than literature.
+
+  [13] Churton's "Early English Church." London, 1840.
+
+  [14] "Quibus nulla macula inest quae non cernatur. Ita viri nobilitate
+    praediti eam vitam peragant cui nulla nota possit inviri." The first
+    sentence is literally, "in which there is no spot that may not be
+    seen." But I imagine the writer meant it as I have put it in the
+    text, else his comparison does not hold.
+
+  [15] Observe, however, that the magnitude spoken of here and in the
+    following passages, is the finished and polished magnitude sought
+    for the sake of pomp: not the rough magnitude sought for the sake of
+    sublimity: respecting which see the "Seven Lamps," chap. iii. Sec. 5,
+    6, and 8.
+
+  [16] Can Grande died in 1329: we can hardly allow more than five
+    years for the erection of his tomb.
+
+  [17] Vol. I. Chap. I.
+
+  [18] Sansovino, lib. xiii.
+
+  [19] Tentori, vi. 142, i. 157.
+
+  [20] "Jacobus Pisaurius Paphi Episcopus qui Turcos bello, se ipsum
+    pace vincebat, ex nobili inter Venetas, ad nobiliorem inter Angelos
+    familiam delatus, nobilissimam in illa die Coronam justo Judice
+    reddente, hic situs expectat Vixit annos Platonicos. Obijt MDXLVII.
+    IX. Kal. Aprilis."
+
+  [21] Isaiah xlvii. 7, 10, 11, 15.
+
+  [22] Compare "Seven Lamps," chap. vii. Sec. 3.
+
+  [23] See the farther remarks on Inspiration, in the fourth chapter.
+
+  [24] That is to say, orders separated by such distinctions as the old
+    Greek ones: considered with reference to the bearing power of the
+    capital, all orders may be referred to two, as long ago stated; just
+    as trees may be referred to the two great classes, monocotyledonous
+    and dicotyledonous.
+
+  [25] Job xxi: 26-28; Psalm lxxxix. 37.
+
+  [26] I shall not forget the impression made upon me at Oxford, when,
+    going up for my degree, and mentioning to one of the authorities
+    that I had not had time enough to read the Epistles properly, I was
+    told, that "the Epistles were separate sciences, and I need not
+    trouble myself about them."
+
+    The reader will find some farther notes on this subject in Appendix
+    7, "Modern Education."
+
+
+
+
+CHAPTER III.
+
+GROTESQUE RENAISSANCE.
+
+
+Sec. I. In the close of the last chapter it was noted that the phases of
+transition in the moral temper of the falling Venetians, during their
+fall, were from pride to infidelity, and from infidelity to the
+unscrupulous _pursuit of pleasure_. During the last years of the
+existence of the state, the minds both of the nobility and the people
+seem to have been set simply upon the attainment of the means of
+self-indulgence. There was not strength enough in them to be proud, nor
+forethought enough to be ambitious. One by one the possessions of the
+state were abandoned to its enemies; one by one the channels of its
+trade were forsaken by its own languor, or occupied and closed against
+it by its more energetic rivals; and the time, the resources, and the
+thoughts of the nation were exclusively occupied in the invention of
+such fantastic and costly pleasures as might best amuse their apathy,
+lull their remorse, or disguise their ruin.
+
+Sec. II. The architecture raised at Venice during this period is amongst
+the worst and basest ever built by the hands of men, being especially
+distinguished by a spirit of brutal mockery and insolent jest, which,
+exhausting itself in deformed and monstrous sculpture, can sometimes be
+hardly otherwise defined than as the perpetuation in stone of the
+ribaldries of drunkenness. On such a period, and on such work, it is
+painful to dwell, and I had not originally intended to do so; but I
+found that the entire spirit of the Renaissance could not be
+comprehended unless it was followed to its consummation; and that there
+were many most interesting questions arising out of the study of this
+particular spirit of jesting, with reference to which I have called it
+the _Grotesque_ Renaissance. For it is not this period alone which is
+distinguished by such a spirit. There is jest--perpetual, careless, and
+not unfrequently obscene--in the most noble work of the Gothic periods;
+and it becomes, therefore, of the greatest possible importance to
+examine into the nature and essence of the Grotesque itself, and to
+ascertain in what respect it is that the jesting of art in its highest
+flight, differs from its jesting in its utmost degradation.
+
+Sec. III. The place where we may best commence our inquiry is one renowned
+in the history of Venice, the space of ground before the Church of Santa
+Maria Formosa; a spot which, after the Rialto and St. Mark's Place,
+ought to possess a peculiar interest in the mind of the traveller, in
+consequence of its connexion with the most touching and true legend of
+the Brides of Venice. That legend is related at length in every Venetian
+history, and, finally, has been told by the poet Rogers, in a way which
+renders it impossible for any one to tell it after him. I have only,
+therefore, to remind the reader that the capture of the brides took
+place in the cathedral church, St. Pietro di Castello; and that this of
+Santa Maria Formosa is connected with the tale, only because it was
+yearly visited with prayers by the Venetian maidens, on the anniversary
+of their ancestors' deliverance. For that deliverance, their thanks were
+to be rendered to the Virgin; and there was no church then dedicated to
+the Virgin, in Venice, except this.[27]
+
+Neither of the cathedral church, nor of this dedicated to St. Mary the
+Beautiful, is one stone left upon another. But, from that which has been
+raised on the site of the latter, we may receive a most important
+lesson, introductory to our immediate subject, if first we glance back
+to the traditional history of the church which has been destroyed.
+
+Sec. IV. No more honorable epithet than "traditional" can be attached to
+what is recorded concerning it, yet I should grieve to lose the legend
+of its first erection. The Bishop of Uderzo, driven by the Lombards from
+his Bishopric, as he was praying, beheld in a vision the Virgin Mother,
+who ordered him to found a church in her honor, in the place where he
+should see a white cloud rest. And when he went out, the white cloud
+went before him; and on the place where it rested he built a church, and
+it was called the Church of St. Mary the Beautiful, from the loveliness
+of the form in which she had appeared in the vision.[28]
+
+The first church stood only for about two centuries. It was rebuilt in
+864, and enriched with various relics some fifty years later; relics
+belonging principally to St. Nicodemus, and much lamented when they and
+the church were together destroyed by fire in 1105.
+
+It was then rebuilt in "magnifica forma," much resembling, according to
+Corner, the architecture of the chancel of St. Mark;[29] but the
+information which I find in various writers, as to the period at which
+it was reduced to its present condition, is both sparing and
+contradictory.
+
+Sec. V. Thus, by Corner, we are told that this church, resembling St.
+Mark's, "remained untouched for more than four centuries," until, in
+1689, it was thrown down by an earthquake, and restored by the piety of
+a rich merchant, Turrin Toroni, "in ornatissima forma;" and that, for
+the greater beauty of the renewed church, it had added to it two facades
+of marble. With this information that of the Padre dell' Oratoria
+agrees, only he gives the date of the earlier rebuilding of the church
+in 1175, and ascribes it to an architect of the name of Barbetta. But
+Quadri, in his usually accurate little guide, tells us that this
+Barbetta rebuilt the church in the fourteenth century; and that of the
+two facades, so much admired by Corner, one is of the sixteenth century,
+and its architect unknown; and the rest of the church is of the
+seventeenth, "in the style of Sansovino."
+
+Sec. VI. There is no occasion to examine, or endeavor to reconcile, these
+conflicting accounts. All that is necessary for the reader to know is,
+that every vestige of the church in which the ceremony took place was
+destroyed _at least_ as early as 1689; and that the ceremony itself,
+having been abolished in the close of the fourteenth century, is only to
+be conceived as taking place in that more ancient church, resembling St.
+Mark's, which, even according to Quadri, existed until that period. I
+would, therefore, endeavor to fix the reader's mind, for a moment, on
+the contrast between the former and latter aspect of this plot of
+ground; the former, when it had its Byzantine church, and its yearly
+procession of the Doge and the Brides; and the latter, when it has its
+Renaissance church "in the style of Sansovino," and its yearly honoring
+is done away.
+
+Sec. VII. And, first, let us consider for a little the significance and
+nobleness of that early custom of the Venetians, which brought about the
+attack and the rescue of the year 943: that there should be but one
+marriage day for the nobles of the whole nation,[30] so that all might
+rejoice together; and that the sympathy might be full, not only of the
+families who that year beheld the alliance of their children, and prayed
+for them in one crowd, weeping before the altar, but of all the families
+of the state, who saw, in the day which brought happiness to others, the
+anniversary of their own. Imagine the strong bond of brotherhood thus
+sanctified among them, and consider also the effect on the minds of the
+youth of the state; the greater deliberation and openness necessarily
+given to the contemplation of marriage, to which all the people were
+solemnly to bear testimony; the more lofty and unselfish tone which it
+would give to all their thoughts. It was the exact contrary of stolen
+marriage. It was marriage to which God and man were taken for witnesses,
+and every eye was invoked for its glance, and every tongue for its
+prayers.[31]
+
+Sec. VIII. Later historians have delighted themselves in dwelling on the
+pageantry of the marriage day itself, but I do not find that they have
+authority for the splendor of their descriptions. I cannot find a word
+in the older Chronicles about the jewels or dress of the brides, and I
+believe the ceremony to have been more quiet and homely than is usually
+supposed. The only sentence which gives color to the usual accounts of
+it is one of Sansovino's, in which he says that the magnificent dress of
+the brides in his day was founded "on ancient custom."[32] However this
+may have been, the circumstances of the rite were otherwise very simple.
+Each maiden brought her dowry with her in a small "cassetta," or chest;
+they went first to the cathedral, and waited for the youths, who having
+come, they heard mass together, and the bishop preached to them and
+blessed them: and so each bridegroom took his bride and her dowry and
+bore her home.
+
+Sec. IX. It seems that the alarm given by the attack of the pirates put
+an end to the custom of fixing one day for all marriages: but the main
+objects of the institution were still attained by the perfect publicity
+given to the marriages of all the noble families; the bridegroom
+standing in the Court of the Ducal Palace to receive congratulations on
+his betrothal, and the whole body of the nobility attending the
+nuptials, and rejoicing, "as at some personal good fortune; since, by
+the constitution of the state, they are for ever incorporated together,
+as if of one and the same family."[33] But the festival of the 2nd of
+February, after the year 943, seems to have been observed only in memory
+of the deliverance of the brides, and no longer set apart for public
+nuptials.
+
+Sec. X. There is much difficulty in reconciling the various accounts,
+or distinguishing the inaccurate ones, of the manner of keeping this
+memorable festival. I shall first give Sansovino's, which is the popular
+one, and then note the points of importance in the counter-statements.
+Sansovino says that the success of the pursuit of the pirates was owing
+to the ready help and hard fighting of the men of the district of Sta.
+Maria Formosa, for the most part trunkmakers; and that they, having been
+presented after the victory to the Doge and the Senate, were told to ask
+some favor for their reward. "The good men then said that they desired
+the Prince, with his wife and the Signory, to visit every year the
+church of their district, on the day of its feast. And the Prince asking
+them, 'Suppose it should rain?' they answered, 'We will give you hats to
+cover you; and if you are thirsty, we will give you to drink.' Whence is
+it that the Vicar, in the name of the people, presents to the Doge, on
+his visit, two flasks of malvoisie[34] and two oranges; and presents to
+him two gilded hats, bearing the arms of the Pope, of the Prince, and of
+the Vicar. And thus was instituted the Feast of the Maries, which was
+called noble and famous because the people from all round came together
+to behold it. And it was celebrated in this manner:...." The account
+which follows is somewhat prolix; but its substance is, briefly, that
+twelve maidens were elected, two for each division of the city; and that
+it was decided by lot which contrade, or quarters of the town, should
+provide them with dresses. This was done at enormous expense, one
+contrada contending with another, and even the jewels of the treasury of
+St. Mark being lent for the occasion to the "Maries," as the twelve
+damsels were called. They, being thus dressed with gold, and silver, and
+jewels, went in their galley to St. Mark's for the Doge, who joined them
+with the Signory, and went first to San Pietro di Castello to hear mass
+on St. Mark's day, the 31st of January, and to Santa Maria Formosa on
+the 2nd of February, the intermediate day being spent in passing in
+procession through the streets of the city; "and sometimes there arose
+quarrels about the places they should pass through, for every one wanted
+them to pass by his house."
+
+Sec. XI. Nearly the same account is given by Corner, who, however, does
+not say anything about the hats or the malvoisie. These, however, we find
+again in the Matricola de' Casseleri, which, of course, sets the
+services of the trunkmakers and the privileges obtained by them in the
+most brilliant light. The quaintness of the old Venetian is hardly to be
+rendered into English. "And you must know that the said trunkmakers were
+the men who were the cause of such victory, and of taking the galley,
+and of cutting all the Triestines to pieces, because, at that time, they
+were valiant men and well in order. The which victory was on the 2nd
+February, on the day of the Madonna of candles. And at the request and
+entreaties of the said trunkmakers, it was decreed that the Doge, every
+year, as long as Venice shall endure, should go on the eve of the said
+feast to vespers in the said church, with the Signory. And be it noted,
+that the vicar is obliged to give to the Doge two flasks of malvoisie,
+with two oranges besides. And so it is observed, and will be observed
+always." The reader must observe the continual confusion between St.
+Mark's day the 31st of January, and Candlemas the 2nd of February. The
+fact appears to be, that the marriage day in the old republic was St.
+Mark's day, and the recovery of the brides was the same day at evening;
+so that, as we are told by Sansovino, the commemorative festival began
+on that day, but it was continued to the day of the Purification, that
+especial thanks might be rendered to the Virgin; and, the visit to Sta.
+Maria Formosa being the most important ceremony of the whole festival,
+the old chroniclers, and even Sansovino, got confused, and asserted the
+victory itself to have taken place on the day appointed for that
+pilgrimage.
+
+Sec. XII. I doubt not that the reader who is acquainted with the beautiful
+lines of Rogers is as much grieved as I am at the interference of the
+"casket-makers" with the achievement which the poet ascribes to the
+bridegrooms alone; an interference quite as inopportune as that of old
+Le Balafre with the victory of his nephew, in the unsatisfactory
+conclusion of "Quentin Durward." I am afraid I cannot get the
+casket-makers quite out of the way; but it may gratify some of my
+readers to know that a chronicle of the year 1378, quoted by
+Galliciolli, denies the agency of the people of Sta. Maria Formosa
+altogether, in these terms: "Some say that the people of Sta. M. Formosa
+were those who recovered the _spoil_ ("predra;" I may notice, in
+passing, that most of the old chroniclers appear to consider the
+recovery of the _caskets_ rather more a subject of congratulation than
+that of the brides), and that, for their reward, they asked the Doge and
+Signory to visit Sta. M. Formosa; but _this is false_. The going to Sta.
+M. Formosa was because the thing had succeeded on that day, and because
+this was then the only church in Venice in honor of the Virgin." But
+here is again the mistake about the day itself; and besides if we get
+rid altogether of the trunkmakers, how are we to account for the
+ceremony of the oranges and hats, of which the accounts seem authentic?
+If, however, the reader likes to substitute "carpenters" or
+"house-builders" for casket-makers, he may do so with great reason (vide
+Galliciolli, lib. ii. Sec. 1758); but I fear that one or the other body of
+tradesmen must be allowed to have had no small share in the honor of the
+victory.
+
+Sec. XIII. But whatever doubt attaches to the particular circumstances
+of its origin, there is none respecting the splendor of the festival
+itself, as it was celebrated for four centuries afterwards. We find that
+each contrada spent from 800 to 1000 zecchins in the dress of the
+"Maries" entrusted to it; but I cannot find among how many contrade the
+twelve Maries were divided; it is also to be supposed that most of the
+accounts given refer to the later periods of the celebration of the
+festival. In the beginning of the eleventh century, the good Doge Pietro
+Orseolo II. left in his will the third of his entire fortune "per la
+Festa della Marie;" and, in the fourteenth century, so many people came
+from the rest of Italy to see it, that special police regulations were
+made for it, and the Council of Ten were twice summoned before it took
+place.[35] The expense lavished upon it seems to have increased till the
+year 1379, when all the resources of the republic were required for the
+terrible war of Chiozza, and all festivity was for that time put an end
+to. The issue of the war left the Venetians with neither the power nor
+the disposition to restore the festival on its ancient scale, and they
+seem to have been ashamed to exhibit it in reduced splendor. It was
+entirely abolished.
+
+Sec. XIV. As if to do away even with its memory, every feature of the
+surrounding scene which was associated with that festival has been in
+succeeding ages destroyed. With one solitary exception,[36] there is not
+a house left in the whole Piazza of Santa Maria Formosa from whose
+windows the festa of the Maries has ever been seen: of the church in
+which they worshipped, not a stone is left, even the form of the ground
+and direction of the neighboring canals are changed; and there is now
+but one landmark to guide the steps of the traveller to the place where
+the white cloud rested, and the shrine was built to St. Mary the
+Beautiful. Yet the spot is still worth his pilgrimage, for he may
+receive a lesson upon it, though a painful one. Let him first fill his
+mind with the fair images of the ancient festival, and then seek that
+landmark the tower of the modern church, built upon the place where the
+daughters of Venice knelt yearly with her noblest lords; and let him
+look at the head that is carved on the base of the tower,[37] still
+dedicated to St. Mary the Beautiful.
+
+Sec. XV. A head,--huge, inhuman, and monstrous,--leering in bestial
+degradation, too foul to be either pictured or described, or to be
+beheld for more than an instant: yet let it be endured for that instant;
+for in that head is embodied the type of the evil spirit to which Venice
+was abandoned in the fourth period of her decline; and it is well that
+we should see and feel the full horror of it on this spot, and know what
+pestilence it was that came and breathed upon her beauty, until it
+melted away like the white cloud from the ancient fields of Santa Maria
+Formosa.
+
+Sec. XVI. This head is one of many hundreds which disgrace the latest
+buildings of the city, all more or less agreeing in their expression of
+sneering mockery, in most cases enhanced by thrusting out the tongue.
+Most of them occur upon the bridges, which were among the very last
+works undertaken by the republic, several, for instance, upon the Bridge
+of Sighs; and they are evidences of a delight in the contemplation of
+bestial vice, and the expression of low sarcasm, which is, I believe,
+the most hopeless state into which the human mind can fall. This spirit
+of idiotic mockery is, as I have said, the most striking characteristic
+of the last period of the Renaissance, which, in consequence of the
+character thus imparted to its sculpture, I have called grotesque; but
+it must be our immediate task, and it will be a most interesting one, to
+distinguish between this base grotesqueness, and that magnificent
+condition of fantastic imagination, which was above noticed as one of
+the chief elements of the Northern Gothic mind. Nor is this a question
+of interesting speculation merely: for the distinction between the true
+and false grotesque is one which the present tendencies of the English
+mind have rendered it practically important to ascertain; and that in a
+degree which, until he has made some progress in the consideration of
+the subject, the reader will hardly anticipate.
+
+Sec. XVII. But, first, I have to note one peculiarity in the late
+architecture of Venice, which will materially assist us in understanding
+the true nature of the spirit which is to be the subject of our inquiry;
+and this peculiarity, singularly enough, is first exemplified in the
+very facade of Santa Maria Formosa which is flanked by the grotesque
+head to which our attention has just been directed. This facade, whose
+architect is unknown, consists of a pediment, sustained on four
+Corinthian pilasters, and is, I believe, the earliest in Venice which
+appears _entirely destitute of every religious symbol, sculpture, or
+inscription_; unless the Cardinal's hat upon the shield in the centre of
+the impediment be considered a religious symbol. The entire facade is
+nothing else than a monument to the Admiral Vincenzo Cappello. Two
+tablets, one between each pair of flanking pillars, record his acts and
+honors; and, on the corresponding spaces upon the base of the church,
+are two circular trophies, composed of halberts, arrows, flags,
+tridents, helmets, and lances: sculptures which are just as valueless in
+a military as in an ecclesiastical point of view; for, being all copied
+from the forms of Roman arms and armor, they cannot even be referred to
+for information respecting the costume of the period. Over the door, as
+the chief ornament of the facade, exactly in the spot which in the
+"barbarous" St. Mark's is occupied by the figure of Christ, is the
+statue of Vincenzo Cappello, in Roman armor. He died in 1542; and we
+have, therefore, the latter part of the sixteenth century fixed as the
+period when, in Venice, churches were first built to the glory of man,
+instead of the glory of God.
+
+Sec. XVIII. Throughout the whole of Scripture history, nothing is more
+remarkable than the close connection of punishment with the sin of
+vain-glory. Every other sin is occasionally permitted to remain, for
+lengthened periods, without definite chastisement; but the forgetfulness
+of God, and the claim of honor by man, as belonging to himself, are
+visited at once, whether in Hezekiah, Nebuchadnezzar, or Herod, with the
+most tremendous punishment. We have already seen, that the first reason
+for the fall of Venice was the manifestation of such a spirit; and it is
+most singular to observe the definiteness with which it is here
+marked,--as if so appointed, that it might be impossible for future ages
+to miss the lesson. For, in the long inscriptions[38] which record the
+acts of Vincenzo Cappello, it might, at least, have been anticipated
+that some expressions would occur indicative of remaining pretence to
+religious feeling, or formal acknowledgement of Divine power. But there
+are none whatever. The name of God does not once occur; that of St. Mark
+is found only in the statement that Cappello was a procurator of the
+church: there is no word touching either on the faith or hope of the
+deceased; and the only sentence which alludes to supernatural powers at
+all, alludes to them under the heathen name of _fates_, in its
+explanation of what the Admiral Cappello _would_ have accomplished,
+"nisi fata Christianis adversa vetuissent."
+
+Sec. XIX. Having taken sufficient note of all the baseness of mind which
+these facts indicate in the people, we shall not be surprised to find
+immediate signs of dotage in the conception of their architecture. The
+churches raised throughout this period are so grossly debased, that even
+the Italian critics of the present day, who are partially awakened to
+the true state of art in Italy, though blind, as yet, to its true cause,
+exhaust their terms of reproach upon these last efforts of the
+Renaissance builders. The two churches of San Moise and Santa Maria
+Zobenigo, which are among the most remarkable in Venice for their
+manifestation of insolent atheism, are characterized by Lazari, the one
+as "culmine d'ogni follia architettonica," the other as "orrido ammasso
+di pietra d'Istria," with added expressions of contempt, as just as it
+is unmitigated.
+
+Sec. XX. Now both these churches, which I should like the reader to visit
+in succession, if possible, after that of Sta. Maria Formosa, agree with
+that church, and with each other, in being totally destitute of
+religious symbols, and entirely dedicated to the honor of two Venetian
+families. In San Moise, a bust of Vincenzo Fini is set on a tall narrow
+pyramid, above the central door, with this marvellous inscription:
+
+  "OMNE FASTIGIVM
+   VIRTVTE IMPLET
+   VINCENTIVS FINI."
+
+It is very difficult to translate this; for fastigium, besides its
+general sense, has a particular one in architecture, and refers to the
+part of the building occupied by the bust; but the main meaning of it is
+that "Vincenzo Fini fills all height with his virtue." The inscription
+goes on into farther praise, but this example is enough. Over the two
+lateral doors are two other laudatory inscriptions of younger members of
+the Fini family, the dates of death of the three heroes being 1660,
+1685, and 1726, marking thus the period of consummate degradation.
+
+[Illustration: Plate III.
+               NOBLE AND IGNOBLE GROTESQUE.]
+
+Sec. XXI. In like manner, the Church of Santa Maria Zobenigo is entirely
+dedicated to the Barbaro family; the only religious symbols with which
+it is invested being statues of angels blowing brazen trumpets, intended
+to express the spreading of the fame of the Barbaro family in heaven. At
+the top of the church is Venice crowned, between Justice and Temperance,
+Justice holding a pair of grocer's scales, of iron, swinging in the
+wind. There is a two-necked stone eagle (the Barbaro crest), with a
+copper crown, in the centre of the pediment. A huge statue of a Barbaro
+in armor, with a fantastic head-dress, over the central door; and four
+Barbaros in niches, two on each side of it, strutting statues, in the
+common stage postures of the period,--Jo. Maria Barbaro, sapiens
+ordinum; Marinus Barbaro, Senator (reading a speech in a Ciceronian
+attitude); Franc. Barbaro, legatus in classe (in armor, with high-heeled
+boots, and looking resolutely fierce); and Carolus Barbaro, sapiens
+ordinum: the decorations of the facade being completed by two trophies,
+consisting of drums, trumpets, flags and cannon; and six plans,
+sculptured in relief, of the towns of Zara, Candia, Padua, Rome, Corfu,
+and Spalatro.
+
+Sec. XXII. When the traveller has sufficiently considered the meaning of
+this facade, he ought to visit the Church of St. Eustachio, remarkable
+for the dramatic effect of the group of sculpture on its facade, and
+then the Church of the Ospedaletto (see Index, under head Ospedaletto);
+noticing, on his way, the heads on the foundations of the Palazzo Corner
+della Regina, and the Palazzo Pesaro, and any other heads carved on the
+modern bridges, closing with those on the Bridge of Sighs.
+
+He will then have obtained a perfect idea of the style and feeling of
+the Grotesque Renaissance. I cannot pollute this volume by any
+illustration of its worst forms, but the head turned to the front, on
+the right-hand in the opposite Plate, will give the general reader an
+idea of its most graceful and refined developments. The figure set
+beside it, on the left, is a piece of noble grotesque, from fourteenth
+century Gothic; and it must be our present task to ascertain the nature
+of the difference which exists between the two, by an accurate inquiry
+into the true essence of the grotesque spirit itself.
+
+Sec. XXIII. First, then, it seems to me that the grotesque is, in almost
+all cases, composed of two elements, one ludicrous, the other fearful;
+that, as one or other of these elements prevails, the grotesque falls
+into two branches, sportive grotesque and terrible grotesque; but that
+we cannot legitimately consider it under these two aspects, because
+there are hardly any examples which do not in some degree combine both
+elements; there are few grotesques so utterly playful as to be overcast
+with no shade of fearfulness, and few so fearful as absolutely to
+exclude all ideas of jest. But although we cannot separate the grotesque
+itself into two branches, we may easily examine separately the two
+conditions of mind which it seems to combine; and consider successively
+what are the kinds of jest, and what the kinds of fearfulness, which may
+be legitimately expressed in the various walks of art, and how their
+expressions actually occur in the Gothic and Renaissance schools.
+
+First, then, what are the conditions of playfulness which we may fitly
+express in noble art, or which (for this is the same thing) are
+consistent with nobleness in humanity? In other words, what is the
+proper function of play, with respect not to youth merely, but to all
+mankind?
+
+Sec. XXIV. It is a much more serious question than may be at first
+supposed; for a healthy manner of play is necessary in order to a
+healthy manner of work: and because the choice of our recreation is, in
+most cases, left to ourselves, while the nature of our work is generally
+fixed by necessity or authority, it may be well doubted whether more
+distressful consequences may not have resulted from mistaken choice in
+play than from mistaken direction in labor.
+
+Sec. XXV. Observe, however, that we are only concerned, here, with that
+kind of play which causes laughter or implies recreation, not with that
+which consists in the excitement of the energies whether of body or
+mind. Muscular exertion is, indeed, in youth, one of the conditions of
+recreation; "but neither the violent bodily labor which children of all
+ages agree to call play," nor the grave excitement of the mental
+faculties in games of skill or chance, are in anywise connected with the
+state of feeling we have here to investigate, namely, that sportiveness
+which man possesses in common with many inferior creatures, but to which
+his higher faculties give nobler expression in the various
+manifestations of wit, humor, and fancy.
+
+With respect to the manner in which this instinct of playfulness is
+indulged or repressed, mankind are broadly distinguishable into four
+classes: the men who play wisely; who play necessarily; who play
+inordinately; and who play not at all.
+
+Sec. XXVI. First: Those who play wisely. It is evident that the idea of
+any kind of play can only be associated with the idea of an imperfect,
+childish, and fatigable nature. As far as men can raise that nature, so
+that it shall no longer be interested by trifles or exhausted by toils,
+they raise it above play; he whose heart is at once fixed upon heaven,
+and open to the earth, so as to apprehend the importance of heavenly
+doctrines, and the compass of human sorrow, will have little disposition
+for jest; and exactly in proportion to the breadth and depth of his
+character and intellect, will be, in general, the incapability of
+surprise, or exuberant and sudden emotion, which must render play
+impossible. It is, however, evidently not intended that many men should
+even reach, far less pass their lives in, that solemn state of
+thoughtfulness, which brings them into the nearest brotherhood with
+their Divine Master; and the highest and healthiest state which is
+competent to ordinary humanity appears to be that which, accepting the
+necessity of recreation, and yielding to the impulses of natural delight
+springing out of health and innocence, does, indeed, condescend often to
+playfulness, but never without such deep love of God, of truth, and of
+humanity, as shall make even its slightest words reverent, its idlest
+fancies profitable, and its keenest satire indulgent. Wordsworth and
+Plato furnish us with, perhaps, the finest and highest examples of this
+playfulness: in the one case, unmixed with satire, the perfectly simple
+effusion of that spirit--in
+
+  "Which gives to all the self-same bent,
+   Whose life is wise, and innocent;"
+
+Plato, and, by the by, in a very wise book of our own times, not
+unworthy of being named in such companionship, "Friends in Council,"
+mingled with an exquisitely tender and loving satire.
+
+Sec. XXVII. Secondly: The men who play necessarily. That highest species
+of playfulness, which we have just been considering, is evidently the
+condition of a mind, not only highly cultivated, but so habitually
+trained to intellectual labor that it can bring a considerable force of
+accurate thought into its moments even of recreation. This is not
+possible, unless so much repose of mind and heart are enjoyed, even at
+the periods of greatest exertion, that the rest required by the system
+is diffused over the whole life. To the majority of mankind, such a
+state is evidently unattainable. They must, perforce, pass a large part
+of their lives in employments both irksome and toilsome, demanding an
+expenditure of energy which exhausts the system, and yet consuming that
+energy upon subjects incapable of interesting the nobler faculties. When
+such employments are intermitted, those noble instincts, fancy,
+imagination, and curiosity, are all hungry for the food which the labor
+of the day has denied to them, while yet the weariness of the body, in a
+great degree, forbids their application to any serious subject. They
+therefore exert themselves without any determined purpose, and under no
+vigorous restraint, but gather, as best they may, such various
+nourishment, and put themselves to such fantastic exercise, as may
+soonest indemnify them for their past imprisonment, and prepare them to
+endure their recurrence. This sketching of the mental limbs as their
+fetters fall away,--this leaping and dancing of the heart and intellect,
+when they are restored to the fresh air of heaven, yet half paralyzed by
+their captivity, and unable to turn themselves to any earnest
+purpose,--I call necessary play. It is impossible to exaggerate its
+importance, whether in polity, or in art.
+
+Sec. XXVIII. Thirdly: The men who play inordinately. The most perfect
+state of society which, consistently with due understanding of man's
+nature, it may be permitted us to conceive, would be one in which the
+whole human race were divided, more or less distinctly, into workers and
+thinkers; that is to say, into the two classes, who only play wisely, or
+play necessarily. But the number and the toil of the working class are
+enormously increased, probably more than doubled, by the vices of the
+men who neither play wisely nor necessarily, but are enabled by
+circumstances, and permitted by their want of principle, to make
+amusement the object of their existence. There is not any moment of the
+lives of such men which is not injurious to others; both because they
+leave the work undone which was appointed for them, and because they
+necessarily think wrongly, whenever it becomes compulsory upon them to
+think at all. The greater portion of the misery of this world arises
+from the false opinions of men whose idleness has physically
+incapacitated them from forming true ones. Every duty which we omit
+obscures some truth which we should have known; and the guilt of a life
+spent in the pursuit of pleasure is twofold, partly consisting in the
+perversion of action, and partly in the dissemination of falsehood.
+
+Sec. XXIX. There is, however, a less criminal, though hardly less
+dangerous condition of mind; which, though not failing in its more urgent
+duties, fails in the finer conscientiousness which regulates the degree,
+and directs the choice, of amusement, at those times when amusement is
+allowable. The most frequent error in this respect is the want of
+reverence in approaching subjects of importance or sacredness, and of
+caution in the expression of thoughts which may encourage like
+irreverence in others: and these faults are apt to gain upon the mind
+until it becomes habitually more sensible to what is ludicrous and
+accidental, than to what is grave and essential, in any subject that is
+brought before it; or even, at last, desires to perceive or to know
+nothing but what may end in jest. Very generally minds of this
+character are active and able; and many of them are so far
+conscientious, that they believe their jesting forwards their work. But
+it is difficult to calculate the harm they do, by destroying the
+reverence which is our best guide into all truth; for weakness and evil
+are easily visible, but greatness and goodness are often latent; and we
+do infinite mischief by exposing weakness to eyes which cannot
+comprehend greatness. This error, however, is more connected with abuses
+of the satirical than of the playful instinct; and I shall have more to
+say of it presently.
+
+Sec. XXX. Lastly: The men who do not play at all: those who are so dull or
+so morose as to be incapable of inventing or enjoying jest, and in whom
+care, guilt, or pride represses all healthy exhilaration of the fancy;
+or else men utterly oppressed with labor, and driven too hard by the
+necessities of the world to be capable of any species of happy
+relaxation.
+
+Sec. XXXI. We have now to consider the way in which the presence or
+absence of joyfulness, in these several classes, is expressed in art.
+
+1. Wise play. The first and noblest class hardly ever speak through art,
+except seriously; they feel its nobleness too profoundly, and value the
+time necessary for its production too highly, to employ it in the
+rendering of trivial thoughts. The playful fancy of a moment may
+innocently be expressed by the passing word; but he can hardly have
+learned the preciousness of life, who passes days in the elaboration of
+a jest. And, as to what regards the delineation of human character, the
+nature of all noble art is to epitomize and embrace so much at once,
+that its subject can never be altogether ludicrous; it must possess all
+the solemnities of the whole, not the brightness of the partial, truth.
+For all truth that makes us smile is partial. The novelist amuses us by
+his relation of a particular incident; but the painter cannot set any
+one of his characters before us without giving some glimpse of its whole
+career. That of which the historian informs us in successive pages, it
+is the task of the painter to inform us of at once, writing upon the
+countenance not merely the expression of the moment, but the history of
+the life: and the history of a life can never be a jest.
+
+Whatever part, therefore, of the sportive energy of these men of the
+highest class would be expressed in verbal wit or humor finds small
+utterance through their art, and will assuredly be confined, if it occur
+there at all, to scattered and trivial incidents. But so far as their
+minds can recreate themselves by the imagination of strange, yet not
+laughable, forms, which, either in costume, in landscape, or in any
+other accessaries, may be combined with those necessary for their more
+earnest purposes, we find them delighting in such inventions; and a
+species of grotesqueness thence arising in all their work, which is
+indeed one of its most valuable characteristics, but which is so
+intimately connected with the sublime or terrible form of the grotesque,
+that it will be better to notice it under that head.
+
+Sec. XXXII. 2. Necessary play. I have dwelt much in a former portion of
+this work, on the justice and desirableness of employing the minds of
+inferior workmen, and of the lower orders in general, in the production
+of objects of art of one kind or another. So far as men of this class
+are compelled to hard manual labor for their daily bread, so far forth
+their artistical efforts must be rough and ignorant, and their
+artistical perceptions comparatively dull. Now it is not possible, with
+blunt perceptions and rude hands, to produce works which shall be
+pleasing by their beauty; but it is perfectly possible to produce such
+as shall be interesting by their character or amusing by their satire.
+For one hard-working man who possesses the finer instincts which decide
+on perfection of lines and harmonies of color, twenty possess dry humor
+or quaint fancy; not because these faculties were originally given to
+the human race, or to any section of it, in greater degree than the
+sense of beauty, but because these are exercised in our daily
+intercourse with each other, and developed by the interest which we take
+in the affairs of life, while the others are not. And because,
+therefore, a certain degree of success will probably attend the effort
+to express this humor or fancy, while comparative failure will
+assuredly result from an ignorant struggle to reach the forms of solemn
+beauty, the working-man, who turns his attention partially to art, will
+probably, and wisely, choose to do that which he can do best, and
+indulge the pride of an effective satire rather than subject himself to
+assured mortification in the pursuit of beauty; and this the more,
+because we have seen that his application to art is to be playful and
+recreative, and it is not in recreation that the conditions of
+perfection can be fulfilled.
+
+Sec. XXXIII. Now all the forms of art which result from the comparatively
+recreative exertion of minds more or less blunted or encumbered by other
+cares and toils, the art which we may call generally art of the wayside,
+as opposed to that which is the business of men's lives, is, in the best
+sense of the word, Grotesque. And it is noble or inferior, first,
+according to the tone of the minds which have produced it, and in
+proportion to their knowledge, wit, love of truth, and kindness;
+secondly, according to the degree of strength they have been able to
+give forth; but yet, however much we may find in it needing to be
+forgiven, always delightful so long as it is the work of good and
+ordinarily intelligent men. And its delightfulness ought mainly to
+consist _in those very imperfections_ which mark it for work done in
+times of rest. It is not its own merit so much as the enjoyment of him
+who produced it, which is to be the source of the spectator's pleasure;
+it is to the strength of his sympathy, not to the accuracy of his
+criticism, that it makes appeal; and no man can indeed be a lover of
+what is best in the higher walks of art, who has not feeling and charity
+enough to rejoice with the rude sportiveness of hearts that have escaped
+out of prison, and to be thankful for the flowers which men have laid
+their burdens down to sow by the wayside.
+
+Sec. XXXIV. And consider what a vast amount of human work this right
+understanding of its meaning will make fruitful and admirable to us,
+which otherwise we could only have passed by with contempt. There is
+very little architecture in the world which is, in the full sense of the
+words, good and noble. A few pieces of Italian Gothic and Romanesque, a
+few scattered fragments of Gothic cathedrals, and perhaps two or three
+of Greek temples, are all that we possess approaching to an ideal of
+perfection. All the rest--Egyptian, Norman, Arabian, and most Gothic,
+and, which is very noticeable, for the most part all the strongest and
+mightiest--depend for their power on some developement of the grotesque
+spirit; but much more the inferior domestic architecture of the middle
+ages, and what similar conditions remain to this day in countries from
+which the life of art has not yet been banished by its laws. The
+fantastic gables, built up in scroll-work and steps, of the Flemish
+street; the pinnacled roofs set with their small humorist double
+windows, as if with so many ears and eyes, of Northern France; the
+blackened timbers, crossed and carved into every conceivable waywardness
+of imagination, of Normandy and old England; the rude hewing of the pine
+timbers of the Swiss cottage; the projecting turrets and bracketed
+oriels of the German street; these, and a thousand other forms, not in
+themselves reaching any high degree of excellence, are yet admirable,
+and most precious, as the fruits of a rejoicing energy in uncultivated
+minds. It is easier to take away the energy, than to add the
+cultivation; and the only effect of the better knowledge which civilized
+nations now possess, has been, as we have seen in a former chapter, to
+forbid their being happy, without enabling them to be great.
+
+Sec. XXXV. It is very necessary, however, with respect to this provincial
+or rustic architecture, that we should carefully distinguish its truly
+grotesque from its picturesque elements. In the "Seven Lamps" I defined
+the picturesque to be "parasitical sublimity," or sublimity belonging to
+the external or accidental characters of a thing, not to the thing
+itself. For instance, when a highland cottage roof is covered with
+fragments of shale instead of slates, it becomes picturesque, because
+the irregularity and rude fractures of the rocks, and their grey and
+gloomy color, give to it something of the savageness, and much of the
+general aspect, of the slope of a mountain side. But as a mere cottage
+roof, it cannot be sublime, and whatever sublimity it derives from the
+wildness or sternness which the mountains have given it in its covering,
+is, so far forth, parasitical. The mountain itself would have been
+grand, which is much more than picturesque; but the cottage cannot be
+grand as such, and the parasitical grandeur which it may possess by
+accidental qualities, is the character for which men have long agreed to
+use the inaccurate word "Picturesque."
+
+Sec. XXXVI. On the other hand, beauty cannot be parasitical. There is
+nothing so small or so contemptible, but it may be beautiful in its own
+right. The cottage may be beautiful, and the smallest moss that grows on
+its roof, and the minutest fibre of that moss which the microscope can
+raise into visible form, and all of them in their own right, not less
+than the mountains and the sky; so that we use no peculiar term to
+express their beauty, however diminutive, but only when the sublime
+element enters, without sufficient worthiness in the nature of the thing
+to which it is attached.
+
+Sec. XXXVII. Now this picturesque element, which is always given, if by
+nothing else, merely by ruggedness, adds usually very largely to the
+pleasurableness of grotesque work, especially to that of its inferior
+kinds; but it is not for this reason to be confounded with the
+grotesqueness itself. The knots and rents of the timbers, the irregular
+lying of the shingles on the roofs, the vigorous light and shadow, the
+fractures and weather-stains of the old stones, which were so deeply
+loved and so admirably rendered by our lost Prout, are the picturesque
+elements of the architecture: the grotesque ones are those which are not
+produced by the working of nature and of time, but exclusively by the
+fancy of man; and, as also for the most part by his indolent and
+uncultivated fancy, they are always, in some degree, wanting in
+grandeur, unless the picturesque element be united with them.
+
+Sec. XXXVIII. 3. Inordinate play. The reader will have some difficulty,
+I fear, in keeping clearly in his mind the various divisions of our
+subject; but, when he has once read the chapter through, he will see
+their places and coherence. We have next to consider the expression
+throughout of the minds of men who indulge themselves in unnecessary
+play. It is evident that a large number of these men will be more
+refined and more highly educated than those who only play necessarily;
+the power of pleasure-seeking implies, in general, fortunate
+circumstances of life. It is evident also that their play will not be so
+hearty, so simple, or so joyful; and this deficiency of brightness will
+affect it in proportion to its unnecessary and unlawful continuance,
+until at last it becomes a restless and dissatisfied indulgence in
+excitement, or a painful delving after exhausted springs of pleasure.
+
+The art through which this temper is expressed will, in all probability,
+be refined and sensual,--therefore, also, assuredly feeble; and because,
+in the failure of the joyful energy of the mind, there will fail, also,
+its perceptions and its sympathies, it will be entirely deficient in
+expression of character, and acuteness of thought, but will be
+peculiarly restless, manifesting its desire for excitement in idle
+changes of subject and purpose. Incapable of true imagination, it will
+seek to supply its place by exaggerations, incoherencies, and
+monstrosities; and the form of the grotesque to which it gives rise will
+be an incongruous chain of hackneyed graces, idly thrown
+together,--prettinesses or sublimities, not of its own invention,
+associated in forms which will be absurd without being fantastic, and
+monstrous without being terrible. And because, in the continual pursuit
+of pleasure, men lose both cheerfulness and charity, there will be small
+hilarity, but much malice, in this grotesque; yet a weak malice,
+incapable of expressing its own bitterness, not having grasp enough of
+truth to become forcible, and exhausting itself in impotent or
+disgusting caricature.
+
+Sec. XXXIX. Of course, there are infinite ranks and kinds of this
+grotesque, according to the natural power of the minds which originate
+it, and to the degree in which they have lost themselves. Its highest
+condition is that which first developed itself among the enervated
+Romans, and which was brought to the highest perfection of which it was
+capable, by Raphael, in the arabesques of the Vatican. It may be
+generally described as an elaborate and luscious form of nonsense. Its
+lower conditions are found in the common upholstery and decorations
+which, over the whole of civilized Europe, have sprung from this
+poisonous root; an artistical pottage, composed of nymphs, cupids, and
+satyrs, with shreddings of heads and paws of meek wild beasts, and
+nondescript vegetables. And the lowest of all are those which have not
+even graceful models to recommend them, but arise out of the corruption
+of the higher schools, mingled with clownish or bestial satire, as is
+the case in the latter Renaissance of Venice, which we were above
+examining. It is almost impossible to believe the depth to which the
+human mind can be debased in following this species of grotesque. In a
+recent Italian garden, the favorite ornaments frequently consist of
+stucco images, representing, in dwarfish caricature, the most disgusting
+types of manhood and womanhood which can be found amidst the dissipation
+of the modern drawingroom; yet without either veracity or humor, and
+dependent, for whatever interest they possess, upon simple grossness of
+expression and absurdity of costume. Grossness, of one kind or another,
+is, indeed, an unfailing characteristic of the style; either latent, as
+in the refined sensuality of the more graceful arabesques, or, in the
+worst examples, manifested in every species of obscene conception and
+abominable detail. In the head, described in the opening of this
+chapter, at Santa Maria Formosa, the _teeth_ are represented as
+_decayed_.
+
+Sec. XL. 4. The minds of the fourth class of men who do not play at all,
+are little likely to find expression in any trivial form of art, except
+in bitterness of mockery; and this character at once stamps the work in
+which it appears, as belonging to the class of terrible, rather than of
+playful, grotesque. We have, therefore, now to examine the state of mind
+which gave rise to this second and more interesting branch of
+imaginative work.
+
+Sec. XLI. Two great and principal passions are evidently appointed by the
+Deity to rule the life of man; namely, the love of God, and the fear of
+sin, and of its companion--Death. How many motives we have for Love, how
+much there is in the universe to kindle our admiration and to claim our
+gratitude, there are, happily, multitudes among us who both feel and
+teach. But it has not, I think, been sufficiently considered how
+evident, throughout the system of creation, is the purpose of God that
+we should often be affected by Fear; not the sudden, selfish, and
+contemptible fear of immediate danger, but the fear which arises out of
+the contemplation of great powers in destructive operation, and
+generally from the perception of the presence of death. Nothing appears
+to me more remarkable than the array of scenic magnificence by which the
+imagination is appalled, in myriads of instances, when the actual danger
+is comparatively small; so that the utmost possible impression of awe
+shall be produced upon the minds of all, though direct suffering is
+inflicted upon few. Consider, for instance, the moral effect of a single
+thunder-storm. Perhaps two or three persons may be struck dead within
+the space of a hundred square miles; and their deaths, unaccompanied by
+the scenery of the storm, would produce little more than a momentary
+sadness in the busy hearts of living men. But the preparation for the
+Judgment by all that mighty gathering of clouds; by the questioning of
+the forest leaves, in their terrified stillness, which way the winds
+shall go forth; by the murmuring to each other, deep in the distance, of
+the destroying angels before they draw forth their swords of fire; by
+the march of the funeral darkness in the midst of the noon-day, and the
+rattling of the dome of heaven beneath the chariot-wheels of death;--on
+how many minds do not these produce an impression almost as great as the
+actual witnessing of the fatal issue! and how strangely are the
+expressions of the threatening elements fitted to the apprehension of
+the human soul! The lurid color, the long, irregular, convulsive sound,
+the ghastly shapes of flaming and heaving cloud, are all as true and
+faithful in their appeal to our instinct of danger, as the moaning or
+wailing of the human voice itself is to our instinct of pity. It is not
+a reasonable calculating terror which they awake in us; it is no matter
+that we count distance by seconds, and measure probability by averages.
+That shadow of the thunder-cloud will still do its work upon our hearts,
+and we shall watch its passing away as if we stood upon the
+threshing-floor of Araunah.
+
+Sec. XLII. And this is equally the case with respect to all the other
+destructive phenomena of the universe. From the mightiest of them to the
+gentlest, from the earthquake to the summer shower, it will be found
+that they are attended by certain aspects of threatening, which strike
+terror into the hearts of multitudes more numerous a thousandfold than
+those who actually suffer from the ministries of judgment; and that,
+besides the fearfulness of these immediately dangerous phenomena, there
+is an occult and subtle horror belonging to many aspects of the creation
+around us, calculated often to fill us with serious thought, even in our
+times of quietness and peace. I understand not the most dangerous,
+because most attractive form of modern infidelity, which, pretending to
+exalt the beneficence of the Deity, degrades it into a reckless
+infinitude of mercy, and blind obliteration of the work of sin; and
+which does this chiefly by dwelling on the manifold appearances of God's
+kindness on the face of creation. Such kindness is indeed everywhere and
+always visible; but not alone. Wrath and threatening are invariably
+mingled with the love; and in the utmost solitudes of nature, the
+existence of Hell seems to me as legibly declared by a thousand
+spiritual utterances, as that of Heaven. It is well for us to dwell with
+thankfulness on the unfolding of the flower, and the falling of the dew,
+and the sleep of the green fields in the sunshine; but the blasted
+trunk, the barren rock, the moaning of the bleak winds, the roar of the
+black, perilous, merciless whirlpools of the mountain streams, the
+solemn solitudes of moors and seas, the continual fading of all beauty
+into darkness, and of all strength into dust, have these no language for
+us? We may seek to escape their teaching by reasonings touching the good
+which is wrought out of all evil; but it is vain sophistry. The good
+succeeds to the evil as day succeeds the night, but so also the evil to
+the good. Gerizim and Ebal, birth and death, light and darkness, heaven
+and hell, divide the existence of man, and his Futurity.[39]
+
+Sec. XLIII. And because the thoughts of the choice we have to make between
+these two, ought to rule us continually, not so much in our own actions
+(for these should, for the most part, be governed by settled habit and
+principle) as in our manner of regarding the lives of other men, and our
+own responsibilities with respect to them; therefore, it seems to me
+that the healthiest state into which the human mind can be brought is
+that which is capable of the greatest love, and the greatest awe: and
+this we are taught even in our times of rest; for when our minds are
+rightly in tone, the merely pleasurable excitement which they seek with
+most avidity is that which rises out of the contemplation of beauty or
+of terribleness. We thirst for both, and, according to the height and
+tone of our feeling, desire to see them in noble or inferior forms. Thus
+there is a Divine beauty, and a terribleness or sublimity coequal with
+it in rank, which are the subjects of the highest art; and there is an
+inferior or ornamental beauty, and an inferior terribleness coequal with
+it in rank, which are the subjects of grotesque art. And the state of
+mind in which the terrible form of the grotesque is developed, is that
+which in some irregular manner, dwells upon certain conditions of
+terribleness, into the complete depth of which it does not enter for the
+time.
+
+Sec. XLIV. Now the things which are the proper subjects of human fear are
+twofold; those which have the power of Death, and those which have the
+nature of Sin. Of which there are many ranks, greater or less in power
+and vice, from the evil angels themselves down to the serpent which is
+their type, and which though of a low and contemptible class, appears
+to unite the deathful and sinful natures in the most clearly visible and
+intelligible form; for there is nothing else which we know, of so small
+strength and occupying so unimportant a place in the economy of
+creation, which yet is so mortal and so malignant. It is, then, on these
+two classes of objects that the mind fixes for its excitement, in that
+mood which gives rise to the terrible grotesque; and its subject will be
+found always to unite some expression of vice and danger, but regarded
+in a peculiar temper; sometimes (A) of predetermined or involuntary
+apathy, sometimes (B) of mockery, sometimes (C) of diseased and
+ungoverned imaginativeness.
+
+Sec. XLV. For observe, the difficulty which, as I above stated, exists
+in distinguishing the playful from the terrible grotesque arises out of
+this cause; that the mind, under certain phases of excitement, _plays_
+with _terror_, and summons images which, if it were in another temper,
+would be awful, but of which, either in weariness or in irony, it
+refrains for the time to acknowledge the true terribleness. And the mode
+in which this refusal takes place distinguishes the noble from the
+ignoble grotesque. For the master of the noble grotesque knows the depth
+of all at which he seems to mock, and would feel it at another time, or
+feels it in a certain undercurrent of thought even while he jests with
+it; but the workman of the ignoble grotesque can feel and understand
+nothing, and mocks at all things with the laughter of the idiot and the
+cretin.
+
+To work out this distinction completely is the chief difficulty in our
+present inquiry; and, in order to do so, let us consider the above-named
+three conditions of mind in succession, with relation to objects of
+terror.
+
+Sec. _XLVI_. (A). Involuntary or predetermined apathy. We saw above that
+the grotesque was produced, chiefly in subordinate or ornamental art, by
+rude, and in some degree uneducated men, and in their times of rest. At
+such times, and in such subordinate work, it is impossible that they
+should represent any solemn or terrible subject with a full and serious
+entrance into its feeling. It is not in the languor of a leisure hour
+that a man will set his whole soul to conceive the means of representing
+some important truth, nor to the projecting angle of a timber bracket
+that he would trust its representation, if conceived. And yet, in this
+languor, and in this trivial work, he must find some expression of the
+serious part of his soul, of what there is within him capable of awe, as
+well as of love. The more noble the man is, the more impossible it will
+be for him to confine his thoughts to mere loveliness, and that of a low
+order. Were his powers and his time unlimited, so that, like Fra
+Angelico, he could paint the Seraphim, in that order of beauty he could
+find contentment, bringing down heaven to earth. But by the conditions
+of his being, by his hard-worked life, by his feeble powers of
+execution, by the meanness of his employment and the languor of his
+heart, he is bound down to earth. It is the world's work that he is
+doing, and world's work is not to be done without fear. And whatever
+there is of deep and eternal consciousness within him, thrilling his
+mind with the sense of the presence of sin and death around him, must be
+expressed in that slight work, and feeble way, come of it what will. He
+cannot forget it, among all that he sees of beautiful in nature; he may
+not bury himself among the leaves of the violet on the rocks, and of the
+lily in the glen, and twine out of them garlands of perpetual gladness.
+He sees more in the earth than these,--misery and wrath, and
+discordance, and danger, and all the work of the dragon and his angels;
+this he sees with too deep feeling ever to forget. And though when he
+returns to his idle work,--it may be to gild the letters upon the page,
+or to carve the timbers of the chamber, or the stones of the
+pinnacle,--he cannot give his strength of thought any more to the woe or
+to the danger, there is a shadow of them still present with him: and as
+the bright colors mingle beneath his touch, and the fair leaves and
+flowers grow at his bidding, strange horrors and phantasms rise by their
+side; grisly beasts and venomous serpents, and spectral fiends and
+nameless inconsistencies of ghastly life, rising out of things most
+beautiful, and fading back into them again, as the harm and the horror
+of life do out of its happiness. He has seen these things; he wars with
+them daily; he cannot but give them their part in his work, though in a
+state of comparative apathy to them at the time. He is but carving and
+gilding, and must not turn aside to weep; but he knows that hell is
+burning on, for all that, and the smoke of it withers his oak-leaves.
+
+Sec. XLVII. Now, the feelings which give rise to the false or ignoble
+grotesque, are exactly the reverse of these. In the true grotesque, a
+man of naturally strong feeling is accidentally or resolutely apathetic;
+in the false grotesque, a man naturally apathetic is forcing himself
+into temporary excitement. The horror which is expressed by the one,
+comes upon him whether he will or not; that which is expressed by the
+other, is sought out by him, and elaborated by his art. And therefore,
+also, because the fear of the one is true, and of true things, however
+fantastic its expression may be, there will be reality in it, and force.
+It is not a manufactured terribleness, whose author, when he had
+finished it, knew not if it would terrify any one else or not: but it is
+a terribleness taken from the life; a spectre which the workman indeed
+saw, and which, as it appalled him, will appal us also. But the other
+workman never felt any Divine fear; he never shuddered when he heard the
+cry from the burning towers of the earth,
+
+  "Venga Medusa; si lo farem di smalto."
+
+He is stone already, and needs no gentle hand laid upon his eyes to save
+him.
+
+Sec. XLVIII. I do not mean what I say in this place to apply to the
+creations of the imagination. It is not as the creating but as the
+_seeing_ man, that we are here contemplating the master of the true
+grotesque. It is because the dreadfulness of the universe around him
+weighs upon his heart, that his work is wild; and therefore through the
+whole of it we shall find the evidence of deep insight into nature. His
+beasts and birds, however monstrous, will have profound relations with
+the true. He may be an ignorant man, and little acquainted with the laws
+of nature; he is certainly a busy man, and has not much time to watch
+nature; but he never saw a serpent cross his path, nor a bird flit
+across the sky, nor a lizard bask upon a stone, without learning so much
+of the sublimity and inner nature of each as will not suffer him
+thenceforth to conceive them coldly. He may not be able to carve plumes
+or scales well; but his creatures will bite and fly, for all that. The
+ignoble workman is the very reverse of this. He never felt, never looked
+at nature; and if he endeavor to imitate the work of the other, all his
+touches will be made at random, and all his extravagances will be
+ineffective; he may knit brows, and twist lips, and lengthen beaks, and
+sharpen teeth, but it will be all in vain. He may make his creatures
+disgusting, but never fearful.
+
+Sec. XLIX. There is, however, often another cause of difference than this.
+The true grotesque being the expression of the _repose_ or play of a
+_serious_ mind, there is a false grotesque opposed to it, which is the
+result of the _full exertion_ of a _frivolous_ one. There is much
+grotesque which is wrought out with exquisite care and pains, and as
+much labor given to it as if it were of the noblest subject; so that the
+workman is evidently no longer apathetic, and has no excuse for
+unconnectedness of thought, or sudden unreasonable fear. If he awakens
+horror now, it ought to be in some truly sublime form. His strength is
+in his work; and he must not give way to sudden humor, and fits of
+erratic fancy. If he does so, it must be because his mind is naturally
+frivolous, or is for the time degraded into the deliberate pursuit of
+frivolity. And herein lies the real distinction between the base
+grotesque of Raphael and the Renaissance, above alluded to, and the true
+Gothic grotesque. Those grotesques or arabesques of the Vatican, and
+other such work, which have become the patterns of ornamentation in
+modern times, are the fruit of great minds degraded to base objects. The
+care, skill, and science, applied to the distribution of the leaves, and
+the drawing of the figures, are intense, admirable, and accurate;
+therefore, they ought to have produced a grand and serious work, not a
+tissue of nonsense. If we can draw the human head perfectly, and are
+masters of its expression and its beauty, we have no business to cut it
+off, and hang it up by the hair at the end of a garland. If we can draw
+the human body in the perfection of its grace and movement, we have no
+business to take away its limbs, and terminate it with a bunch of
+leaves. Or rather our doing so will imply that there is something wrong
+with us; that, if we can consent to use our best powers for such base
+and vain trifling, there must be something wanting in the powers
+themselves; and that, however skilful we may be, or however learned, we
+are wanting both in the earnestness which can apprehend a noble truth,
+and in the thoughtfulness which can feel a noble fear. No Divine terror
+will ever be found in the work of the man who wastes a colossal strength
+in elaborating toys; for the first lesson which that terror is sent to
+teach us, is the value of the human soul, and the shortness of mortal
+time.
+
+Sec. L. And are we never, then, it will be asked, to possess a refined or
+perfect ornamentation? Must all decoration be the work of the ignorant
+and the rude? Not so; but exactly in proportion as the ignorance and
+rudeness diminish, must the ornamentation become rational, and the
+grotesqueness disappear. The noblest lessons may be taught in
+ornamentation, the most solemn truths compressed into it. The Book of
+Genesis, in all the fulness of its incidents, in all the depth of its
+meaning, is bound within the leaf-borders of the gates of Ghiberti. But
+Raphael's arabesque is mere elaborate idleness. It has neither meaning
+nor heart in it; it is an unnatural and monstrous abortion.
+
+Sec. LI. Now, this passing of the grotesque into higher art, as the mind
+of the workman becomes informed with better knowledge, and capable of
+more earnest exertion, takes place in two ways. Either, as his power
+increases, he devotes himself more and more to the beauty which he now
+feels himself able to express, and so the grotesqueness expands, and
+softens into the beautiful, as in the above-named instance of the gates
+of Ghiberti; or else, if the mind of the workman be naturally inclined
+to gloomy contemplation, the imperfection or apathy of his work rises
+into nobler terribleness, until we reach the point of the grotesque of
+Albert Durer, where, every now and then, the playfulness or apathy of
+the painter passes into perfect sublime. Take the Adam and Eve, for
+instance. When he gave Adam a bough to hold, with a parrot on it, and a
+tablet hung to it, with "Albertus Durer Noricus faciebat, 1504,"
+thereupon, his mind was not in Paradise. He was half in play, half
+apathetic with respect to his subject, thinking how to do his work well,
+as a wise master-graver, and how to receive his just reward of fame. But
+he rose into the true sublime in the head of Adam, and in the profound
+truthfulness of every creature that fills the forest. So again in that
+magnificent coat of arms, with the lady and the satyr, as he cast the
+fluttering drapery hither and thither around the helmet, and wove the
+delicate crown upon the woman's forehead, he was in a kind of play; but
+there is none in the dreadful skull upon the shield. And in the "Knight
+and Death," and in the dragons of the illustrations to the Apocalypse,
+there is neither play nor apathy; but their grotesque is of the ghastly
+kind which best illustrates the nature of death and sin. And this leads
+us to the consideration of the second state of mind out of which the
+noble grotesque is developed; that is to say, the temper of mockery.
+
+Sec. LII. (B). Mockery, or Satire. In the former part of this chapter,
+when I spoke of the kinds of art which were produced in the recreation of
+the lower orders, I only spoke of forms of ornament, not of the expression
+of satire or humor. But it seems probable, that nothing is so refreshing
+to the vulgar mind as some exercise of this faculty, more especially on
+the failings of their superiors; and that, wherever the lower orders are
+allowed to express themselves freely, we shall find humor, more or less
+caustic, becoming a principal feature in their work. The classical and
+Renaissance manufacturers of modern times having silenced the
+independent language of the operative, his humor and satire pass away in
+the word-wit which has of late become the especial study of the group of
+authors headed by Charles Dickens; all this power was formerly thrown
+into noble art, and became permanently expressed in the sculptures of
+the cathedral. It was never thought that there was anything discordant
+or improper in such a position: for the builders evidently felt very
+deeply a truth of which, in modern times, we are less cognizant; that
+folly and sin are, to a certain extent, synonymous, and that it would be
+well for mankind in general, if all could be made to feel that
+wickedness is as contemptible as it is hateful. So that the vices were
+permitted to be represented under the most ridiculous forms, and all the
+coarsest wit of the workman to be exhausted in completing the
+degradation of the creatures supposed to be subjected to them.
+
+Sec. LIII. Nor were even the supernatural powers of evil exempt from this
+species of satire. For with whatever hatred or horror the evil angels
+were regarded, it was one of the conditions of Christianity that they
+should also be looked upon as vanquished; and this not merely in their
+great combat with the King of Saints, but in daily and hourly combats
+with the weakest of His servants. In proportion to the narrowness of the
+powers of abstract conception in the workman, the nobleness of the idea
+of spiritual nature diminished, and the traditions of the encounters of
+men with fiends in daily temptations were imagined with less terrific
+circumstances, until the agencies which in such warfare were almost
+always represented as vanquished with disgrace, became, at last, as much
+the objects of contempt as of terror.
+
+The superstitions which represented the devil as assuming various
+contemptible forms of disguises in order to accomplish his purposes
+aided this gradual degradation of conception, and directed the study of
+the workman to the most strange and ugly conditions of animal form,
+until at last, even in the most serious subjects, the fiends are oftener
+ludicrous than terrible. Nor, indeed, is this altogether avoidable, for
+it is not possible to express intense wickedness without some condition
+of degradation. Malice, subtlety, and pride, in their extreme, cannot be
+written upon noble forms; and I am aware of no effort to represent the
+Satanic mind in the angelic form, which has succeeded in painting.
+Milton succeeds only because he separately describes the movements of
+the mind, and therefore leaves himself at liberty to make the form
+heroic; but that form is never distinct enough to be painted. Dante, who
+will not leave even external forms obscure, degrades them before he can
+feel them to be demoniacal; so also John Bunyan: both of them, I think,
+having firmer faith than Milton's in their own creations, and deeper
+insight into the nature of sin. Milton makes his fiends too noble, and
+misses the foulness, inconstancy, and fury of wickedness. His Satan
+possesses some virtues, not the less virtues for being applied to evil
+purpose. Courage, resolution, patience, deliberation in council, this
+latter being eminently a wise and holy character, as opposed to the
+"Insania" of excessive sin: and all this, if not a shallow and false, is
+a smooth and artistical, conception. On the other hand, I have always
+felt that there was a peculiar grandeur in the indescribable,
+ungovernable fury of Dante's fiends, ever shortening its own powers, and
+disappointing its own purposes; the deaf, blind, speechless, unspeakable
+rage, fierce as the lightning, but erring from its mark or turning
+senselessly against itself, and still further debased by foulness of
+form and action. Something is indeed to be allowed for the rude feelings
+of the time, but I believe all such men as Dante are sent into the world
+at the time when they can do their work best; and that, it being
+appointed for him to give to mankind the most vigorous realization
+possible both of Hell and Heaven, he was born both in the country and at
+the time which furnished the most stern opposition of Horror and Beauty,
+and permitted it to be written in the clearest terms. And, therefore,
+though there are passages in the "Inferno" which it would be impossible
+for any poet now to write, I look upon it as all the more perfect for
+them. For there can be no question but that one characteristic of
+excessive vice is indecency, a general baseness in its thoughts and acts
+concerning the body,[40] and that the full portraiture of it cannot be
+given without marking, and that in the strongest lines, this tendency to
+corporeal degradation; which, in the time of Dante, could be done
+frankly, but cannot now. And, therefore, I think the twenty-first and
+twenty-second books of the "Inferno" the most perfect portraitures of
+fiendish nature which we possess; and at the same time, in their
+mingling of the extreme of horror (for it seems to me that the silent
+swiftness of the first demon, "con l'ali aperte e sovra i pie leggiero,"
+cannot be surpassed in dreadfulness) with ludicrous actions and images,
+they present the most perfect instances with which I am acquainted of
+the terrible grotesque. But the whole of the "Inferno" is full of this
+grotesque, as well as the "Faerie Queen;" and these two poems, together
+with the works of Albert Durer, will enable the reader to study it in
+its noblest forms, without reference to Gothic cathedrals.
+
+Sec. LIV. Now, just as there are base and noble conditions of the
+apathetic grotesque, so also are there of this satirical grotesque. The
+condition which might be mistaken for it is that above described as
+resulting from the malice of men given to pleasure, and in which the
+grossness and foulness are in the workman as much as in his subject, so
+that he chooses to represent vice and disease rather than virtue and
+beauty, having his chief delight in contemplating them; though he still
+mocks at them with such dull wit as may be in him, because, as Young has
+said most truly,
+
+  "'Tis not in folly not to scorn a fool."
+
+Sec. LV. Now it is easy to distinguish this grotesque from its noble
+counterpart, by merely observing whether any forms of beauty or dignity
+are mingled with it or not; for, of course, the noble grotesque is only
+employed by its master for good purposes, and to contrast with beauty:
+but the base workman cannot conceive anything but what is base; and
+there will be no loveliness in any part of his work, or, at the best, a
+loveliness measured by line and rule, and dependent on legal shapes of
+feature. But, without resorting to this test, and merely by examining
+the ugly grotesque itself, it will be found that, if it belongs to the
+base school, there will be, first, no Horror in it; secondly, no Nature
+in it; and, thirdly, no Mercy in it.
+
+Sec. LVI. I say, first, no Horror. For the base soul has no fear of sin,
+and no hatred of it: and, however it may strive to make its work
+terrible, there will be no genuineness in the fear; the utmost it can do
+will be to make its work disgusting.
+
+Secondly, there will be no Nature in it. It appears to be one of the
+ends proposed by Providence in the appointment of the forms of the brute
+creation, that the various vices to which mankind are liable should be
+severally expressed in them so distinctly and clearly as that men could
+not but understand the lesson; while yet these conditions of vice might,
+in the inferior animal, be observed without the disgust and hatred which
+the same vices would excite, if seen in men, and might be associated
+with features of interest which would otherwise attract and reward
+contemplation. Thus, ferocity, cunning, sloth, discontent, gluttony,
+uncleanness, and cruelty are seen, each in its extreme, in various
+animals; and are so vigorously expressed, that when men desire to
+indicate the same vices in connexion with human forms, they can do it no
+better than by borrowing here and there the features of animals. And
+when the workman is thus led to the contemplation of the animal kingdom,
+finding therein the expressions of vice which he needs, associated with
+power, and nobleness, and freedom from disease, if his mind be of right
+tone he becomes interested in this new study; and all noble grotesque
+is, therefore, full of the most admirable rendering of animal character.
+But the ignoble workman is capable of no interest of this kind; and,
+being too dull to appreciate, and too idle to execute, the subtle and
+wonderful lines on which the expression of the lower animal depends, he
+contents himself with vulgar exaggeration, and leaves his work as false
+as it is monstrous, a mass of blunt malice and obscene ignorance.
+
+Sec. LVII. Lastly, there will be no Mercy in it. Wherever the satire of
+the noble grotesque fixes upon human nature, it does so with much sorrow
+mingled amidst its indignation: in its highest forms there is an
+infinite tenderness, like that of the fool in Lear; and even in its more
+heedless or bitter sarcasm, it never loses sight altogether of the
+better nature of what it attacks, nor refuses to acknowledge its
+redeeming or pardonable features. But the ignoble grotesque has no pity:
+it rejoices in iniquity, and exists only to slander.
+
+Sec. LVIII. I have not space to follow out the various forms of transition
+which exist between the two extremes of great and base in the satirical
+grotesque. The reader must always remember, that, although there is an
+infinite distance between the best and worst, in this kind the interval
+is filled by endless conditions more or less inclining to the evil or
+the good; impurity and malice stealing gradually into the nobler forms,
+and invention and wit elevating the lower, according to the countless
+minglings of the elements of the human soul.
+
+Sec. LIX. (C). Ungovernableness of the imagination. The reader is always
+to keep in mind that if the objects of horror, in which the terrible
+grotesque finds its materials, were contemplated in their true light,
+and with the entire energy of the soul, they would cease to be
+grotesque, and become altogether sublime; and that therefore it is some
+shortening of the power, or the will, of contemplation, and some
+consequent distortion of the terrible image in which the grotesqueness
+consists. Now this distortion takes place, it was above asserted, in
+three ways: either through apathy, satire, or ungovernableness of
+imagination. It is this last cause of the grotesque which we have
+finally to consider; namely, the error and wildness of the mental
+impressions, caused by fear operating upon strong powers of imagination,
+or by the failure of the human faculties in the endeavor to grasp the
+highest truths.
+
+Sec. LX. The grotesque which comes to all men in a disturbed dream is the
+most intelligible example of this kind, but also the most ignoble; the
+imagination, in this instance, being entirely deprived of all aid from
+reason, and incapable of self-government. I believe, however, that the
+noblest forms of imaginative power are also in some sort ungovernable,
+and have in them something of the character of dreams; so that the
+vision, of whatever kind, comes uncalled, and will not submit itself to
+the seer, but conquers him, and forces him to speak as a prophet,
+having no power over his words or thoughts.[41] Only, if the whole man
+be trained perfectly, and his mind calm, consistent and powerful, the
+vision which comes to him is seen as in a perfect mirror, serenely, and
+in consistence with the rational powers; but if the mind be imperfect
+and ill trained, the vision is seen as in a broken mirror, with strange
+distortions and discrepancies, all the passions of the heart breathing
+upon it in cross ripples, till hardly a trace of it remains unbroken. So
+that, strictly speaking, the imagination is never governed; it is always
+the ruling and Divine power: and the rest of the man is to it only as an
+instrument which it sounds, or a tablet on which it writes; clearly and
+sublimely if the wax be smooth and the strings true, grotesquely and
+wildly if they are stained and broken. And thus the "Iliad," the
+"Inferno," the "Pilgrim's Progress," the "Faerie Queen," are all of them
+true dreams; only the sleep of the men to whom they came was the deep,
+living sleep which God sends, with a sacredness in it, as of death, the
+revealer of secrets.
+
+Sec. LXI. Now, observe in this matter, carefully, the difference between
+a dim mirror and a distorted one; and do not blame me for pressing the
+analogy too far, for it will enable me to explain my meaning every way
+more clearly. Most men's minds are dim mirrors, in which all truth is
+seen, as St. Paul tells us, darkly: this is the fault most common and
+most fatal; dulness of the heart and mistiness of sight, increasing to
+utter hardness and blindness; Satan breathing upon the glass, so that if
+we do not sweep the mist laboriously away, it will take no image. But,
+even so far as we are able to do this, we have still the distortion to
+fear, yet not to the same extent, for we can in some sort allow for the
+distortion of an image, if only we can see it clearly. And the fallen
+human soul, at its best, must be as a diminishing glass, and that a
+broken one, to the mighty truths of the universe round it; and the wider
+the scope of its glance, and the vaster the truths into which it obtains
+an insight, the more fantastic their distortion is likely to be, as the
+winds and vapors trouble the field of the telescope most when it reaches
+farthest.
+
+Sec. LXII. Now, so far as the truth is seen by the imagination[42] in
+its wholeness and quietness, the vision is sublime; but so far as it is
+narrowed and broken by the inconsistencies of the human capacity, it
+becomes grotesque; and it would seem to be rare that any very exalted
+truth should be impressed on the imagination without some grotesqueness
+in its aspect, proportioned to the degree of _diminution of breadth_ in
+the grasp which is given of it. Nearly all the dreams recorded in the
+Bible,--Jacob's, Joseph's, Pharaoh's, Nebuchadnezzar's,--are grotesques;
+and nearly the whole of the accessary scenery in the books of Ezekiel
+and the Apocalypse. Thus, Jacob's dream revealed to him the ministry of
+angels; but because this ministry could not be seen or understood by him
+in its fulness, it was narrowed to him into a ladder between heaven and
+earth, which was a grotesque. Joseph's two dreams were evidently
+intended to be signs of the steadfastness of the Divine purpose towards
+him, by possessing the clearness of special prophecy; yet were couched
+in such imagery, as not to inform him prematurely of his destiny, and
+only to be understood after their fulfilment. The sun, and moon, and
+stars were at the period, and are indeed throughout the Bible, the
+symbols of high authority. It was not revealed to Joseph that he should
+be lord over all Egypt; but the representation of his family by symbols
+of the most magnificent dominion, and yet as subject to him, must have
+been afterwards felt by him as a distinctly prophetic indication of his
+own supreme power. It was not revealed to him that the occasion of his
+brethren's special humiliation before him should be their coming to buy
+corn; but when the event took place, must he not have felt that there
+was prophetic purpose in the form of the sheaves of wheat which first
+imaged forth their subjection to him? And these two images of the sun
+doing obeisance, and the sheaves bowing down,--narrowed and imperfect
+intimations of great truth which yet could not be otherwise
+conveyed,--are both grotesque. The kine of Pharaoh eating each other,
+the gold and clay of Nebuchadnezzar's image, the four beasts full of
+eyes, and other imagery of Ezekiel and the Apocalypse, are grotesques of
+the same kind, on which I need not further insist.
+
+Sec. LXIII. Such forms, however, ought perhaps to have been arranged under
+a separate head, as Symbolical Grotesque; but the element of awe enters
+into them so strongly, as to justify, for all our present purposes,
+their being classed with the other varieties of terrible grotesque. For
+even if the symbolic vision itself be not terrible, the sense of what
+may be veiled behind it becomes all the more awful in proportion to the
+insignificance or strangeness of the sign itself; and, I believe, this
+thrill of mingled doubt, fear, and curiosity lies at the very root of
+the delight which mankind take in symbolism. It was not an accidental
+necessity for the conveyance of truth by pictures instead of words,
+which led to its universal adoption wherever art was on the advance; but
+the Divine fear which necessarily follows on the understanding that a
+thing is other and greater than it seems; and which, it appears
+probable, has been rendered peculiarly attractive to the human heart,
+because God would have us understand that this is true not of invented
+symbols merely, but of all things amidst which we live; that there is a
+deeper meaning within them than eye hath seen, or ear hath heard; and
+that the whole visible creation is a mere perishable symbol of things
+eternal and true. It cannot but have been sometimes a subject of wonder
+with thoughtful men, how fondly, age after age, the Church has cherished
+the belief that the four living creatures which surrounded the
+Apocalyptic throne were symbols of the four Evangelists, and rejoiced
+to use those forms in its picture-teaching; that a calf, a lion, an
+eagle, and a beast with a man's face, should in all ages have been
+preferred by the Christian world, as expressive of Evangelistic power
+and inspiration, to the majesty of human forms; and that quaint
+grotesques, awkward and often ludicrous caricatures even of the animals
+represented, should have been regarded by all men, not only with
+contentment, but with awe, and have superseded all endeavors to
+represent the characters and persons of the Evangelistic writers
+themselves (except in a few instances, confined principally to works
+undertaken without a definite religious purpose);--this, I say, might
+appear more than strange to us, were it not that we ourselves share the
+awe, and are still satisfied with the symbol, and that justly. For,
+whether we are conscious of it or not, there is in our hearts, as we
+gaze upon the brutal forms that have so holy a signification, an
+acknowledgment that it was not Matthew, nor Mark, nor Luke, nor John, in
+whom the Gospel of Christ was unsealed: but that the invisible things of
+Him from the beginning of the creation are clearly seen, being
+understood by the things that are made; that the whole world, and all
+that is therein, be it low or high, great or small, is a continual
+Gospel; and that as the heathen, in their alienation from God, changed
+His glory into an image made like unto corruptible man, and to birds,
+and four-footed boasts, the Christian, in his approach to God, is to
+undo this work, and to change the corruptible things into the image of
+His glory; believing that there is nothing so base in creation, but that
+our faith may give it wings which shall raise us into companionship with
+heaven; and that, on the other hand, there is nothing so great or so
+goodly in creation, but that it is a mean symbol of the Gospel of
+Christ, and of the things He has prepared for them that love Him.
+
+Sec. LXIV. And it is easy to understand, if we follow out this thought,
+how, when once the symbolic language was familiarized to the mind, and
+its solemnity felt in all its fulness, there was no likelihood of
+offence being taken at any repulsive or feeble characters in execution
+or conception. There was no form so mean, no incident so commonplace,
+but, if regarded in this light, it might become sublime; the more
+vigorous the fancy and the more faithful the enthusiasm, the greater
+would be the likelihood of their delighting in the contemplation of
+symbols whose mystery was enhanced by apparent insignificance, or in
+which the sanctity and majesty of meaning were contrasted with the
+utmost uncouthness of external form: nor with uncouthness merely, but
+even with every appearance of malignity or baseness; the beholder not
+being revolted even by this, but comprehending that, as the seeming evil
+in the framework of creation did not invalidate its Divine authorship,
+so neither did the evil or imperfection in the symbol invalidate its
+Divine message. And thus, sometimes, the designer at last became wanton
+in his appeal to the piety of his interpreter, and recklessly poured out
+the impurity and the savageness of his own heart, for the mere pleasure
+of seeing them overlaid with the fine gold of the sanctuary, by the
+religion of their beholder.
+
+Sec. LXV. It is not, however, in every symbolical subject that the fearful
+grotesque becomes embodied to the full. The element of distortion which
+affects the intellect when dealing with subjects above its proper
+capacity, is as nothing compared with that which it sustains from the
+direct impressions of terror. It is the trembling of the human soul in
+the presence of death which most of all disturbs the images on the
+intellectual mirror, and invests them with the fitfulness and
+ghastliness of dreams. And from the contemplation of death, and of the
+pangs which follow his footsteps, arise in men's hearts the troop of
+strange and irresistible superstitions which, more or less melancholy or
+majestic according to the dignity of the mind they impress, are yet
+never without a certain grotesqueness, following on the paralysis of the
+reason and over-excitement of the fancy. I do not mean to deny the
+actual existence of spiritual manifestations; I have never weighed the
+evidence upon the subject; but with these, if such exist, we are not
+here concerned. The grotesque which we are examining arises out of that
+condition of mind which appears to follow naturally upon the
+contemplation of death, and in which the fancy is brought into morbid
+action by terror, accompanied by the belief in spiritual presence, and
+in the possibility of spiritual apparition. Hence are developed its most
+sublime, because its least voluntary, creations, aided by the
+fearfulness of the phenomena of nature which are in any wise the
+ministers of death, and primarily directed by the peculiar ghastliness
+of expression in the skeleton, itself a species of terrible grotesque in
+its relation to the perfect human frame.
+
+Sec. LXVI. Thus, first born from the dusty and dreadful whiteness of
+the charnel house, but softened in their forms by the holiest of human
+affections, went forth the troop of wild and wonderful images, seen
+through tears, that had the mastery over our Northern hearts for so many
+ages. The powers of sudden destruction lurking in the woods and waters,
+in the rocks and clouds;--kelpie and gnome, Lurlei and Hartz spirits;
+the wraith and foreboding phantom; the spectra of second sight; the
+various conceptions of avenging or tormented ghost, haunting the
+perpetrator of crime, or expiating its commission; and the half
+fictitious and contemplative, half visionary and believed images of the
+presence of death itself, doing its daily work in the chambers of
+sickness and sin, and waiting for its hour in the fortalices of strength
+and the high places of pleasure;--these, partly degrading us by the
+instinctive and paralyzing terror with which they are attended, and
+partly ennobling us by leading our thoughts to dwell in the eternal
+world, fill the last and the most important circle in that great kingdom
+of dark and distorted power, of which we all must be in some sort the
+subjects until mortality shall be swallowed up of life; until the waters
+of the last fordless river cease to roll their untransparent volume
+between us and the light of heaven, and neither death stand between us
+and our brethren, nor symbols between us and our God.
+
+Sec. LXVII. We have now, I believe, obtained a view approaching to
+completeness of the various branches of human feeling which are
+concerned in the developement of this peculiar form of art. It remains
+for us only to note, as briefly as possible, what facts in the actual
+history of the grotesque bear upon our immediate subject.
+
+From what we have seen to be its nature, we must, I think, be led to one
+most important conclusion; that wherever the human mind is healthy and
+vigorous in all its proportions, great in imagination and emotion no
+less than in intellect, and not overborne by an undue or hardened
+preeminence of the mere reasoning faculties, there the grotesque will
+exist in full energy. And, accordingly, I believe that there is no test
+of greatness in periods, nations, or men, more sure than the
+developement, among them or in them, of a noble grotesque, and no test
+of comparative smallness or limitation, of one kind or another, more
+sure than the absence of grotesque invention, or incapability of
+understanding it. I think that the central man of all the world, as
+representing in perfect balance the imaginative, moral, and intellectual
+faculties, all at their highest, is Dante; and in him the grotesque
+reaches at once the most distinct and the most noble developement to
+which it was ever brought in the human mind. The two other greatest men
+whom Italy has produced, Michael Angelo and Tintoret, show the same
+element in no less original strength, but oppressed in the one by his
+science, and in both by the spirit of the age in which they lived;
+never, however, absent even in Michael Angelo, but stealing forth
+continually in a strange and spectral way, lurking in folds of raiment
+and knots of wild hair, and mountainous confusions of craggy limb and
+cloudy drapery; and, in Tintoret, ruling the entire conceptions of his
+greatest works to such a degree that they are an enigma or an offence,
+even to this day, to all the petty disciples of a formal criticism. Of
+the grotesque in our own Shakspeare I need hardly speak, nor of its
+intolerableness to his French critics; nor of that of Aeschylus and
+Homer, as opposed to the lower Greek writers; and so I believe it will
+be found, at all periods, in all minds of the first order.
+
+Sec. LXVIII. As an index of the greatness of nations, it is a less certain
+test, or, rather, we are not so well agreed on the meaning of the term
+"greatness" respecting them. A nation may produce a great effect, and
+take up a high place in the world's history, by the temporary enthusiasm
+or fury of its multitudes, without being truly great; or, on the other
+hand, the discipline of morality and common sense may extend its
+physical power or exalt its well-being, while yet its creative and
+imaginative powers are continually diminishing. And again: a people may
+take so definite a lead over all the rest of the world in one direction,
+as to obtain a respect which is not justly due to them if judged on
+universal grounds. Thus the Greeks perfected the sculpture of the human
+body; threw their literature into a disciplined form, which has given it
+a peculiar power over certain conditions of modern mind; and were the
+most carefully educated race that the world has seen; but a few years
+hence, I believe, we shall no longer think them a greater people than
+either the Egyptians or Assyrians.
+
+Sec. LXIX. If, then, ridding ourselves as far as possible of prejudices
+owing merely to the school-teaching which remains from the system of the
+Renaissance, we set ourselves to discover in what races the human soul,
+taken all in all, reached its highest magnificence, we shall find, I
+believe, two great families of men, one of the East and South, the other
+of the West and North: the one including the Egyptians, Jews, Arabians,
+Assyrians, and Persians; the other, I know not whence derived, but
+seeming to flow forth from Scandinavia, and filling the whole of Europe
+with its Norman and Gothic energy. And in both these families, wherever
+they are seen in their utmost nobleness, there the grotesque is
+developed in its utmost energy; and I hardly know whether most to admire
+the winged bulls of Nineveh, or the winged dragons of Verona.
+
+Sec. LXX. The reader who has not before turned his attention to this
+subject may, however, at first have some difficulty in distinguishing
+between the noble grotesque of these great nations, and the barbarous
+grotesque of mere savages, as seen in the work of the Hindoo and other
+Indian nations; or, more grossly still, in that of the complete savage
+of the Pacific islands; or if, as is to be hoped, he instinctively
+feels the difference, he may yet find difficulty in determining wherein
+that difference consists. But he will discover, on consideration, that
+the noble grotesque _involves the true appreciation of beauty_, though
+the mind may wilfully turn to other images or the hand resolutely stop
+short of the perfection which it must fail, if it endeavored, to reach;
+while the grotesque of the Sandwich islander involves no perception or
+imagination of anything above itself. He will find that in the exact
+proportion in which the grotesque results from an incapability of
+perceiving beauty, it becomes savage or barbarous; and that there are
+many stages of progress to be found in it even in its best times, much
+truly savage grotesque occurring in the fine Gothic periods, mingled
+with the other forms of the ignoble grotesque resulting from vicious
+inclinations or base sportiveness. Nothing is more mysterious in the
+history of the human mind, than the manner in which gross and ludicrous
+images are mingled with the most solemn subjects in the work of the
+middle ages, whether of sculpture or illumination; and although, in
+great part, such incongruities are to be accounted for on the various
+principles which I have above endeavored to define, in many instances
+they are clearly the result of vice and sensuality. The general
+greatness of seriousness of an age does not effect the restoration of
+human nature; and it would be strange, if, in the midst of the art even
+of the best periods, when that art was entrusted to myriads of workmen,
+we found no manifestations of impiety, folly, or impurity.
+
+Sec. LXXI. It needs only to be added that in the noble grotesque, as it is
+partly the result of a morbid state of the imaginative power, that power
+itself will be always seen in a high degree; and that therefore our
+power of judging of the rank of a grotesque work will depend on the
+degree in which we are in general sensible of the presence of invention.
+The reader may partly test this power in himself by referring to the
+Plate given in the opening of this chapter, in which, on the left, is a
+piece of noble and inventive grotesque, a head of the lion-symbol of St.
+Mark, from the Veronese Gothic; the other is a head introduced as a
+boss on the foundation of the Palazzo Corner della Regina at Venice,
+utterly devoid of invention, made merely monstrous by exaggerations of
+the eyeballs and cheeks, and generally characteristic of that late
+Renaissance grotesque of Venice, with which we are at present more
+immediately concerned.[43]
+
+Sec. LXXII. The developement of that grotesque took place under different
+laws from those which regulate it in any other European city. For, great
+as we have seen the Byzantine mind show itself to be in other
+directions, it was marked as that of a declining nation by the absence
+of the grotesque element; and, owing to its influence, the early
+Venetian Gothic remained inferior to all other schools in this
+particular character. Nothing can well be more wonderful than its
+instant failure in any attempt at the representation of ludicrous or
+fearful images, more especially when it is compared with the magnificent
+grotesque of the neighboring city of Verona, in which the Lombard
+influence had full sway. Nor was it until the last links of connexion
+with Constantinople had been dissolved, that the strength of the
+Venetian mind could manifest itself in this direction. But it had then a
+new enemy to encounter. The Renaissance laws altogether checked its
+imagination in architecture; and it could only obtain permission to
+express itself by starting forth in the work of the Venetian painters,
+filling them with monkeys and dwarfs, even amidst the most serious
+subjects, and leading Veronese and Tintoret to the most unexpected and
+wild fantasies of form and color.
+
+Sec. LXXIII. We may be deeply thankful for this peculiar reserve of the
+Gothic grotesque character to the last days of Venice. All over the rest
+of Europe it had been strongest in the days of imperfect art;
+magnificently powerful throughout the whole of the thirteenth century,
+tamed gradually in the fourteenth and fifteenth, and expiring in the
+sixteenth amidst anatomy and laws of art. But at Venice, it had not been
+received when it was elsewhere in triumph, and it fled to the lagoons
+for shelter when elsewhere it was oppressed. And it was arrayed by the
+Venetian painters in robes of state, and advanced by them to such honor
+as it had never received in its days of widest dominion; while, in
+return, it bestowed upon their pictures that fulness, piquancy, decision
+of parts, and mosaic-like intermingling of fancies, alternately
+brilliant and sublime, which were exactly what was most needed for the
+developement of their unapproachable color-power.
+
+Sec. LXXIV. Yet, observe, it by no means follows that because the
+grotesque does not appear in the art of a nation, the sense of it does not
+exist in the national mind. Except in the form of caricature, it is hardly
+traceable in the English work of the present day; but the minds of our
+workmen are full of it, if we would only allow them to give it shape.
+They express it daily in gesture and gibe, but are not allowed to do so
+where it would be useful. In like manner, though the Byzantine influence
+repressed it in the early Venetian architecture, it was always present
+in the Venetian mind, and showed itself in various forms of national
+custom and festival; _acted_ grotesques, full of wit, feeling, and
+good-humor. The ceremony of the hat and the orange, described in the
+beginning of this chapter, is one instance out of multitudes. Another,
+more rude, and exceedingly characteristic, was that instituted in the
+twelfth century in memorial of the submission of Woldaric, the patriarch
+of Aquileia, who, having taken up arms against the patriarch of Grado,
+and being defeated and taken prisoner by the Venetians, was sentenced,
+not to death, but to send every year on "Fat Thursday" sixty-two large
+loaves, twelve fat pigs, and a bull, to the Doge; the bull being
+understood to represent the patriarch, and the twelve pigs his clergy:
+and the ceremonies of the day consisting in the decapitation of these
+representatives, and a distribution of their joints among the senators;
+together with a symbolic record of the attack upon Aquileia, by the
+erection of a wooden castle in the rooms of the Ducal Palace, which the
+_Doge and the Senate_ attacked and demolished with clubs. As long as the
+Doge and the Senate were truly kingly and noble, they were content to
+let this ceremony be continued; but when they became proud and selfish,
+and were destroying both themselves and the state by their luxury, they
+found it inconsistent with their dignity, and it was abolished, as far
+as the Senate was concerned, in 1549.[44]
+
+Sec. LXXV. By these and other similar manifestations, the grotesque spirit
+is traceable through all the strength of the Venetian people. But again:
+it is necessary that we should carefully distinguish between it and the
+spirit of mere levity. I said, in the fifth chapter, that the Venetians
+were distinctively a serious people, serious, that is to say, in the
+sense in which the English are a more serious people than the French;
+though the habitual intercourse of our lower classes in London has a
+tone of humor in it which I believe is untraceable in that of the
+Parisian populace. It is one thing to indulge in playful rest, and
+another to be devoted to the pursuit of pleasure: and gaiety of heart
+during the reaction after hard labor, and quickened by satisfaction in
+the accomplished duty or perfected result, is altogether compatible
+with, nay, even in some sort arises naturally out of, a deep internal
+seriousness of disposition; this latter being exactly the condition of
+mind which, as we have seen, leads to the richest developements of the
+playful grotesque; while, on the contrary, the continual pursuit of
+pleasure deprives the soul of all alacrity and elasticity, and leaves it
+incapable of happy jesting, capable only of that which is bitter, base,
+and foolish. Thus, throughout the whole of the early career of the
+Venetians, though there is much jesting, there is no levity; on the
+contrary there is an intense earnestness both in their pursuit of
+commercial and political successes, and in their devotion to
+religion,[45] which led gradually to the formation of that highly
+wrought mingling of immovable resolution with secret thoughtfulness,
+which so strangely, sometimes so darkly, distinguishes the Venetian
+character at the time of their highest power, when the seriousness was
+left, but the conscientiousness destroyed. And if there be any one sign
+by which the Venetian countenance, as it is recorded for us, to the very
+life, by a school of portraiture which has never been equalled (chiefly
+because no portraiture ever had subjects so noble),--I say, if there be
+one thing more notable than another in the Venetian features, it is this
+deep pensiveness and solemnity. In other districts of Italy, the dignity
+of the heads which occur in the most celebrated compositions is clearly
+owing to the feeling of the painter. He has visibly raised or idealized
+his models, and appears always to be veiling the faults or failings of
+the human nature around him, so that the best of his work is that which
+has most perfectly taken the color of his own mind; and the least
+impressive, if not the least valuable, that which appears to have been
+unaffected and unmodified portraiture. But at Venice, all is exactly the
+reverse of this. The tone of mind in the painter appears often in some
+degree frivolous or sensual; delighting in costume, in domestic and
+grotesque incident, and in studies of the naked form. But the moment he
+gives himself definitely to portraiture, all is noble and grave; the
+more literally true his work, the more majestic; and the same artist who
+will produce little beyond what is commonplace in painting a Madonna or
+an apostle, will rise into unapproachable sublimity when his subject is
+a member of the Forty, or a Master of the Mint.
+
+Such, then, were the general tone and progress of the Venetian mind, up
+to the close of the seventeenth century. First, serious, religious, and
+sincere; then, though serious still, comparatively deprived of
+conscientiousness, and apt to decline into stern and subtle policy: in
+the first case, the spirit of the noble grotesque not showing itself in
+art at all, but only in speech and action; in the second case,
+developing itself in painting, through accessories and vivacities of
+composition, while perfect dignity was always preserved in portraiture.
+A third phase rapidly developed itself.
+
+Sec. LXXVI. Once more, and for the last time, let me refer the reader to
+the important epoch of the death of the Doge Tomaso Mocenigo in 1423,
+long ago indicated as the commencement of the decline of the Venetian
+power. That commencement is marked, not merely by the words of the dying
+Prince, but by a great and clearly legible sign. It is recorded, that on
+the accession of his successor, Foscari, to the throne, "SI FESTEGGIO
+DALLA CITTA UNO ANNO INTERO:" "The city kept festival for a whole year."
+Venice had in her childhood sown, in tears, the harvest she was to reap
+in rejoicing. She now sowed in laughter the seeds of death.
+
+Thenceforward, year after year, the nation drank with deeper thirst from
+the fountains of forbidden pleasure, and dug for springs, hitherto
+unknown, in the dark places of the earth. In the ingenuity of
+indulgence, in the varieties of vanity, Venice surpassed the cities of
+Christendom, as of old she surpassed them in fortitude and devotion; and
+as once the powers of Europe stood before her judgment-seat, to receive
+the decisions of her justice, so now the youth of Europe assembled in
+the halls of her luxury, to learn from her the arts of delight.
+
+It is as needless, as it is painful, to trace the steps of her final
+ruin. That ancient curse was upon her, the curse of the cities of the
+plain, "Pride, fulness of bread, and abundance of idleness." By the
+inner burning of her own passions, as fatal as the fiery reign of
+Gomorrah, she was consumed from her place among the nations; and her
+ashes are choking the channels of the dead salt sea.
+
+
+FOOTNOTES:
+
+  [27] Mutinelli, Annali Urbani, lib. i. p. 24; and the Chronicle of
+    1738, quoted by Galliciolli: "attrovandosi allora la giesia de Sta.
+    Maria Formosa sola giesia del nome della gloriosa Vergine Maria."
+
+  [28] Or from the brightness of the cloud, according to the Padre who
+    arranged the "Memorie delle Chiese di Venezia," vol. iii. p. 7.
+    Compare Corner, p. 42. This first church was built in 639.
+
+  [29] Perhaps both Corner and the Padre founded their diluted
+    information on the short sentence of Sansovino: "Finalmente, l'anno
+    1075, fu ridotta a perfezione da Paolo Barbetta, sul modello del
+    corpo di mezzo della chiesa di S. Marco." Sansovino, however, gives
+    842, instead of 864, as the date of the first rebuilding.
+
+  [30] Or at least for its principal families. Vide Appendix 8, "Early
+    Venetian Marriages."
+
+  [31] "Nazionale quasi la ceremonia, perciocche per essa nuovi
+    difensori ad acquistar andava la patria, sostegni nuovi le leggi, la
+    Liberta."--_Mutinelli._
+
+  [32] "Vestita, _per antico uso_, di bianco, e con chiome sparse giu
+    per le spalle, conteste con fila d'oro." "Dressed according to
+    ancient usage in white, and with her hair thrown down upon her
+    shoulders, interwoven with threads of gold." This was when she was
+    first brought out of her chamber to be seen by the guests invited to
+    the espousals. "And when the form of the espousal has been gone
+    through, she is led, to the sound of pipes and trumpets, and other
+    musical instruments, round the room, _dancing serenely all the time,
+    and bowing herself before the guests_ (ballando placidamente, e
+    facendo inchini ai convitati); and so she returns to her chamber:
+    and when other guests have arrived, she again comes forth, and makes
+    the circuit of the chamber. And this is repeated for an hour or
+    somewhat more; and then, accompanied by many ladies who wait for
+    her, she enters a gondola without its felze (canopy), and, seated on
+    a somewhat raised seat covered with carpets, with a great number of
+    gondolas following her, she goes to visit the monasteries and
+    convents, wheresoever she has any relations."
+
+  [33] Sansovino.
+
+  [34] English, "Malmsey." The reader will find a most amusing account
+    of the negotiations between the English and Venetians, touching the
+    supply of London with this wine, in Mr. Brown's translation of the
+    Giustiniani papers. See Appendix IX.
+
+  [35] "XV. diebus et octo diebus ante festum Mariarum omni
+    anno."--_Galliciolli._ The same precautions were taken before the
+    feast of the Ascension.
+
+  [36] Casa Vittura.
+
+  [37] The keystone of the arch on its western side, facing the canal.
+
+  [38] The inscriptions are as follows:
+
+    To the left of the reader.
+
+      "VINCENTIUS CAPELLUS MARITIMARUM
+       RERUM PERITISSIMUS ET ANTIQUORUM
+       LAUDIBUS PAR, TRIREMIUM ONERARIA
+       RUM PRAEFECTUS, AB HENRICO VII. BRI
+       TANNIAE REGE INSIGNE DONATUS CLAS
+       SIS LEGATUS V. IMP. DESIG. TER CLAS
+       SEM DEDUXIT, COLLAPSAM NAVALEM DIS
+       CIPLINAM RESTITUIT, AD ZACXINTHUM
+       AURIAE CAESARIS LEGATO PRISCAM
+       VENETAM VIRTUTEM OSTENDIT."
+
+    To the right of the reader.
+
+      "IN AMBRACIO SINU BARBARUSSUM OTTHO
+       MANICAE CLASSIS DUCEM INCLUSIT
+       POSTRIDIE AD INTERNITIONEM DELETU
+       RUS NISI FATA CHRISTIANIS ADVERSA
+       VETUISSENT. IN RYZONICO SINU CASTRO NOVO
+       EXPUGNATO DIVI MARCI PROCUR
+       UNIVERSO REIP CONSENSU CREATUS
+       IN PATRIA MORITUR TOTIUS CIVITATIS
+       MOERORE, ANNO AETATIS LXXIV. MDCXLII. XIV. KAL SEPT."
+
+  [39] The Love of God is, however, always shown by the predominance,
+    or greater sum, of good, in the end; but never by the annihilation
+    of evil. The modern doubts of eternal punishment are not so much the
+    consequence of benevolence as of feeble powers of reasoning. Every
+    one admits that God brings finite good out of finite evil. Why not,
+    therefore, infinite good out of infinite evil?
+
+  [40] Let the reader examine, with special reference to this subject,
+    the general character of the language of Iago.
+
+  [41] This opposition of art to inspiration is long and gracefully
+    dwelt upon by Plato, in his "Phaedrus," using, in the course of his
+    argument, almost the words of St Paul: [Greek: kallion marturousin
+    oi palaioi manian sophrosynes ten ek Theou tes par anthropon
+    gignomenes]: "It is the testimony of the ancients, that _the madness
+    which is of God is a nobler thing than the wisdom which is of men_;"
+    and again, "He who sets himself to any work with which the Muses
+    have to do," (i. e. to any of the fine arts,) "without madness,
+    thinking that by art alone he can do his work sufficiently, will be
+    found vain and incapable, and the work of temperance and rationalism
+    will be thrust aside and obscured by that of inspiration." The
+    passages to the same effect, relating especially to poetry, are
+    innumerable in nearly all ancient writers; but in this of Plato, the
+    entire compass of the fine arts is intended to be embraced.
+
+    No one acquainted with other parts of my writings will suppose me to
+    be an advocate of idle trust in the imagination. But it is in these
+    days just as necessary to allege the supremacy of genius as the
+    necessity of labor; for there never was, perhaps, a period in which
+    the peculiar gift of the painter was so little discerned, in which
+    so many and so vain efforts have been made to replace it by study
+    and toil. This has been peculiarly the case with the German school,
+    and there are few exhibitions of human error more pitiable than the
+    manner in which the inferior members of it, men originally and for
+    ever destitute of the painting faculty, force themselves into an
+    unnatural, encumbered, learned fructification of tasteless fruit,
+    and pass laborious lives in setting obscurely and weakly upon canvas
+    the philosophy, if such it be, which ten minutes' work of a strong
+    man would have put into healthy practice, or plain words. I know not
+    anything more melancholy than the sight of the huge German cartoon,
+    with its objective side, and subjective side; and mythological
+    division, and symbolical division, and human and Divine division;
+    its allegorical sense, and literal sense; and ideal point of view,
+    and intellectual point of view; its heroism of well-made armor and
+    knitted brows; its heroinism of graceful attitude and braided hair;
+    its inwoven web of sentiment, and piety, and philosophy, and
+    anatomy, and history, all profound: and twenty innocent dashes of
+    the hand of one God-made painter, poor old Bassan or Bonifazio, were
+    worth it all, and worth it ten thousand times over.
+
+    Not that the sentiment or the philosophy is base in itself. They
+    will make a good man, but they will not make a good painter,--no,
+    nor the millionth part of a painter. They would have been good in
+    the work and words of daily life; but they are good for nothing in
+    the cartoon, if they are there alone. And the worst result of the
+    system is the intense conceit into which it cultivates a weak mind.
+    Nothing is so hopeless, so intolerable, as the pride of a foolish
+    man who has passed through a process of thinking, so as actually to
+    have found something out. He believes there is nothing else to be
+    found out in the universe. Whereas the truly great man, on whom the
+    Revelations rain till they bear him to the earth with their weight,
+    lays his head in the dust, and speaks thence--often in broken
+    syllables. Vanity is indeed a very equally divided inheritance among
+    mankind; but I think that among the first persons, no emphasis is
+    altogether so strong as that on the German _Ich_. I was once
+    introduced to a German philosopher-painter before Tintoret's
+    "Massacre of the Innocents." He looked at it superciliously, and
+    said it "wanted to be restored." He had been himself several years
+    employed in painting a "Faust" in a red jerkin and blue fire; which
+    made Tintoret appear somewhat dull to him.
+
+  [42] I have before stated ("Modern Painters" vol. ii.) that the
+    first function of the imagination is the apprehension of ultimate
+    truth.
+
+  [43] Note especially, in connexion with what was advanced in Vol. II.
+    respecting our English neatness of execution, how the base workman
+    has cut the lines of the architecture neatly and precisely round the
+    abominable head: but the noble workman has used his chisel like a
+    painter's pencil, and sketched the glory with a few irregular lines,
+    anything rather than circular; and struck out the whole head in the
+    same frank and fearless way, leaving the sharp edges of the stone as
+    they first broke, and flinging back the crest of hair from the
+    forehead with half a dozen hammer-strokes, while the poor wretch who
+    did the other was half a day in smoothing its vapid and vermicular
+    curls.
+
+  [44] The decree is quoted by Mutinelli, lib. i. p. 46.
+
+  [45] See Appendix 9.
+
+
+
+
+CHAPTER IV.
+
+CONCLUSION.
+
+
+Sec. I. I fear this chapter will be a rambling one, for it must be a kind
+of supplement to the preceding pages, and a general recapitulation of
+the things I have too imperfectly and feebly said.
+
+The grotesques of the seventeenth and eighteenth centuries, the nature
+of which we examined in the last chapter, close the career of the
+architecture of Europe. They were the last evidences of any feeling
+consistent with itself, and capable of directing the efforts of the
+builder to the formation of anything worthy the name of a style or
+school. From that time to this, no resuscitation of energy has taken
+place, nor does any for the present appear possible. How long this
+impossibility may last, and in what direction with regard to art in
+general, as well as to our lifeless architecture, our immediate efforts
+may most profitably be directed, are the questions I would endeavor
+briefly to consider in the present chapter.
+
+Sec. II. That modern science, with all its additions to the comforts
+of life, and to the fields of rational contemplation, has placed the
+existing races of mankind on a higher platform than any that preceded
+them, none can doubt for an instant; and I believe the position in which
+we find ourselves is somewhat analogous to that of thoughtful and
+laborious youth succeeding a restless and heedless infancy. Not long
+ago, it was said to me by one of the masters of modern science: "When
+men invented the locomotive, the child was learning to go; when they
+invented the telegraph, it was learning to speak." He looked forward to
+the manhood of mankind, as assuredly the nobler in proportion to the
+slowness of its developement. What might not be expected from the prime
+and middle strength of the order of existence whose infancy had lasted
+six thousand years? And, indeed, I think this the truest, as well as the
+most cheering, view that we can take of the world's history. Little
+progress has been made as yet. Base war, lying policy, thoughtless
+cruelty, senseless improvidence,--all things which, in nations, are
+analogous to the petulance, cunning, impatience, and carelessness of
+infancy,--have been, up to this hour, as characteristic of mankind as
+they were in the earliest periods; so that we must either be driven to
+doubt of human progress at all, or look upon it as in its very earliest
+stage. Whether the opportunity is to be permitted us to redeem the hours
+that we have lost; whether He, in whose sight a thousand years are as
+one day, has appointed us to be tried by the continued possession of the
+strange powers with which He has lately endowed us; or whether the
+periods of childhood and of probation are to cease together, and the
+youth of mankind is to be one which shall prevail over death, and bloom
+for ever in the midst of a new heaven and a new earth, are questions
+with which we have no concern. It is indeed right that we should look
+for, and hasten, so far as in us lies, the coming of the Day of God; but
+not that we should check any human efforts by anticipations of its
+approach. We shall hasten it best by endeavoring to work out the tasks
+that are appointed for us here; and, therefore, reasoning as if the
+world were to continue under its existing dispensation, and the powers
+which have just been granted to us were to be continued through myriads
+of future ages.
+
+Sec. III. It seems to me, then, that the whole human race, so far as their
+own reason can be trusted, may at present be regarded as just emergent
+from childhood; and beginning for the first time to feel their strength,
+to stretch their limbs, and explore the creation around them. If we
+consider that, till within the last fifty years, the nature of the
+ground we tread on, of the air we breathe, and of the light by which we
+see, were not so much as conjecturally conceived by us; that the
+duration of the globe, and the races of animal life by which it was
+inhabited, are just beginning to be apprehended; and that the scope of
+the magnificent science which has revealed them, is as yet so little
+received by the public mind, that presumption and ignorance are still
+permitted to raise their voices against it unrebuked; that perfect
+veracity in the representation of general nature by art has never been
+attempted until the present day, and has in the present day been
+resisted with all the energy of the popular voice;[46] that the simplest
+problems of social science are yet so little understood, as that
+doctrines of liberty and equality can be openly preached, and so
+successfully as to affect the whole body of the civilized world with
+apparently incurable disease; that the first principles of commerce were
+acknowledged by the English Parliament only a few months ago, in its
+free trade measures, and are still so little understood by the million,
+that no nation dares to abolish its custom-houses;[47] that the simplest
+principles of policy are still not so much as stated, far less received,
+and that civilized nations persist in the belief that the subtlety and
+dishonesty which they know to be ruinous in dealings between man and
+man, are serviceable in dealings between multitude and multitude;
+finally, that the scope of the Christian religion, which we have been
+taught for two thousand years, is still so little conceived by us, that
+we suppose the laws of charity and of self-sacrifice bear upon
+individuals in all their social relations, and yet do not bear upon
+nations in any of their political relations;--when, I say, we thus
+review the depth of simplicity in which the human race are still
+plunged with respect to all that it most profoundly concerns them to
+know, and which might, by them, with most ease have been ascertained, we
+can hardly determine how far back on the narrow path of human progress
+we ought to place the generation to which we belong, how far the
+swaddling clothes are unwound from us, and childish things beginning to
+be put away.
+
+On the other hand, a power of obtaining veracity in the representation
+of material and tangible things, which, within certain limits and
+conditions, is unimpeachable, has now been placed in the hands of all
+men,[48] almost without labor. The foundation of every natural science
+is now at last firmly laid, not a day passing without some addition of
+buttress and pinnacle to their already magnificent fabric. Social
+theorems, if fiercely agitated, are therefore the more likely to be at
+last determined, so that they never can be matters of question more.
+Human life has been in some sense prolonged by the increased powers of
+locomotion, and an almost limitless power of converse. Finally, there is
+hardly any serious mind in Europe but is occupied, more or less, in the
+investigation of the questions which have so long paralyzed the strength
+of religious feeling, and shortened the dominion of religious faith. And
+we may therefore at least look upon ourselves as so far in a definite
+state of progress, as to justify our caution in guarding against the
+dangers incident to every period of change, and especially to that from
+childhood into youth.
+
+Sec. IV. Those dangers appear, in the main, to be twofold; consisting
+partly in the pride of vain knowledge, partly in the pursuit of vain
+pleasure. A few points are still to be noticed with respect to each of
+these heads.
+
+Enough, it might be thought, had been said already, touching the pride
+of knowledge; but I have not yet applied the principles, at which we
+arrived in the third chapter, to the practical questions of modern art.
+And I think those principles, together with what were deduced from the
+consideration of the nature of Gothic in the second volume, so necessary
+and vital, not only with respect to the progress of art, but even to the
+happiness of society, that I will rather run the risk of tediousness
+than of deficiency, in their illustration and enforcement.
+
+In examining the nature of Gothic, we concluded that one of the chief
+elements of power in that, and in _all good_ architecture, was the
+acceptance of uncultivated and rude energy in the workman. In examining
+the nature of Renaissance, we concluded that its chief element of
+weakness was that pride of knowledge which not only prevented all
+rudeness in expression, but gradually quenched all energy which could
+only be rudely expressed; nor only so, but, for the motive and matter of
+the work itself, preferred science to emotion, and experience to
+perception.
+
+Sec. V. The modern mind differs from the Renaissance mind in that its
+learning is more substantial and extended, and its temper more humble;
+but its errors, with respect to the cultivation of art, are precisely
+the same,--nay, as far as regards execution, even more aggravated. We
+require, at present, from our general workmen, more perfect finish than
+was demanded in the most skilful Renaissance periods, except in their
+very finest productions; and our leading principles in teaching, and in
+the patronage which necessarily gives tone to teaching, are, that the
+goodness of work consists primarily in firmness of handling and accuracy
+of science, that is to say, in hand-work and head-work; whereas
+heart-work, which is the _one_ work we want, is not only independent of
+both, but often, in great degree, inconsistent with either.
+
+Sec. VI. Here, therefore, let me finally and firmly enunciate the
+great principle to which all that has hitherto been stated is
+subservient:--that art is valuable or otherwise, only as it expresses
+the personality, activity, and living perception of a good and great
+human soul; that it may express and contain this with little help from
+execution, and less from science; and that if it have not this, if it
+show not the vigor, perception, and invention of a mighty human spirit,
+it is worthless. Worthless, I mean, as _art_; it may be precious in some
+other way, but, as art, it is nugatory. Once let this be well understood
+among us, and magnificent consequences will soon follow. Let me repeat
+it in other terms, so that I may not be misunderstood. All art is great,
+and good, and true, only so far as it is distinctively the work of
+_manhood_ in its entire and highest sense; that is to say, not the work
+of limbs and fingers, but of the soul, aided, according to her
+necessities, by the inferior powers; and therefore distinguished in
+essence from all products of those inferior powers unhelped by the soul.
+For as a photograph is not a work of art, though it requires certain
+delicate manipulations of paper and acid, and subtle calculations of
+time, in order to bring out a good result; so, neither would a drawing
+_like_ a photograph, made directly from nature, be a work of art,
+although it would imply many delicate manipulations of the pencil and
+subtle calculations of effects of color and shade. It is no more art[49]
+to manipulate a camel's hair pencil, than to manipulate a china tray and
+a glass vial. It is no more art to lay on color delicately, than to lay
+on acid delicately. It is no more art to use the cornea and retina for
+the reception of an image, than to use a lens and a piece of silvered
+paper. But the moment that inner part of the man, or rather that entire
+and only being of the man, of which cornea and retina, fingers and
+hands, pencils and colors, are all the mere servants and
+instruments;[50] that manhood which has light in itself, though the
+eyeball be sightless, and can gain in strength when the hand and the
+foot are hewn off and cast into the fire; the moment this part of the
+man stands forth with its solemn "Behold, it is I," then the work
+becomes art indeed, perfect in honor, priceless in value, boundless in
+power.
+
+Sec. VII. Yet observe, I do not mean to speak of the body and soul as
+separable. The man is made up of both: they are to be raised and
+glorified together, and all art is an expression of the one, by and
+through the other. All that I would insist upon is, the necessity of the
+whole man being in his work; the body _must_ be in it. Hands and habits
+must be in it, whether we will or not; but the nobler part of the man
+may often not be in it. And that nobler part acts principally in love,
+reverence, and admiration, together with those conditions of thought
+which arise out of them. For we usually fall into much error by
+considering the intellectual powers as having dignity in themselves, and
+separable from the heart; whereas the truth is, that the intellect
+becomes noble and ignoble according to the food we give it, and the kind
+of subjects with which it is conversant. It is not the reasoning power
+which, of itself, is noble, but the reasoning power occupied with its
+proper objects. Half of the mistakes of metaphysicians have arisen from
+their not observing this; namely, that the intellect, going through the
+same processes, is yet mean or noble according to the matter it deals
+with, and wastes itself away in mere rotatory motion, if it be set to
+grind straws and dust. If we reason only respecting words, or lines, or
+any trifling and finite things, the reason becomes a contemptible
+faculty; but reason employed on holy and infinite things, becomes
+herself holy and infinite. So that, by work of the soul, I mean the
+reader always to understand the work of the entire immortal creature,
+proceeding from a quick, perceptive, and eager heart, perfected by the
+intellect, and finally dealt with by the hands, under the direct
+guidance of these higher powers.
+
+Sec. VIII. And now observe, the first important consequence of our
+fully understanding this preeminence of the soul, will be the due
+understanding of that subordination of knowledge respecting which so
+much has already been said. For it must be felt at once, that the
+increase of knowledge, merely as such, does not make the soul larger or
+smaller; that, in the sight of God, all the knowledge man can gain is as
+nothing: but that the soul, for which the great scheme of redemption was
+laid, be it ignorant or be it wise, is all in all; and in the activity,
+strength, health, and well-being of this soul, lies the main difference,
+in His sight, between one man and another. And that which is all in all
+in God's estimate is also, be assured, all in all in man's labor; and to
+have the heart open, and the eyes clear, and the emotions and thoughts
+warm and quick, and not the knowing of this or the other fact, is the
+state needed for all mighty doing in this world. And therefore finally,
+for this, the weightiest of all reasons, let us take no pride in our
+knowledge. We may, in a certain sense, be proud of being immortal; we
+may be proud of being God's children; we may be proud of loving,
+thinking, seeing, and of all that we are by no human teaching: but not
+of what we have been taught by rote; not of the ballast and freight of
+the ship of the spirit, but only of its pilotage, without which all the
+freight will only sink it faster, and strew the sea more richly with
+its ruin. There is not at this moment a youth of twenty, having received
+what we moderns ridiculously call education, but he knows more of
+everything, except the soul, than Plato or St. Paul did; but he is not
+for that reason a greater man, or fitter for his work, or more fit to be
+heard by others, than Plato or St. Paul. There is not at this moment a
+junior student in our schools of painting, who does not know fifty times
+as much about the art as Giotto did; but he is not for that reason
+greater than Giotto; no, nor his work better, nor fitter for our
+beholding. Let him go on to know all that the human intellect can
+discover and contain in the term of a long life, and he will not be one
+inch, one line, nearer to Giotto's feet. But let him leave his academy
+benches, and, innocently, as one knowing nothing, go out into the
+highways and hedges, and there rejoice with them that rejoice, and weep
+with them that weep; and in the next world, among the companies of the
+great and good, Giotto will give his hand to him, and lead him into
+their white circle, and say, "This is our brother."
+
+Sec. IX. And the second important consequence of our feeling the soul's
+preeminence will be our understanding the soul's language, however
+broken, or low, or feeble, or obscure in its words; and chiefly that
+great symbolic language of past ages, which has now so long been
+unspoken. It is strange that the same cold and formal spirit which the
+Renaissance teaching has raised amongst us, should be equally dead to
+the languages of imitation and of symbolism; and should at once disdain
+the faithful rendering of real nature by the modern school of the
+Pre-Raphaelites, and the symbolic rendering of imagined nature in the
+work of the thirteenth century. But so it is; and we find the same body
+of modern artists rejecting Pre-Raphaelitism because it is not ideal!
+and thirteenth century work, because it is not real!--their own practice
+being at once false and un-ideal, and therefore equally opposed to both.
+
+Sec. X. It is therefore, at this juncture, of much importance to mark
+for the reader the exact relation of healthy symbolism and of healthy
+imitation; and, in order to do so, let us return to one of our Venetian
+examples of symbolic art, to the central cupola of St. Mark's. On that
+cupola, as has been already stated, there is a mosaic representing the
+Apostles on the Mount of Olives, with an olive-tree separating each from
+the other; and we shall easily arrive at our purpose, by comparing the
+means which would have been adopted by a modern artist bred in the
+Renaissance schools,--that is to say, under the influence of Claude and
+Poussin, and of the common teaching of the present day,--with those
+adopted by the Byzantine mosaicist to express the nature of these trees.
+
+Sec. XI. The reader is doubtless aware that the olive is one of the most
+characteristic and beautiful features of all Southern scenery. On the
+slopes of the northern Apennines, olives are the usual forest timber;
+the whole of the Val d'Arno is wooded with them, every one of its
+gardens is filled with them, and they grow in orchard-like ranks out of
+its fields of maize, or corn, or vine; so that it is physically
+impossible, in most parts of the neighborhood of Florence, Pistoja,
+Lucca, or Pisa, to choose any site of landscape which shall not owe its
+leading character to the foliage of these trees. What the elm and oak
+are to England, the olive is to Italy; nay, more than this, its presence
+is so constant, that, in the case of at least four fifths of the
+drawings made by any artist in North Italy, he must have been somewhat
+impeded by branches of olive coming between him and the landscape. Its
+classical associations double its importance in Greece; and in the Holy
+Land the remembrances connected with it are of course more touching than
+can ever belong to any other tree of the field. Now, for many years
+back, at least one third out of all the landscapes painted by English
+artists have been chosen from Italian scenery; sketches in Greece and in
+the Holy Land have become as common as sketches on Hampstead Heath; our
+galleries also are full of sacred subjects, in which, if any background
+be introduced at all, the foliage of the olive ought to have been a
+prominent feature.
+
+And here I challenge the untravelled English reader to tell me what an
+olive-tree is like?
+
+Sec. XII. I know he cannot answer my challenge. He has no more idea of an
+olive-tree than if olives grew only in the fixed stars. Let him meditate
+a little on this one fact, and consider its strangeness, and what a
+wilful and constant closing of the eyes to the most important truths it
+indicates on the part of the modern artist. Observe, a want of
+perception, not of science. I do not want painters to tell me any
+scientific facts about olive-trees. But it had been well for them to
+have felt and seen the olive-tree; to have loved it for Christ's sake,
+partly also for the helmed Wisdom's sake which was to the heathen in
+some sort as that nobler Wisdom which stood at God's right hand, when He
+founded the earth and established the heavens. To have loved it, even to
+the hoary dimness of its delicate foliage, subdued and faint of hue, as
+if the ashes of the Gethsemane agony had been cast upon it for ever; and
+to have traced, line by line, the gnarled writhing of its intricate
+branches, and the pointed fretwork of its light and narrow leaves,
+inlaid on the blue field of the sky, and the small rosy-white stars of
+its spring blossoming, and the beads of sable fruit scattered by autumn
+along its topmost boughs--the right, in Israel, of the stranger, the
+fatherless, and the widow,--and, more than all, the softness of the
+mantle, silver grey, and tender like the down on a bird's breast, with
+which, far away, it veils the undulation of the mountains;--these it had
+been well for them to have seen and drawn, whatever they had left
+unstudied in the gallery.
+
+Sec. XIII. And if the reader would know the reason why this has not been
+done (it is one instance only out of the myriads which might be given of
+sightlessness in modern art), and will ask the artists themselves, he
+will be informed of another of the marvellous contradictions and
+inconsistencies in the base Renaissance art; for it will be answered
+him, that it is not right, nor according to law, to draw trees so that
+one should be known from another, but that trees ought to be generalized
+into a universal idea of a tree: that is to say, that the very school
+which carries its science in the representation of man down to the
+dissection of the most minute muscle, refuses so much science to the
+drawing of a tree as shall distinguish one species from another; and
+also, while it attends to logic, and rhetoric, and perspective, and
+atmosphere, and every other circumstance which is trivial, verbal,
+external, or accidental, in what it either says or sees, it will _not_
+attend to what is essential and substantial,--being intensely
+solicitous, for instance, if it draws two trees, one behind the other,
+that the farthest off shall be as much smaller as mathematics show that
+it should be, but totally unsolicitous to show, what to the spectator is
+a far more important matter, whether it is an apple or an orange tree.
+
+Sec. XIV. This, however, is not to our immediate purpose. Let it be
+granted that an idea of an olive-tree is indeed to be given us in a
+special manner; how, and by what language, this idea is to be conveyed,
+are questions on which we shall find the world of artists again divided;
+and it was this division which I wished especially to illustrate by
+reference to the mosaics of St. Mark's.
+
+Now the main characteristics of an olive-tree are these. It has sharp
+and slender leaves of a greyish green, nearly grey on the under surface,
+and resembling, but somewhat smaller than, those of our common willow.
+Its fruit, when ripe, is black and lustrous; but of course so small,
+that, unless in great quantity, it is not conspicuous upon the tree. Its
+trunk and branches are peculiarly fantastic in their twisting, showing
+their fibres at every turn; and the trunk is often hollow, and even rent
+into many divisions like separate stems, but the extremities are
+exquisitely graceful, especially in the setting on of the leaves; and
+the notable and characteristic effect of the tree in the distance is of
+a rounded and soft mass or ball of downy foliage.
+
+Sec. XV. Supposing a modern artist to address himself to the rendering
+of this tree with his best skill: he will probably draw accurately the
+twisting of the branches, but yet this will hardly distinguish the tree
+from an oak: he will also render the color and intricacy of the foliage,
+but this will only confuse the idea of an oak with that of a willow. The
+fruit, and the peculiar grace of the leaves at the extremities, and the
+fibrous structure of the stems, will all be too minute to be rendered
+consistently with his artistical feeling of breadth, or with the amount
+of labor which he considers it dexterous and legitimate to bestow upon
+the work: but, above all, the rounded and monotonous form of the head of
+the tree will be at variance with his ideas of "composition;" he will
+assuredly disguise or break it, and the main points of the olive-tree
+will all at last remain untold.
+
+Sec. XVI. Now observe, the old Byzantine mosaicist begins his work at
+enormous disadvantage. It is to be some one hundred and fifty feet above
+the eye, in a dark cupola; executed not with free touches of the pencil,
+but with square pieces of glass; not by his own hand, but by various
+workmen under his superintendence; finally, not with a principal purpose
+of drawing olive-trees, but mainly as a decoration of the cupola. There
+is to be an olive-tree beside each apostle, and their stems are to be
+the chief lines which divide the dome. He therefore at once gives up the
+irregular twisting of the boughs hither and thither, but he will not
+give up their fibres. Other trees have irregular and fantastic branches,
+but the knitted cordage of fibres is the olive's own. Again, were he to
+draw the leaves of their natural size, they would be so small that their
+forms would be invisible in the darkness; and were he to draw them so
+large as that their shape might be seen, they would look like laurel
+instead of olive. So he arranges them in small clusters of five each,
+nearly of the shape which the Byzantines give to the petals of the lily,
+but elongated so as to give the idea of leafage upon a spray; and these
+clusters,--his object always, be it remembered, being _decoration_ not
+less than _representation_,--he arranges symmetrically on each side of
+his branches, laying the whole on a dark ground most truly suggestive of
+the heavy rounded mass of the tree, which, in its turn, is relieved
+against the gold of the cupola. Lastly, comes the question respecting
+the fruit. The whole power and honor of the olive is in its fruit; and,
+unless that be represented, nothing is represented. But if the berries
+were colored black or green, they would be totally invisible; if of
+any other color, utterly unnatural, and violence would be done to the
+whole conception. There is but one conceivable means of showing them,
+namely to represent them as golden. For the idea of golden fruit of
+various kinds was already familiar to the mind, as in the apples of the
+Hesperides, without any violence to the distinctive conception of the
+fruit itself.[51] So the mosaicist introduced small round golden berries
+into the dark ground between each leaf, and his work was done.
+
+[Illustration: Plate IV.
+               Mosaics of Olive-tree and Flowers.]
+
+Sec. XVII. On the opposite plate, the uppermost figure on the left is a
+tolerably faithful representation of the general effect of one of these
+decorative olive-trees; the figure on the right is the head of the tree
+alone, showing the leaf clusters, berries, and _interlacing_ of the
+boughs as they leave the stem. Each bough is connected with a separate
+line of fibre in the trunk, and the junctions of the arms and stem are
+indicated, down to the very root of the tree, with a truth in structure
+which may well put to shame the tree anatomy of modern times.
+
+Sec. XVIII. The white branching figures upon the serpentine band below are
+two of the clusters of flowers which form the foreground of a mosaic in
+the atrium. I have printed the whole plate in blue, because that color
+approaches more nearly than black to the distant effect of the mosaics,
+of which the darker portions are generally composed of blue, in greater
+quantity than any other color. But the waved background in this
+instance, is of various shades of blue and green alternately, with one
+narrow black band to give it force; the whole being intended to
+represent the distant effect and color of deep grass, and the wavy line
+to _express its bending motion_, just as the same symbol is used to
+represent the waves of water. Then the two white clusters are
+representative of the distinctly visible herbage close to the
+spectator, having buds and flowers of two kinds, springing in one case
+out of the midst of twisted grass, and in the other out of their own
+proper leaves; the clusters being kept each so distinctly symmetrical,
+as to form, when set side by side, an ornamental border of perfect
+architectural severity; and yet each cluster different from the next,
+and every flower, and bud, and knot of grass, varied in form and
+thought. The way the mosaic tesserae are arranged, so as to give the
+writhing of the grass blades round the stalks of the flowers, is
+exceedingly fine.
+
+The tree circles below are examples of still more severely conventional
+forms, adopted, on principle, when the decoration is to be in white and
+gold, instead of color; these ornaments being cut in white marble on the
+outside of the church, and the ground laid in with gold, though
+necessarily here represented, like the rest of the plate, in blue. And
+it is exceedingly interesting to see how the noble workman, the moment
+he is restricted to more conventional materials, retires into more
+conventional forms, and reduces his various leafage into symmetry, now
+nearly perfect; yet observe, in the central figure, where the symbolic
+meaning of the vegetation beside the cross required it to be more
+distinctly indicated, he has given it life and growth by throwing it
+into unequal curves on the opposite sides.
+
+Sec. XIX. I believe the reader will now see, that in these mosaics, which
+the careless traveller is in the habit of passing by with contempt,
+there is a depth of feeling and of meaning greater than in most of the
+best sketches from nature of modern times; and, without entering into
+any question whether these conventional representations are as good as,
+under the required limitations, it was possible to render them, they are
+at all events good enough completely to illustrate that mode of
+symbolical expression which appeals altogether to thought, and in no
+wise trusts to realization. And little as, in the present state of our
+schools, such an assertion is likely to be believed, the fact is that
+this kind of expression is the _only one allowable in noble art_.
+
+Sec. XX. I pray the reader to have patience with me for a few moments. I
+do not mean that no art is noble but Byzantine mosaic; but no art is noble
+which in any wise depends upon direct imitation for its effect upon the
+mind. This was asserted in the opening chapters of "Modern Painters,"
+but not upon the highest grounds; the results at which we have now
+arrived in our investigation of early art, will enable me to place it on
+a loftier and firmer foundation.
+
+Sec. XXI. We have just seen that all great art is the work of the whole
+living creature, body and soul, and chiefly of the soul. But it is not
+only _the work_ of the whole creature, it likewise _addresses_ the whole
+creature. That in which the perfect being speaks, must also have the
+perfect being to listen. I am not to spend my utmost spirit, and give
+all my strength and life to my work, while you, spectator or hearer,
+will give me only the attention of half your soul. You must be all mine,
+as I am all yours; it is the only condition on which we can meet each
+other. All your faculties, all that is in you of greatest and best, must
+be awake in you, or I have no reward. The painter is not to cast the
+entire treasure of his human nature into his labor, merely to please a
+part of the beholder: not merely to delight his senses, not merely to
+amuse his fancy, not merely to beguile him into emotion, not merely to
+lead him into thought, but to do _all_ this. Senses, fancy, feeling,
+reason, the whole of the beholding spirit, must be stilled in attention
+or stirred with delight; else the laboring spirit has not done its work
+well. For observe, it is not merely its _right_ to be thus met, face to
+face, heart to heart; but it is its _duty_ to evoke its answering of the
+other soul; its trumpet call must be so clear, that though the challenge
+may by dulness or indolence be unanswered, there shall be no error as to
+the meaning of the appeal; there must be a summons in the work, which it
+shall be our own fault if we do not obey. We require this of it, we
+beseech this of it. Most men do not know what is in them, till they
+receive this summons from their fellows: their hearts die within them,
+sleep settles upon them, the lethargy of the world's miasmata; there is
+nothing for which they are so thankful as for that cry, "Awake, thou
+that sleepest." And this cry must be most loudly uttered to their
+noblest faculties; first of all to the imagination, for that is the most
+tender, and the soonest struck into numbness by the poisoned air; so
+that one of the main functions of art in its service to man, is to
+arouse the imagination from its palsy, like the angel troubling the
+Bethesda pool; and the art which does not do this is false to its duty,
+and degraded in its nature. It is not enough that it be well imagined,
+it must task the beholder also to imagine well; and this so
+imperatively, that if he does not choose to rouse himself to meet the
+work, he shall not taste it, nor enjoy it in any wise. Once that he is
+well awake, the guidance which the artist gives him should be full and
+authoritative: the beholder's imagination must not be suffered to take
+its own way, or wander hither and thither; but neither must it be left
+at rest; and the right point of realization, for any given work of art,
+is that which will enable the spectator to complete it for himself, in
+the exact way the artist would have him, but not that which will save
+him the trouble of effecting the completion. So soon as the idea is
+entirely conveyed, the artist's labor should cease; and every touch
+which he adds beyond the point when, with the help of the beholder's
+imagination, the story ought to have been told, is a degradation to his
+work. So that the art is wrong, which either realizes its subject
+completely, or fails in giving such definite aid as shall enable it to
+be realized by the beholding imagination.
+
+Sec. XXII. It follows, therefore, that the quantity of finish or detail
+which may rightly be bestowed upon any work, depends on the number and
+kind of ideas which the artist wishes to convey, much more than on the
+amount of realization necessary to enable the imagination to grasp them.
+It is true that the differences of judgment formed by one or another
+observer are in great degree dependent on their unequal imaginative
+powers, as well as their unequal efforts in following the artist's
+intention; and it constantly happens that the drawing which appears
+clear to the painter in whose mind the thought is formed, is slightly
+inadequate to suggest it to the spectator. These causes of false
+judgment, or imperfect achievement, must always exist, but they are of
+no importance. For, in nearly every mind, the imaginative power, however
+unable to act independently, is so easily helped and so brightly
+animated by the most obscure suggestion, that there is no form of
+artistical language which will not readily be seized by it, if once it
+set itself intelligently to the task; and even without such effort there
+are few hieroglyphics of which, once understanding that it is to take
+them as hieroglyphics, it cannot make itself a pleasant picture.
+
+Sec. XXIII. Thus, in the case of all sketches, etchings, unfinished
+engravings, &c., no one ever supposes them to be imitations. Black
+outlines on white paper cannot produce a deceptive resemblance of
+anything; and the mind, understanding at once that it is to depend on
+its own powers for great part of its pleasure, sets itself so actively
+to the task that it can completely enjoy the rudest outline in which
+meaning exists. Now, when it is once in this temper, the artist is
+infinitely to be blamed who insults it by putting anything into his work
+which is not suggestive: having summoned the imaginative power, he must
+turn it to account and keep it employed, or it will run against him in
+indignation. Whatever he does merely to realize and substantiate an idea
+is impertinent; he is like a dull story-teller, dwelling on points which
+the hearer anticipates or disregards. The imagination will say to him:
+"I knew all that before; I don't want to be told that. Go on; or be
+silent, and let me go on in my own way. I can tell the story better than
+you."
+
+Observe, then, whenever finish is given for the sake of realization, it
+is wrong; whenever it is given for the sake of adding ideas it is right.
+All true finish consists in the addition of ideas, that is to say, in
+giving the imagination more food; for once well awaked, it is ravenous
+for food: but the painter who finishes in order to substantiate takes
+the food out of its mouth, and it will turn and rend him.
+
+Sec. XXIV. Let us go back, for instance, to our olive grove,--or, lest the
+reader should be tired of olives, let it be an oak copse,--and consider
+the difference between the substantiating and the imaginative methods of
+finish in such a subject. A few strokes of the pencil, or dashes of
+color, will be enough to enable the imagination to conceive a tree; and
+in those dashes of color Sir Joshua Reynolds would have rested, and
+would have suffered the imagination to paint what more it liked for
+itself, and grow oaks, or olives, or apples, out of the few dashes of
+color at its leisure. On the other hand, Hobbima, one of the worst of
+the realists, smites the imagination on the mouth, and bids it be
+silent, while he sets to work to paint his oak of the right green, and
+fill up its foliage laboriously with jagged touches, and furrow the bark
+all over its branches, so as, if possible, to deceive us into supposing
+that we are looking at a real oak; which, indeed, we had much better do
+at once, without giving any one the trouble to deceive us in the matter.
+
+Sec. XXV. Now, the truly great artist neither leaves the imagination to
+itself, like Sir Joshua, nor insults it by realization, like Hobbima,
+but finds it continual employment of the happiest kind. Having summoned
+it by his vigorous first touches, he says to it: "Here is a tree for
+you, and it is to be an oak. Now I know that you can make it green and
+intricate for yourself, but that is not enough: an oak is not only green
+and intricate, but its leaves have most beautiful and fantastic forms
+which I am very sure you are not quite able to complete without help; so
+I will draw a cluster or two perfectly for you, and then you can go on
+and do all the other clusters. So far so good: but the leaves are not
+enough; the oak is to be full of acorns, and you may not be quite able
+to imagine the way they grow, nor the pretty contrast of their glossy
+almond-shaped nuts with the chasing of their cups; so I will draw a
+bunch or two of acorns for you, and you can fill up the oak with others
+like them. Good: but that is not enough; it is to be a bright day in
+summer, and all the outside leaves are to be glittering in the sunshine
+as if their edges were of gold: I cannot paint this, but you can; so I
+will really gild some of the edges nearest you,[52] and you can turn
+the gold into sunshine, and cover the tree with it. Well done: but still
+this is not enough; the tree is so full foliaged and so old that the
+wood birds come in crowds to build there; they are singing, two or three
+under the shadow of every bough. I cannot show you them all; but here is
+a large one on the outside spray, and you can fancy the others inside."
+
+Sec. XXVI. In this way the calls upon the imagination are multiplied as
+a great painter finishes; and from these larger incidents he may proceed
+into the most minute particulars, and lead the companion imagination to
+the veins in the leaves and the mosses on the trunk, and the shadows of
+the dead leaves upon the grass, but always multiplying thoughts, or
+subjects of thought, never working for the sake of realization; the
+amount of realization actually reached depending on his space, his
+materials, and the nature of the thoughts he wishes to suggest. In the
+sculpture of an oak-tree, introduced above an Adoration of the Magi on
+the tomb of the Doge Marco Dolfino (fourteenth century), the sculptor
+has been content with a few leaves, a single acorn, and a bird; while,
+on the other hand, Millais' willow-tree with the robin, in the
+background of his "Ophelia," or the foreground of Hunt's "Two Gentlemen
+of Verona," carries the appeal to the imagination into particulars so
+multiplied and minute, that the work nearly reaches realization. But it
+does not matter how near realization the work may approach in its
+fulness, or how far off it may remain in its slightness, so long as
+realization is not the end proposed, but the informing one spirit of the
+thoughts of another. And in this greatness and simplicity of purpose all
+noble art is alike, however slight its means, or however perfect, from
+the rudest mosaics of St. Mark's to the most tender finishing of the
+"Huguenot" or the "Ophelia."
+
+Sec. XXVII. Only observe, in this matter, that a greater degree of
+realization is often allowed, for the sake of color, than would be right
+without it. For there is not any distinction between the artists of the
+inferior and the nobler schools more definite than this; that the first
+_color for the sake of realization_, and the second _realize for the
+sake of color_. I hope that, in the fifth chapter, enough has been said
+to show the nobility of color, though it is a subject on which I would
+fain enlarge whenever I approach it: for there is none that needs more
+to be insisted upon, chiefly on account of the opposition of the persons
+who have no eye for color, and who, being therefore unable to understand
+that it is just as divine and distinct in its power as music (only
+infinitely more varied in its harmonies), talk of it as if it were
+inferior and servile with respect to the other powers of art;[53]
+whereas it is so far from being this, that wherever it enters it must
+take the mastery, and, whatever else is sacrificed for its sake, _it_,
+at least, must be right. This is partly the case even with music: it is
+at our choice, whether we will accompany a poem with music, or not; but,
+if we do, the music _must_ be right, and neither discordant nor
+inexpressive. The goodness and sweetness of the poem cannot save it, if
+the music be harsh or false; but, if the music be right, the poem may be
+insipid or inharmonious, and still saved by the notes to which it is
+wedded. But this is far more true of color. If that be wrong, all is
+wrong. No amount of expression or invention can redeem an ill-colored
+picture; while, on the other hand, if the color be right, there is
+nothing it will not raise or redeem; and, therefore, wherever color
+enters at all, anything _may_ be sacrificed to it, and, rather than it
+should be false or feeble, everything _must_ be sacrificed to it: so
+that, when an artist touches color, it is the same thing as when a poet
+takes up a musical instrument; he implies, in so doing, that he is a
+master, up to a certain point, of that instrument, and can produce sweet
+sound from it, and is able to fit the course and measure of his words to
+its tones, which, if he be not able to do, he had better not have
+touched it. In like manner, to add color to a drawing is to undertake
+for the perfection of a visible music, which, if it be false, will
+utterly and assuredly mar the whole work; if true, proportionately
+elevate it, according to its power and sweetness. But, in no case ought
+the color to be added in order to increase the realization. The drawing
+or engraving is all that the imagination needs. To "paint" the subject
+merely to make it more real, is only to insult the imaginative power and
+to vulgarize the whole. Hence the common, though little understood
+feeling, among men of ordinary cultivation, that an inferior sketch is
+always better than a bad painting; although, in the latter, there may
+verily be more skill than in the former. For the painter who has
+presumed to touch color without perfectly understanding it, not for the
+color's sake, nor because he loves it, but for the sake of completion
+merely, has committed two sins against us; he has dulled the imagination
+by not trusting it far enough, and then, in this languid state, he
+oppresses it with base and false color; for all color that is not
+lovely, is discordant; there is no mediate condition. So, therefore,
+when it is permitted to enter at all, it must be with the
+predetermination that, cost what it will, the color shall be right and
+lovely: and I only wish that, in general, it were better understood that
+a _painter's_ business is _to paint_, primarily; and that all
+expression, and grouping, and conceiving, and what else goes to
+constitute design, _are of less importance than color, in a colored
+work_. And so they were always considered in the noble periods; and
+sometimes all resemblance to nature whatever (as in painted windows,
+illuminated manuscripts, and such other work) is sacrificed to the
+brilliancy of color; sometimes distinctness of form to its richness, as
+by Titian, Turner, and Reynolds; and, which is the point on which we are
+at present insisting, sometimes, in the pursuit of its utmost
+refinements on the surfaces of objects, an amount of realization becomes
+consistent with noble art, which would otherwise be altogether
+inadmissible, that is to say, which no great mind could otherwise have
+either produced or enjoyed. The extreme finish given by the
+Pre-Raphaelites is rendered noble chiefly by their love of color.
+
+Sec. XXVIII. So then, whatever may be the means, or whatever the more
+immediate end of any kind of art, all of it that is good agrees in this,
+that it is the expression of one soul talking to another, and is
+precious according to the greatness of the soul that utters it. And
+consider what mighty consequences follow from our acceptance of this
+truth! what a key we have herein given us for the interpretation of the
+art of all time! For, as long as we held art to consist in any high
+manual skill, or successful imitation of natural objects, or any
+scientific and legalized manner of performance whatever, it was
+necessary for us to limit our admiration to narrow periods and to few
+men. According to our own knowledge and sympathies, the period chosen
+might be different, and our rest might be in Greek statues, or Dutch
+landscapes, or Italian Madonnas; but, whatever our choice, we were
+therein captive, barred from all reverence but of our favorite masters,
+and habitually using the language of contempt towards the whole of the
+human race to whom it had not pleased Heaven to reveal the arcana of the
+particular craftsmanship we admired, and who, it might be, had lived
+their term of seventy years upon the earth, and fitted themselves
+therein for the eternal world, without any clear understanding,
+sometimes even with an insolent disregard, of the laws of perspective
+and chiaroscuro.
+
+But let us once comprehend the holier nature of the art of man, and
+begin to look for the meaning of the spirit, however syllabled, and the
+scene is changed; and we are changed also. Those small and dexterous
+creatures whom once we worshipped, those fur-capped divinities with
+sceptres of camel's hair, peering and poring in their one-windowed
+chambers over the minute preciousness of the labored canvas; how are
+they swept away and crushed into unnoticeable darkness! And in their
+stead, as the walls of the dismal rooms that enclosed them, and us, are
+struck by the four winds of Heaven, and rent away, and as the world
+opens to our sight, lo! far back into all the depths of time, and forth
+from all the fields that have been sown with human life, how the harvest
+of the dragon's teeth is springing! how the companies of the gods are
+ascending out of the earth! The dark stones that have so long been the
+sepulchres of the thoughts of nations, and the forgotten ruins wherein
+their faith lay charnelled, give up the dead that were in them; and
+beneath the Egyptian ranks of sultry and silent rock, and amidst the dim
+golden lights of the Byzantine dome, and out of the confused and cold
+shadows of the Northern cloister, behold, the multitudinous souls come
+forth with singing, gazing on us with the soft eyes of newly
+comprehended sympathy, and stretching their white arms to us across the
+grave, in the solemn gladness of everlasting brotherhood.
+
+Sec. XXIX. The other danger to which, it was above said, we were primarily
+exposed under our present circumstances of life, is the pursuit of vain
+pleasure, that is to say, false pleasure; delight, which is not indeed
+delight; as knowledge vainly accumulated, is not indeed knowledge. And
+this we are exposed to chiefly in the fact of our ceasing to be
+children. For the child does not seek false pleasure; its pleasures are
+true, simple, and instinctive: but the youth is apt to abandon his early
+and true delight for vanities,--seeking to be like men, and sacrificing
+his natural and pure enjoyments to his pride. In like manner, it seems
+to me that modern civilization sacrifices much pure and true pleasure to
+various forms of ostentation from which it can receive no fruit.
+Consider, for a moment, what kind of pleasures are open to human nature,
+undiseased. Passing by the consideration of the pleasures of the higher
+affections, which lie at the root of everything, and considering the
+definite and practical pleasures of daily life, there is, first, the
+pleasure of doing good; the greatest of all, only apt to be despised
+from not being often enough tasted: and then, I know not in what order
+to put them, nor does it matter,--the pleasure of gaining knowledge; the
+pleasure of the excitement of imagination and emotion (or poetry and
+passion); and, lastly, the gratification of the senses, first of the
+eye, then of the ear, and then of the others in their order.
+
+Sec. XXX. All these we are apt to make subservient to the desire of
+praise; nor unwisely, when the praise sought is God's and the
+conscience's: but if the sacrifice is made for man's admiration, and
+knowledge is only sought for praise, passion repressed or affected for
+praise, and the arts practised for praise, we are feeding on the bitterest
+apples of Sodom, suffering always ten mortifications for one delight. And
+it seems to me, that in the modern civilized world we make such sacrifice
+doubly: first, by laboring for merely ambitious purposes; and secondly,
+which is the main point in question, by being ashamed of simple pleasures,
+more especially of the pleasure in sweet color and form, a pleasure
+evidently so necessary to man's perfectness and virtue, that the beauty of
+color and form has been given lavishly throughout the whole of creation,
+so that it may become the food of all, and with such intricacy and
+subtlety that it may deeply employ the thoughts of all. If we refuse to
+accept the natural delight which the Deity has thus provided for us, we
+must either become ascetics, or we must seek for some base and guilty
+pleasures to replace those of Paradise, which we have denied ourselves.
+
+Some years ago, in passing through some of the cells of the Grand
+Chartreuse, noticing that the window of each apartment looked across the
+little garden of its inhabitant to the wall of the cell opposite, and
+commanded no other view, I asked the monk beside me, why the window was
+not rather made on the side of the cell whence it would open to the
+solemn fields of the Alpine valley. "We do not come here," he replied,
+"to look at the mountains."
+
+Sec. XXXI. The same answer is given, practically, by the men of this
+century, to every such question; only the walls with which they enclose
+themselves are those of pride, not of prayer. But in the middle ages it
+was otherwise. Not, indeed, in landscape itself, but in the art which
+can take the place of it, in the noble color and form with which they
+illumined, and into which they wrought, every object around them that
+was in any wise subjected to their power, they obeyed the laws of their
+inner nature, and found its proper food. The splendor and fantasy even
+of dress, which in these days we pretend to despise, or in which, if we
+even indulge, it is only for the sake of vanity, and therefore to our
+infinite harm, were in those early days studied for love of their true
+beauty and honorableness, and became one of the main helps to dignity of
+character, and courtesy of bearing. Look back to what we have been told
+of the dress of the early Venetians, that it was so invented "that in
+clothing themselves with it, they might clothe themselves also with
+modesty and honor;"[54] consider what nobleness of expression there is
+in the dress of any of the portrait figures of the great times, nay,
+what perfect beauty, and more than beauty, there is in the folding of
+the robe round the imagined form even of the saint or of the angel; and
+then consider whether the grace of vesture be indeed a thing to be
+despised. We cannot despise it if we would; and in all our highest
+poetry and happiest thought we cling to the magnificence which in daily
+life we disregard. The essence of modern romance is simply the return of
+the heart and fancy to the things in which they naturally take pleasure;
+and half the influence of the best romances, of Ivanhoe, or Marmion, or
+the Crusaders, or the Lady of the Lake, is completely dependent upon the
+accessaries of armor and costume. Nay, more than this, deprive the Iliad
+itself of its costume, and consider how much of its power would be lost.
+And that delight and reverence which we feel in, and by means of, the
+mere imagination of these accessaries, the middle ages had in the vision
+of them; the nobleness of dress exercising, as I have said, a perpetual
+influence upon character, tending in a thousand ways to increase
+dignity and self-respect, and together with grace of gesture, to induce
+serenity of thought.
+
+Sec. XXXII. I do not mean merely in its magnificence; the most splendid
+time was not the best time. It was still in the thirteenth
+century,--when, as we have seen, simplicity and gorgeousness were justly
+mingled, and the "leathern girdle and clasp of bone" were worn, as well
+as the embroidered mantle,--that the manner of dress seems to have been
+noblest. The chain mail of the knight, flowing and falling over his form
+in lapping waves of gloomy strength, was worn under full robes of one
+color in the ground, his crest quartered on them, and their borders
+enriched with subtle illumination. The women wore first a dress close to
+the form in like manner, and then long and flowing robes, veiling them
+up to the neck, and delicately embroidered around the hem, the sleeves,
+and the girdle. The use of plate armor gradually introduced more
+fantastic types; the nobleness of the form was lost beneath the steel;
+the gradually increasing luxury and vanity of the age strove for
+continual excitement in more quaint and extravagant devices; and in the
+fifteenth century, dress reached its point of utmost splendor and fancy,
+being in many cases still exquisitely graceful, but now, in its morbid
+magnificence, devoid of all wholesome influence on manners. From this
+point, like architecture, it was rapidly degraded; and sank through the
+buff coat, and lace collar, and jack-boot, to the bag-wig, tailed coat,
+and high-heeled shoes; and so to what it is now.
+
+Sec. XXXIII. Precisely analogous to this destruction of beauty in dress,
+has been that of beauty in architecture; its color, and grace, and
+fancy, being gradually sacrificed to the base forms of the Renaissance,
+exactly as the splendor of chivalry has faded into the paltriness of
+fashion. And observe the form in which the necessary reaction has taken
+place; necessary, for it was not possible that one of the strongest
+instincts of the human race could be deprived altogether of its natural
+food. Exactly in the degree that the architect withdrew from his
+buildings the sources of delight which in early days they had so richly
+possessed, demanding, in accordance with the new principles of taste,
+the banishment of all happy color and healthy invention, in that degree
+the minds of men began to turn to landscape as their only resource. The
+picturesque school of art rose up to address those capacities of
+enjoyment for which, in sculpture, architecture, or the higher walks of
+painting, there was employment no more; and the shadows of Rembrandt,
+and savageness of Salvator, arrested the admiration which was no longer
+permitted to be rendered to the gloom or the grotesqueness of the Gothic
+aisle. And thus the English school of landscape, culminating in Turner,
+is in reality nothing else than a healthy effort to fill the void which
+the destruction of Gothic architecture has left.
+
+Sec. XXXIV. But the void cannot thus be completely filled; no, nor filled
+in any considerable degree. The art of landscape-painting will never
+become thoroughly interesting or sufficing to the minds of men engaged
+in active life, or concerned principally with practical subjects. The
+sentiment and imagination necessary to enter fully into the romantic
+forms of art are chiefly the characteristics of youth; so that nearly
+all men as they advance in years, and some even from their childhood
+upwards, must be appealed to, if at all, by a direct and substantial
+art, brought before their daily observation and connected with their
+daily interests. No form of art answers these conditions so well as
+architecture, which, as it can receive help from every character of mind
+in the workman, can address every character of mind in the spectator;
+forcing itself into notice even in his most languid moments, and
+possessing this chief and peculiar advantage, that it is the property of
+all men. Pictures and statues may be jealously withdrawn by their
+possessors from the public gaze, and to a certain degree their safety
+requires them to be so withdrawn; but the outsides of our houses belong
+not so much to us as to the passer-by, and whatever cost and pains we
+bestow upon them, though too often arising out of ostentation, have at
+least the effect of benevolence.
+
+Sec. XXXV. If, then, considering these things, any of my readers should
+determine, according to their means, to set themselves to the revival
+of a healthy school of architecture in England, and wish to know in few
+words how this may be done, the answer is clear and simple. First, let
+us cast out utterly whatever is connected with the Greek, Roman, or
+Renaissance architecture, in principle or in form. We have seen above,
+that the whole mass of the architecture, founded on Greek and Roman
+models, which we have been in the habit of building for the last three
+centuries, is utterly devoid of all life, virtue, honorableness, or
+power of doing good. It is base, unnatural, unfruitful, unenjoyable, and
+impious. Pagan in its origin, proud and unholy in its revival, paralyzed
+in its old age, yet making prey in its dotage of all the good and living
+things that were springing around it in their youth, as the dying and
+desperate king, who had long fenced himself so strongly with the towers
+of it, is said to have filled his failing veins with the blood of
+children;[55] an architecture invented, as it seems, to make plagiarists
+of its architects, slaves of its workmen, and Sybarites of its
+inhabitants; an architecture in which intellect is idle, invention
+impossible, but in which all luxury is gratified, and all insolence
+fortified;--the first thing we have to do is to cast it out, and shake
+the dust of it from our feet for ever. Whatever has any connexion with
+the five orders, or with any one of the orders,--whatever is Doric, or
+Ionic, or Tuscan, or Corinthian, or Composite, or in any way Grecized or
+Romanized; whatever betrays the smallest respect for Vitruvian laws, or
+conformity with Palladian work,--that we are to endure no more. To
+cleanse ourselves of these "cast clouts and rotten rags" is the first
+thing to be done in the court of our prison.
+
+Sec. XXXVI. Then, to turn our prison into a palace is an easy thing. We
+have seen above, that exactly in the degree in which Greek and Roman
+architecture is lifeless, unprofitable, and unchristian, in that same
+degree our own ancient Gothic is animated, serviceable, and faithful. We
+have seen that it is flexible to all duty, enduring to all time,
+instructive to all hearts, honorable and holy in all offices. It is
+capable alike of all lowliness and all dignity, fit alike for cottage
+porch or castle gateway; in domestic service familiar, in religious,
+sublime; simple, and playful, so that childhood may read it, yet clothed
+with a power that can awe the mightiest, and exalt the loftiest of human
+spirits: an architecture that kindles every faculty in its workman, and
+addresses every emotion in its beholder; which, with every stone that is
+laid on its solemn walls, raises some human heart a step nearer heaven,
+and which from its birth has been incorporated with the existence, and
+in all its form is symbolical of the faith, of Christianity. In this
+architecture let us henceforward build, alike the church, the palace,
+and the cottage; but chiefly let us use it for our civil and domestic
+buildings. These once ennobled, our ecclesiastical work will be exalted
+together with them: but churches are not the proper scenes for
+experiments in untried architecture, nor for exhibitions of unaccustomed
+beauty. It is certain that we must often fail before we can again build
+a natural and noble Gothic: let not our temples be the scenes of our
+failures. It is certain that we must offend many deep-rooted prejudices,
+before ancient Christian architecture[56] can be again received by all
+of us: let not religion be the first source of such offence. We shall
+meet with difficulties in applying Gothic architecture to churches,
+which would in no wise affect the designs of civil buildings, for the
+most beautiful forms of Gothic chapels are not those which are best
+fitted for Protestant worship. As it was noticed in the second volume,
+when speaking of the Cathedral of Torcello it seems not unlikely, that
+as we study either the science of sound, or the practice of the early
+Christians, we may see reason to place the pulpit generally at the
+extremity of the apse or chancel; an arrangement entirely destructive of
+the beauty of a Gothic church, as seen in existing examples, and
+requiring modifications of its design in other parts with which we
+should be unwise at present to embarrass ourselves; besides, that the
+effort to introduce the style exclusively for ecclesiastical purposes,
+excites against it the strong prejudices of many persons who might
+otherwise be easily enlisted among its most ardent advocates. I am quite
+sure, for instance, that if such noble architecture as has been employed
+for the interior of the church just built in Margaret Street[57] had
+been seen in a civil building, it would have decided the question with
+many men at once; whereas, at present, it will be looked upon with fear
+and suspicion, as the expression of the ecclesiastical principles of a
+particular party. But, whether thus regarded or not, this church
+assuredly decides one question conclusively, that of our present
+capability of Gothic design. It is the first piece of architecture I
+have seen, built in modern days, which is free from all signs of
+timidity or incapacity. In general proportion of parts, in refinement
+and piquancy of mouldings, above all, in force, vitality, and grace of
+floral ornament, worked in a broad and masculine manner, it challenges
+fearless comparison with the noblest work of any time. Having done this,
+we may do anything; there need be no limits to our hope or our
+confidence; and I believe it to be possible for us, not only to equal,
+but far to surpass, in some respects, any Gothic yet seen in Northern
+countries. In the introduction of figure-sculpture, we must, indeed, for
+the present, remain utterly inferior, for we have no figures to study
+from. No architectural sculpture was ever good for anything which did
+not represent the dress and persons of the people living at the time;
+and our modern dress will _not_ form decorations for spandrils and
+niches. But in floral sculpture we may go far beyond what has yet been
+done, as well as in refinement of inlaid work and general execution.
+For, although the glory of Gothic architecture is to receive the rudest
+work, it refuses not the best; and, when once we have been content to
+admit the handling of the simplest workman, we shall soon be rewarded by
+finding many of our simple workmen become cunning ones: and, with the
+help of modern wealth and science, we may do things like Giotto's
+campanile, instead of like our own rude cathedrals; but better than
+Giotto's campanile, insomuch as we may adopt the pure and perfect forms
+of the Northern Gothic, and work them out with the Italian refinement.
+It is hardly possible at present to imagine what may be the splendor of
+buildings designed in the forms of English and French thirteenth century
+_surface_ Gothic, and wrought out with the refinement of Italian art in
+the details, and with a deliberate resolution, since we cannot have
+figure sculpture, to display in them the beauty of every flower and herb
+of the English fields, each by each; doing as much for every tree that
+roots itself in our rocks, and every blossom that drinks our summer
+rains, as our ancestors did for the oak, the ivy, and the rose. Let this
+be the object of our ambition, and let us begin to approach it, not
+ambitiously, but in all humility, accepting help from the feeblest
+hands; and the London of the nineteenth century may yet become as Venice
+without her despotism, and as Florence without her dispeace.
+
+
+FOOTNOTES:
+
+  [46] In the works of Turner and the Pre-Raphaelites.
+
+  [47] Observe, I speak of these various principles as self-evident,
+    only under the present circumstances of the world, not as if they
+    had always been so; and I call them now self-evident, not merely
+    because they seem so to myself, but because they are felt to be so
+    likewise by all the men in whom I place most trust. But granting
+    that they are not so, then their very disputability proves the state
+    of infancy above alleged, as characteristic of the world. For I do
+    not suppose that any Christian reader will doubt the first great
+    truth, that whatever facts or laws are important to mankind, God has
+    made ascertainable by mankind; and that as the decision of all these
+    questions is of vital importance to the race, that decision must
+    have been long ago arrived at, unless they were still in a state of
+    childhood.
+
+  [48] I intended to have given a sketch in this place (above referred
+    to) of the probable results of the daguerreotype and calotype within
+    the next few years, in modifying the application of the engraver's
+    art, but I have not had time to complete the experiments necessary
+    to enable me to speak with certainty. Of one thing, however, I have
+    little doubt, that an infinite service will soon be done to a large
+    body of our engravers; namely, the making them draughtsmen (in black
+    and white) on paper instead of steel.
+
+  [49] I mean art in its highest sense. All that men do ingeniously is
+    art, in one sense. In fact, we want a definition of the word "art"
+    much more accurate than any in our minds at present. For, strictly
+    speaking, there is no such thing as "fine" or "high" art. All _art_
+    is a low and common thing, and what we indeed respect is not art at
+    all, but _instinct_ or _inspiration_ expressed by the help of art.
+
+  [50] "_Socrates_. This, then, was what I asked you; whether that
+    which puts anything else to service, and the thing which is put to
+    service by it, are always two different things?
+
+    _Alcibiades._ I think so.
+
+    _Socrates._ What shall we then say of the leather-cutter? Does he
+    cut his leather with his instruments only, or with his hands also?
+
+    _Alcibiades._ With his hands also.
+
+    _Socrates._ Does he not use his eyes as well as his hands?
+
+    _Alcibiades._ Yes.
+
+    _Socrates._ And we agreed that the thing which uses and the thing
+    which is used, were different things?
+
+    _Alcibiades._ Yes.
+
+    _Socrates._ Then the leather-cutter is not the same thing as his
+    eyes or hands?
+
+    _Alcibiades._ So it appears.
+
+    _Socrates._ Does not, then, man make use of his whole body?
+
+    _Alcibiades._ Assuredly.
+
+    _Socrates._ Then the man is not the same thing as his body?
+
+    _Alcibiades._ It seems so.
+
+    _Socrates._ What, then, _is_ the man?
+
+    _Alcibiades._ I know not."
+
+    _Plato_, Alcibiades I.
+
+  [51] Thus the grapes pressed by Excesse are partly golden (Spenser,
+    book ii. cant. 12.):
+
+            "Which did themselves amongst the leaves enfold,
+             As lurking from the view of covetous guest,
+             That the weake boughes, with so rich load opprest
+             Did bow adowne as overburdened."
+
+  [52] The reader must not suppose that the use of gold, in this manner,
+    is confined to early art. Tintoret, the greatest master of pictorial
+    effect that ever existed, has gilded the ribs of the fig-leaves in
+    his "Resurrection," in the Scuola di San Rocco.
+
+  [53] Nothing is more wonderful to me than to hear the pleasure of the
+    eye, in color, spoken of with disdain as "sensual," while people
+    exalt that of the ear in music. Do they really suppose the eye is a
+    less noble bodily organ than the ear,--that the organ by which
+    nearly all our knowledge of the external universe is communicated to
+    us, and through which we learn the wonder and the love, can be less
+    exalted in its own peculiar delight than the ear, which is only for
+    the communication of the ideas which owe to the eye their very
+    existence? I do not mean to depreciate music: let it be loved and
+    reverenced as is just; only let the delight of the eye be reverenced
+    more. The great power of music over the multitude is owing, not to
+    its being less but _more_ sensual than color; it is so distinctly
+    and so richly sensual, that it can be idly enjoyed; it is exactly at
+    the point where the lower and higher pleasures of the senses and
+    imagination are balanced; so that pure and great minds love it for
+    its invention and emotion, and lower minds for its sensual power.
+
+  [54] Vol. II. Appendix 7.
+
+  [55] Louis the Eleventh. "In the month of March, 1481, Louis was
+    seized with a fit of apoplexy at _St. Benoit-du-lac-mort_, near
+    Chinon. He remained speechless and bereft of reason three days; and
+    then but very imperfectly restored, he languished in a miserable
+    state.... To cure him," says a contemporary historian, "wonderful
+    and terrible medicines were compounded. It was reported among the
+    people that his physicians opened the veins of little children, and
+    made him drink their blood, to correct the poorness of his
+    own."--_Bussey's History of France._ London, 1850.
+
+  [56] Observe, I call Gothic "Christian" architecture, not
+    "ecclesiastical." There is a wide difference. I believe it is the
+    only architecture which Christian men should build, but not at all
+    an architecture necessarily connected with the services of their
+    church.
+
+  [57] Mr. Hope's Church, in Margaret Street, Portland Place. I do not
+    altogether like the arrangements of color in the brickwork; but
+    these will hardly attract the eye, where so much has been already
+    done with precious and beautiful marble, and is yet to be done in
+    fresco. Much will depend, however, upon the coloring of this latter
+    portion. I wish that either Holman Hunt or Millais could be
+    prevailed upon to do at least some of these smaller frescoes.
+
+
+
+
+APPENDIX.
+
+
+1. ARCHITECT OF THE DUCAL PALACE.
+
+Popular tradition and a large number of the chroniclers ascribe the
+building of the Ducal Palace to that Filippo Calendario who suffered
+death for his share in the conspiracy of Faliero. He was certainly one
+of the leading architects of the time, and had for several years the
+superintendence of the works of the Palace; but it appears, from the
+documents collected by the Abbe Cadorin, that the first designer of the
+Palace, the man to whom we owe the adaptation of the Frari traceries to
+civil architecture, was Pietro Baseggio, who is spoken of expressly as
+"formerly the Chief Master of our New Palace,"[58] in the decree of
+1361, quoted by Cadorin, and who, at his death, left Calendario his
+executor. Other documents collected by Zanotto, in his work on "Venezia
+e le sue Lagune," show that Calendario was for a long time at sea, under
+the commands of the Signory, returning to Venice only three or four
+years before his death; and that therefore the entire management of the
+works of the Palace, in the most important period, must have been
+entrusted to Baseggio.
+
+It is quite impossible, however, in the present state of the Palace, to
+distinguish one architect's work from another in the older parts; and I
+have not in the text embarrassed the reader by any attempt at close
+definition of epochs before the great junction of the Piazzetta Facade
+with the older palace in the fifteenth century. Here, however, it is
+necessary that I should briefly state the observations I was able to
+make on the relative dates of the earlier portions.
+
+In the description of the Fig-tree angle, given in the eighth chapter of
+Vol. II., I said that it seemed to me somewhat earlier than that of the
+Vine, and the reader might be surprised at the apparent opposition of
+this statement to my supposition that the Palace was built gradually
+round from the Rio Facade to the Piazzetta. But in the two great open
+arcades there is no succession of work traceable; from the Vine angle to
+the junction with the fifteenth century work, above and below, all seems
+nearly of the same date, the only question being of the accidental
+precedence of workmanship of one capital or another; and I think, from
+its style, that the Fig-tree angle must have been first completed. But
+in the upper stories of the Palace there are enormous differences of
+style. On the Rio Facade, in the upper story, are several series of
+massive windows of the third order, corresponding exactly in mouldings
+and manner of workmanship to those of the chapter-house of the Frari,
+and consequently carrying us back to a very early date in the fourteenth
+century: several of the capitals of these windows, and two richly
+sculptured string-courses in the wall below, are of Byzantine
+workmanship, and in all probability fragments of the Ziani Palace. The
+traceried windows on the Rio Facade, and the two eastern windows on the
+Sea Facade, are all of the finest early fourteenth century work,
+masculine and noble in their capitals and bases to the highest degree,
+and evidently contemporary with the very earliest portions of the lower
+arcades. But the moment we come to the windows of the Great Council
+Chamber the style is debased. The mouldings are the same, but they are
+coarsely worked, and the heads set amidst the leafage of the capitals
+quite valueless and vile.
+
+I have not the least doubt that these window-jambs and traceries were
+restored after the great fire;[59] and various other restorations have
+taken place since, beginning with the removal of the traceries from all
+the windows except the northern one of the Sala del Scrutinio, behind
+the Porta della Carta, where they are still left. I made out four
+periods of restoration among these windows, each baser than the
+preceding. It is not worth troubling the reader about them, but the
+traveller who is interested in the subject may compare two of them in
+the same window; the one nearer the sea of the two belonging to the
+little room at the top of the Palace on the Piazzetta Facade, between
+the Sala del Gran Consiglio and that of the Scrutinio. The seaward jamb
+of that window is of the first, and the opposite jamb of the second,
+period of these restorations. These are all the points of separation in
+date which I could discover by internal evidence. But much more might be
+made out by any Venetian antiquary whose time permitted him thoroughly
+to examine any existing documents which allude to or describe the parts
+of the Palace spoken of in the important decrees of 1340, 1342, and
+1344; for the first of these decrees speaks of certain "columns looking
+towards the Canal"[60] or sea, as then existing, and I presume these
+columns to have been part of the Ziani Palace, corresponding to the part
+of that palace on the Piazzetta where were the "red columns" between
+which Calendario was executed; and a great deal more might be determined
+by any one who would thoroughly unravel the obscure language of those
+decrees.
+
+Meantime, in order to complete the evidence respecting the main dates
+stated in the text, I have collected here such notices of the building
+of the Ducal Palace as appeared to me of most importance in the various
+chronicles I examined. I could not give them all in the text, as they
+repeat each other, and would have been tedious; but they will be
+interesting to the antiquary, and it is to be especially noted in all of
+them how the Palazzo _Vecchio_ is invariably distinguished, either
+directly or by implication, from the Palazzo Nuovo. I shall first
+translate the piece of the Zancarol Chronicle given by Cadorin, which
+has chiefly misled the Venetian antiquaries. I wish I could put the rich
+old Italian into old English, but must be content to lose its raciness,
+as it is necessary that the reader should be fully acquainted with its
+facts.
+
+"It was decreed that none should dare to propose to the Signory of
+Venice to ruin the _old_ palace and rebuild it new and more richly, and
+there was a penalty of one thousand ducats against any one who should
+break it. Then the Doge, wishing to set forward the public good, said to
+the Signory, ... that they ought to rebuild the facades of the _old_
+palace, and that it ought to be restored, to do honor to the nation: and
+so soon as he had done speaking, the Avogadori demanded the penalty from
+the Doge, for having disobeyed the law; and the Doge with ready mind
+paid it, remaining in his opinion that the said fabric ought to be
+built. And so, in the year 1422, on the 20th day of September, it was
+passed in the Council of the Pregadi that the said new palace should be
+begun, and the expense should be borne by the Signori del Sal; and so,
+on the 24th day of March, 1424, it was begun to throw down the _old_
+palace, and to build it anew."--_Cadorin_, p. 129.
+
+The day of the month, and the council in which the decree was passed,
+are erroneously given by this Chronicle. Cadorin has printed the words
+of the decree itself, which passed in the Great Council on the 27th
+September: and these words are, fortunately, much to our present
+purpose. For as more than one facade is spoken of in the above extract,
+the Marchese Selvatico was induced to believe that both the front to the
+sea and that to the Piazzetta had been destroyed; whereas, the "facades"
+spoken of are evidently those of the Ziani Palace. For the words of the
+decree (which are much more trustworthy than those of the Chronicle,
+even if there were any inconsistency between them) run thus: "Palatium
+nostrum fabricetur et fiat in forma decora et convenienti, quod
+respondeat _solemnissimo principio palatii nostri novi_." Thus the new
+council chamber and facade to the sea are called the "most venerable
+beginning of our _New_ Palace;" and the rest was ordered to be designed
+in accordance with these, as was actually the case as far as the Porta
+della Carta. But the Renaissance architects who thenceforward proceeded
+with the fabric, broke through the design, and built everything else
+according to their own humors.
+
+The question may be considered as set at rest by these words of the
+decree, even without any internal or any farther documentary evidence.
+But rather for the sake of impressing the facts thoroughly on the
+reader's mind, than of any additional proof, I shall quote a few more of
+the best accredited Chronicles.
+
+The passage given by Bettio, from the Sivos Chronicle, is a very
+important parallel with that from the Zancarol above:
+
+"Essendo molto vecchio, e quasi rovinoso el Palazzo sopra la piazza, fo
+deliberato di far quella parte tutta da novo, et continuarla com' e
+quella della Sala grande, et cosi il Lunedi 27 Marzo 1424 fu dato
+principio a ruinare detto Palazzo vecchio dalla parte, ch' e verso
+panateria cioe della Giustizia, ch' e nelli occhi di sopra le colonne
+fino alla Chiesa et fo fatto anco la porta grande, com' e al presente,
+con la sala che si addimanda la Libraria."[61]
+
+We have here all the facts told us in so many words: the "old palace" is
+definitely stated to have been "on the piazza," and it is to be rebuilt
+"like the part of the great saloon." The very point from which the newer
+buildings commenced is told us; but here the chronicler has carried his
+attempt at accuracy too far. The point of junction is, as stated above,
+at the third pillar beyond the medallion of Venice; and I am much at a
+loss to understand what could have been the disposition of these three
+pillars where they joined the Ziani Palace, and how they were connected
+with the arcade of the inner cortile. But with these difficulties, as
+they do not bear on the immediate question, it is of no use to trouble
+the reader.
+
+The next passage I shall give is from a Chronicle in the Marcian
+Library, bearing title, "Supposta di Zancaruol;" but in which I could
+not find the passage given by Cadorin from, I believe, a manuscript of
+this Chronicle at Vienna. There occurs instead of it the following thus
+headed:--
+
+"Come _la parte nova_ del Palazzo fuo hedificata _novamente_.
+
+"El Palazzo novo de Venesia quella parte che xe verso la Chiesia de S.
+Marcho fuo prexo chel se fesse del 1422 e fosse pagado la spexa per li
+officiali del sal. E fuo fatto per sovrastante G. Nicolo Barberigo cum
+provision de ducati X doro al mexe e fuo fabricado e fatto nobelissimo.
+Come fin ancho di el sta e fuo grande honor a la Signoria de Venesia e a
+la sua Citta."
+
+This entry, which itself bears no date, but comes between others dated
+22nd July and 27th December, is interesting, because it shows the first
+transition of the idea of _newness_, from the Grand Council Chamber to
+the part built under Foscari. For when Mocenigo's wishes had been
+fulfilled, and the old palace of Ziani had been destroyed, and another
+built in its stead, the Great Council Chamber, which was "the new
+palace" compared with Ziani's, became "the old palace" compared with
+Foscari's; and thus we have, in the body of the above extract, the whole
+building called "the new palace of Venice;" but in the heading of it, we
+have "the new _part_ of the palace" applied to the part built by
+Foscari, in contradistinction to the Council Chamber.
+
+The next entry I give is important, because the writing of the MS. in
+which it occurs, No. 53 in the Correr Museum, shows it to be probably
+not later than the end of the fifteenth century:
+
+"El palazo nuovo de Venixia zoe quella parte che se sora la piazza verso
+la giesia di Miss. San Marcho del 1422 fo principiado, el qual fo fato e
+finito molto belo, chome al presente se vede nobilissimo, et a la
+fabricha de quello fo deputado Miss. Nicolo Barberigo, soprastante con
+ducati dieci doro al mexe."
+
+We have here the part built by Foscari distinctly called the Palazzo
+Nuovo, as opposed to the Great Council Chamber, which had now completely
+taken the position of the Palazzo Vecchio, and is actually so called by
+Sansovino. In the copy of the Chronicle of Paolo Morosini, and in the
+MSS. numbered respectively 57, 59, 74, and 76 in the Correr Museum, the
+passage above given from No. 53 is variously repeated with slight
+modifications and curtailments; the entry in the Morosini Chronicle
+being headed, "Come fu principiato il palazo che guarda sopra la piaza
+grande di S. Marco," and proceeding in the words, "El Palazo Nuovo di
+Venetia, cioe quella parte che e sopra la piaza," &c., the writers being
+cautious, in all these instances, to _limit their statement_ to the part
+facing the Piazza, that no reader might suppose the Council Chamber to
+have been built or begun at the same time; though, as long as to the end
+of the sixteenth century, we find the Council Chamber still included in
+the expression "Palazzo Nuovo." Thus, in the MS. No. 75 in the Correr
+Museum, which is about that date, we have "Del 1422, a di 20 Settembre
+fu preso nel consegio grando de dover _compir_ el Palazo Novo, e dovesen
+fare la spessa li officialli del Sal (61. M. 2. B.)." And, so long as
+this is the case, the "Palazzo Vecchio" always means the Ziani Palace.
+Thus, in the next page of this same MS. we have "a di 27 Marzo (1424 by
+context) fo principia a butar zosso, el _Palazzo Vecchio_ per refarlo da
+novo, e poi se he" (and so it is done); and in the MS. No. 81, "Del
+1424, fo gittado zoso el _Palazzo Vecchio_ per refarlo de nuovo, a di 27
+Marzo." But in the time of Sansovino the Ziani Palace was quite
+forgotten; the Council Chamber was then the _old_ palace, and Foscari's
+part was the new. His account of the "Palazzo Publico" will now be
+perfectly intelligible; but, as the work itself is easily accessible, I
+shall not burden the reader with any farther extracts, only noticing
+that the chequering of the facade with red and white marbles, which he
+ascribes to Foscari, may or may not be of so late a date, as there is
+nothing in the style of the work which can be produced as evidence.
+
+
+2. THEOLOGY OF SPENSER.
+
+The following analysis of the first books of the "Faerie Queen," may be
+interesting to readers who have been in the habit of reading the noble
+poem too hastily to connect its parts completely together; and may
+perhaps induce them to more careful study of the rest of the poem.
+
+The Redcrosse Knight is Holiness,--the "Pietas" of St. Mark's, the
+"Devotio" of Orcagna,--meaning, I think, in general, Reverence and Godly
+Fear.
+
+This Virtue, in the opening of the book, has Truth (or Una) at its side,
+but presently enters the Wandering Wood, and encounters the serpent
+Error; that is to say, Error in her universal form, the first enemy of
+Reverence and Holiness; and more especially Error as founded on
+learning; for when Holiness strangles her,
+
+  "Her vomit _full of bookes and papers was_,
+   With loathly frogs and toades, which eyes did lacke."
+
+Having vanquished this first open and palpable form of Error, as
+Reverence and Religion must always vanquish it, the Knight encounters
+Hypocrisy, or Archimagus; Holiness cannot detect Hypocrisy, but
+believes him, and goes home with him; whereupon Hypocrisy succeeds in
+separating Holiness from Truth; and the Knight (Holiness) and Lady
+(Truth) go forth separately from the house of Archimagus.
+
+Now observe: the moment Godly Fear, or Holiness, is separated from
+Truth, he meets Infidelity, or the Knight Sans Foy; Infidelity having
+Falsehood, or Duesa, riding behind him. The instant the Redcrosse Knight
+is aware of the attack of Infidelity, he
+
+  "Gan fairly couch his speare, and towards ride."
+
+He vanquishes and slays Infidelity; but is deceived by his companion,
+Falsehood, and takes her for his lady: thus showing the condition of
+Religion, when, after being attacked by Doubt, and remaining victorious,
+it is nevertheless seduced, by any form of Falsehood, to pay reverence
+where it ought not. This, then, is the first fortune of Godly Fear
+separated from Truth. The poet then returns to Truth, separated from
+Godly Fear. She is immediately attended by a lion, or Violence, which
+makes her dreaded wherever she comes; and when she enters the mart of
+Superstition, this Lion tears Kirkrapine in pieces: showing how Truth,
+separated from Godliness, does indeed put an end to the abuses of
+Superstition, but does so violently and desperately. She then meets
+again with Hypocrisy, whom she mistakes for her own lord, or Godly Fear,
+and travels a little way under his guardianship (Hypocrisy thus not
+unfrequently appearing to defend the Truth), until they are both met by
+Lawlessness, or the Knight Sans Loy, whom Hypocrisy cannot resist.
+Lawlessness overthrows Hypocrisy, and seizes upon Truth, first slaying
+her lion attendant: showing that the first aim of licence is to destroy
+the force and authority of Truth. Sans Loy then takes Truth captive, and
+bears her away. Now this Lawlessness is the "unrighteousness," or
+"adikia," of St. Paul; and his bearing Truth away captive, is a type of
+those "who hold the truth in unrighteousness,"--that is to say,
+generally, of men who, knowing what is true, make the truth give way to
+their own purposes, or use it only to forward them, as is the case with
+so many of the popular leaders of the present day. Una is then delivered
+from Sans Loy by the satyrs, to show that Nature, in the end, must work
+out the deliverance of the truth, although, where it has been captive to
+Lawlessness, that deliverance can only be obtained through Savageness,
+and a return to barbarism. Una is then taken from among the satyrs by
+Satyrane, the son of a satyr and a "lady myld, fair Thyamis," (typifying
+the early steps of renewed civilization, and its rough and hardy
+character "nousled up in life and manners wilde,") who, meeting again
+with Sans Loy, enters instantly into rough and prolonged combat with
+him: showing how the early organization of a hardy nation must be
+wrought out through much discouragement from Lawlessness. This contest
+the poet leaving for the time undecided, returns to trace the adventures
+of the Redcrosse Knight, or Godly Fear, who, having vanquished
+Infidelity, presently is led by Falsehood to the house of Pride: thus
+showing how religion, separated from truth, is first tempted by doubts
+of God, and then by the pride of life. The description of this house of
+Pride is one of the most elaborate and noble pieces in the poem; and
+here we begin to get at the proposed system of Virtues and Vices. For
+Pride, as queen, has six other vices yoked in her chariot; namely,
+first, Idleness, then Gluttony, Lust, Avarice, Envy, and Anger, all
+driven on by "Sathan, with a smarting whip in hand." From these lower
+vices and their company, Godly Fear, though lodging in the house of
+Pride, holds aloof; but he is challenged, and has a hard battle to fight
+with Sans Joy, the brother of Sans Foy: showing, that though he has
+conquered Infidelity, and does not give himself up to the allurements of
+Pride, he is yet exposed, so long as he dwells in her house, to distress
+of mind and loss of his accustomed rejoicing before God. He, however,
+having partly conquered Despondency, or Sans Joy, Falsehood goes down to
+Hades, in order to obtain drugs to maintain the power or life of
+Despondency; but, meantime, the Knight leaves the house of Pride:
+Falsehood pursues and overtakes him, and finds him by a fountain side,
+of which the waters are
+
+                           "Dull and slow,
+  And all that drinke thereof do faint and feeble grow."
+
+Of which the meaning is, that Godly Fear, after passing through the
+house of Pride, is exposed to drowsiness and feebleness of watch; as,
+after Peter's boast, came Peter's sleeping, from weakness of the flesh,
+and then, last of all, Peter's fall. And so it follows: for the
+Redcrosse Knight, being overcome with faintness by drinking of the
+fountain, is thereupon attacked by the giant Orgoglio, overcome and
+thrown by him into a dungeon. This Orgoglio is Orgueil, or Carnal Pride;
+not the pride of life, spiritual and subtle, but the common and vulgar
+pride in the power of this world: and his throwing the Redcrosse Knight
+into a dungeon, is a type of the captivity of true religion under the
+temporal power of corrupt churches, more especially of the Church of
+Rome; and of its gradually wasting away in unknown places, while carnal
+pride has the preeminence over all things. That Spenser means,
+especially, the pride of the Papacy, is shown by the 16th stanza of the
+book; for there the giant Orgoglio is said to have taken Duessa, or
+Falsehood, for his "deare," and to have set upon her head a triple
+crown, and endowed her with royal majesty, and made her to ride upon a
+seven-headed beast.
+
+In the meantime, the dwarf, the attendant of the Redcrosse Knight, takes
+his arms, and finding Una tells her of the captivity of her lord. Una,
+in the midst of her mourning, meets Prince Arthur, in whom, as Spenser
+himself tells us, is set forth generally Magnificence; but who, as is
+shown by the choice of the hero's name, is more especially the
+magnificence, or literally, "great doing" of the kingdom of England.
+This power of England, going forth with Truth, attacks Orgoglio, or the
+Pride of Papacy, slays him; strips Duessa, or Falsehood, naked; and
+liberates the Redcrosse Knight. The magnificent and well-known
+description of Despair follows, by whom the Redcrosse Knight is hard
+bested, on account of his past errors and captivity, and is only saved
+by Truth, who, perceiving him to be still feeble, brings him to the
+house of Coelia, called, in the argument of the canto, Holiness, but
+properly, Heavenly Grace, the mother of the Virtues. Her "three
+daughters, well up-brought," are Faith, Hope, and Charity. Her porter is
+Humility; because Humility opens the door of Heavenly Grace. Zeal and
+Reverence are her chamberlains, introducing the new comers to her
+presence; her groom, or servant, is Obedience; and her physician,
+Patience. Under the commands of Charity, the matron Mercy rules over
+her hospital, under whose care the Knight is healed of his sickness; and
+it is to be especially noticed how much importance Spenser, though never
+ceasing to chastise all hypocrisies and mere observances of form,
+attaches to true and faithful _penance_ in effecting this cure. Having
+his strength restored to him, the Knight is trusted to the guidance of
+Mercy, who, leading him forth by a narrow and thorny way, first
+instructs him in the seven works of Mercy, and then leads him to the
+hill of Heavenly Contemplation; whence, having a sight of the New
+Jerusalem, as Christian of the Delectable Mountains, he goes forth to
+the final victory over Satan, the old serpent, with which the book
+closes.
+
+
+3. AUSTRIAN GOVERNMENT IN ITALY.
+
+I cannot close these volumes without expressing my astonishment and
+regret at the facility with which the English allow themselves to be
+misled by any representations, however openly groundless or ridiculous,
+proceeding from the Italian Liberal party, respecting the present
+administration of the Austrian Government. I do not choose here to enter
+into any political discussion, or express any political opinion; but it
+is due to justice to state the simple facts which came under my notice
+during my residence in Italy. I was living at Venice through two entire
+winters, and in the habit of familiar association both with Italians and
+Austrians, my own antiquarian vocations rendering such association
+possible without exciting the distrust of either party. During this
+whole period, I never once was able to ascertain, from any liberal
+Italian, that he had a single _definite_ ground of complaint against the
+Government. There was much general grumbling and vague discontent; but I
+never was able to bring one of them to the point, or to discover what it
+was that they wanted, or in what way they felt themselves injured; nor
+did I ever myself witness an instance of oppression on the part of the
+Government, though several of much kindness and consideration. The
+indignation of those of my own countrymen and countrywomen whom I
+happened to see during their sojourn in Venice was always vivid, but by
+no means large in its grounds. English ladies on their first arrival
+invariably began the conversation with the same remark: "What a
+dreadful thing it was to be ground under the iron heel of despotism!"
+Upon closer inquiries it always appeared that being "ground under the
+heel of despotism" was a poetical expression for being asked for one's
+passport at San Juliano, and required to fetch it from San Lorenzo, full
+a mile and a quarter distant. In like manner, travellers, after two or
+three days' residence in the city, used to return with pitiful
+lamentations over "the misery of the Italian people." Upon inquiring
+what instances they had met with of this misery, it invariably turned
+out that their gondoliers, after being paid three times their proper
+fare, had asked for something to drink, and had attributed the fact of
+their being thirsty to the Austrian Government. The misery of the
+Italians consists in having three festa days a week, and doing in their
+days of exertion about one fourth as much work as an English laborer.
+
+There is, indeed, much true distress occasioned by the measures which
+the Government is sometimes compelled to take in order to repress
+sedition; but the blame of this lies with those whose occupation is the
+excitement of sedition. So also there is much grievous harm done to
+works of art by the occupation of the country by so large an army; but
+for the mode in which that army is quartered, the Italian municipalities
+are answerable, not the Austrians. Whenever I was shocked by finding, as
+above-mentioned at Milan, a cloister, or a palace, occupied by soldiery,
+I always discovered, on investigation, that the place had been given by
+the municipality; and that, beyond requiring that lodging for a certain
+number of men should be found in such and such a quarter of the town,
+the Austrians had nothing to do with the matter. This does not, however,
+make the mischief less: and it is strange, if we think of it, to see
+Italy, with all her precious works of art, made a continual
+battle-field; as if no other place for settling their disputes could be
+found by the European powers, than where every random shot may destroy
+what a king's ransom cannot restore.[62] It is exactly as if the
+tumults in Paris could he settled no otherwise than by fighting them out
+in the Gallery of the Louvre.
+
+
+4. DATE OF THE PALACES OF THE BYZANTINE RENAISSANCE.
+
+In the sixth article of the Appendix to the first volume, the question
+of the date of the Casa Dario and Casa Trevisan was deferred until I
+could obtain from my friend Mr. Rawdon Brown, to whom the former palace
+once belonged, some more distinct data respecting this subject than I
+possessed myself.
+
+Speaking first of the Casa Dario, he says: "Fontana dates it from about
+the year 1450, and considers it the earliest specimen of the
+architecture founded by Pietro Lombardo, and followed by his sons,
+Tullio and Antonio. In a Sanuto autograph miscellany, purchased by me
+long ago, and which I gave to St. Mark's Library, are two letters from
+Giovanni Dario, dated 10th and 11th July, 1485, in the neighborhood of
+Adrianople; where the Turkish camp found itself, and Bajazet II.
+received presents from the Soldan of Egypt, from the Schah of the Indies
+(query Grand Mogul), and from the King of Hungary: of these matters,
+Dario's letters give many curious details. Then, in the _printed_
+Malipiero Annals, page 136 (which err, I think, by a year), the
+Secretary Dario's negotiations at the Porte are alluded to; and in date
+of 1484 he is stated to have returned to Venice, having quarrelled with
+the Venetian bailiff at Constantinople: the annalist adds, that
+'Giovanni Dario was a native of Candia, and that the Republic was so
+well satisfied with him for having concluded peace with Bajazet, that he
+received, as a gift from his country, an estate at Noventa, in the
+Paduan territory, worth 1500 ducats, and 600 ducats in cash for the
+dower of one of his daughters.' These largesses probably enabled him to
+build his house about the year 1486, and are doubtless hinted at in the
+inscription, which I restored A.D. 1837; _it had no date_, and ran thus,
+URBIS . GENIO . JOANNES . DARIVS. In the Venetian history of Paolo
+Morosini, page 594, it is also mentioned, that Giovanni Dario was,
+moreover, the Secretary who concluded the peace between Mahomet, the
+conqueror of Constantinople, and Venice, A.D. 1478; but, unless he build
+his house by proxy, that date has nothing to do with it; and in my mind,
+the fact of the present, and the inscription, warrant one's dating it
+1486, and not 1450.
+
+"The Trevisan-Cappello House, in Canonica, was once the property (A.D.
+1578) of a Venetian dame, fond of cray-fish, according to a letter of
+hers in the archives, whereby she thanks one of her lovers for some
+which he had sent her from Treviso to Florence, of which she was then
+Grand Duchess. Her name has perhaps found its way into the English
+annuals. Did you ever hear of Bianca Cappello? She bought that house of
+the Trevisana family, by whom Selva (in Cicognara) and Fontana
+(following Selva) say it was ordered of the Lombardi, at the
+commencement of the sixteenth century: but the inscription on its
+facade, thus,
+
+  SOLI  | |  HONOR. ET
+  DEO   | |  GLORIA.
+
+reminding one both of the Dario House, and of the words NON NOBIS DOMINE
+inscribed on the facade of the Loredano Vendramin Palace at S. Marcuola
+(now the property of the Duchess of Berri), of which Selva found proof
+in the Vendramin Archives that it was commenced by Sante Lombardo, A.D.
+1481, is in favor of its being classed among the works of the fifteenth
+century."
+
+
+5. RENAISSANCE SIDE OF DUCAL PALACE.
+
+In passing along the Rio del Palazzo the traveller ought especially to
+observe the base of the Renaissance building, formed by alternately
+depressed and raised pyramids, the depressed portions being _casts_ of
+the projecting ones, which are truncated on the summits. The work cannot
+be called rustication, for it is cut as sharply and delicately as a
+piece of ivory, but it thoroughly answers the end which rustication
+proposes, and misses: it gives the base of the building a look of
+crystalline hardness, actually resembling, and that very closely, the
+appearance presented by the fracture of a piece of cap quartz; while yet
+the light and shade of its alternate recesses and projections are so
+varied as to produce the utmost possible degree of delight to the eye,
+attainable by a geometrical pattern so simple. Yet, with all this high
+merit, it is not a base which could be brought into general use. Its
+brilliancy and piquancy are here set off with exquisite skill by its
+opposition to mouldings, in the upper part of the building, of an almost
+effeminate delicacy, and its complexity is rendered delightful by its
+contrast with the ruder bases of the other buildings of the city; but it
+would look meagre if it were employed to sustain bolder masses above,
+and would become wearisome if the eye were once thoroughly familiarized
+with it by repetition.
+
+
+6. CHARACTER OF THE DOGE MICHELE MOROSINI.
+
+The following extracts from the letter of Count Charles Morosini, above
+mentioned, appear to set the question at rest.
+
+"It is our unhappy destiny that, during the glory of the Venetian
+republic, no one took the care to leave us a faithful and conscientious
+history: but I hardly know whether this misfortune should be laid to the
+charge of the historians themselves, or of those commentators who have
+destroyed their trustworthiness by new accounts of things, invented by
+themselves. As for the poor Morosini, we may perhaps save his honor by
+assembling a conclave of our historians, in order to receive their
+united sentence; for, in this case, he would have the absolute majority
+on his side, nearly all the authors bearing testimony to his love for
+his country and to the magnanimity of his heart. I must tell you that
+the history of Daru is not looked upon with esteem by well-informed men;
+and it is said that he seems to have no other object in view than to
+obscure the glory of all actions. I know not on what authority the
+English writer depends; but he has, perhaps, merely copied the statement
+of Daru.... I have consulted an ancient and authentic MS. belonging to
+the Venieri family, a MS. well known, and certainly better worthy of
+confidence than Daru's history, and it says nothing of M. Morosini but
+that he was elected Doge to the delight and joy of all men. Neither do
+the Savina or Dolfin Chronicles say a word of the shameful speculation;
+and our best informed men say that the reproach cast by some historians
+against the Doge perhaps arose from a mistaken interpretation of the
+words pronounced by him, and reported by Marin Sanuto, that 'the
+speculation would sooner or later have been advantageous to the
+country.' But this single consideration is enough to induce us to form a
+favorable conclusion respecting the honor of this man, namely, that he
+was not elected Doge until after he had been entrusted with many
+honorable embassies to the Genoese and Carrarese, as well as to the King
+of Hungary and Amadeus of Savoy; and if in these embassies he had not
+shown himself a true lover of his country, the republic not only would
+not again have entrusted him with offices so honorable, but would never
+have rewarded him with the dignity of Doge, therein to succeed such a
+man as Andrea Contarini; and the war of Chioggia, during which it is
+said that he tripled his fortune by speculations, took place during the
+reign of Contarini, 1379, 1380, while Morosini was absent on foreign
+embassies."
+
+
+7. MODERN EDUCATION.
+
+The following fragmentary notes on this subject have been set down at
+different times. I have been accidentally prevented from arranging them
+properly for publication, but there are one or two truths in them which
+it is better to express insufficiently than not at all.
+
+       *       *       *       *       *
+
+By a large body of the people of England and of Europe a man is called
+educated if he can write Latin verses and construe a Greek chorus. By
+some few more enlightened persons it is confessed that the construction
+of hexameters is not in itself an important end of human existence; but
+they say, that the general discipline which a course of classical
+reading gives to the intellectual powers, is the final object of our
+scholastical institutions.
+
+But it seems to me, there is no small error even in this last and more
+philosophical theory. I believe, that what it is most honorable to know,
+it is also most profitable to learn; and that the science which it is
+the highest power to possess, it is also the best exercise to acquire.
+
+And if this be so, the question as to what should be the materiel of
+education, becomes singularly simplified. It might be matter of dispute
+what processes have the greatest effect in developing the intellect; but
+it can hardly be disputed what facts it is most advisable that a man
+entering into life should accurately know.
+
+I believe, in brief, that he ought to know three things:
+
+  First.   Where he is.
+  Secondly.   Where he is going.
+  Thirdly.   What he had best do, under those circumstances.
+
+First. Where he is.--That is to say, what sort of a world he has got
+into; how large it is; what kind of creatures live in it, and how; what
+it is made of, and what may be made of it.
+
+Secondly. Where he is going.--That is to say, what chances or reports
+there are of any other world besides this; what seems to be the nature
+of that other world; and whether, for information respecting it, he had
+better consult the Bible, Koran, or Council of Trent.
+
+Thirdly. What he had best do under those circumstances.--That is to say,
+what kind of faculties he possesses; what are the present state and
+wants of mankind; what is his place in society; and what are the
+readiest means in his power of attaining happiness and diffusing it. The
+man who knows these things, and who has had his will so subdued in the
+learning them, that he is ready to do what he knows he ought, I should
+call educated; and the man who knows them not,--uneducated, though he
+could talk all the tongues of Babel.
+
+Our present European system of so-called education ignores, or despises,
+not one, nor the other, but all the three, of these great branches of
+human knowledge.
+
+First: It despises Natural History.--Until within the last year or two,
+the instruction in the physical sciences given at Oxford consisted of a
+course of twelve or fourteen lectures on the Elements of Mechanics or
+Pneumatics, and permission to ride out to Shotover with the Professor of
+Geology. I do not know the specialties of the system pursued in the
+academies of the Continent; but their practical result is, that unless a
+man's natural instincts urge him to the pursuit of the physical sciences
+too strongly to be resisted, he enters into life utterly ignorant of
+them. I cannot, within my present limits, even so much as count the
+various directions in which this ignorance does evil. But the main
+mischief of it is, that it leaves the greater number of men without the
+natural food which God intended for their intellects. For one man who is
+fitted for the study of words, fifty are fitted for the study of things,
+and were intended to have a perpetual, simple, and religious delight in
+watching the processes, or admiring the creatures, of the natural
+universe. Deprived of this source of pleasure, nothing is left to them
+but ambition or dissipation; and the vices of the upper classes of
+Europe are, I believe, chiefly to be attributed to this single cause.
+
+Secondly: It despises Religion.--I do not say it despises "Theology,"
+that is to say, _Talk_ about God. But it despises "Religion;" that is to
+say, the "binding" or training to God's service. There is much talk and
+much teaching in all our academies, of which the effect is not to bind,
+but to loosen, the elements of religious faith. Of the ten or twelve
+young men who, at Oxford, were my especial friends, who sat with me
+under the same lectures on Divinity, or were punished with me for
+missing lecture by being sent to evening prayers,[63] four are now
+zealous Romanists,--a large average out of twelve; and while thus our
+own universities profess to teach Protestantism, and do not, the
+universities on the Continent profess to teach Romanism, and do
+not,--sending forth only rebels and infidels. During long residence on
+the Continent, I do not remember meeting with above two or three young
+men, who either believed in revelation, or had the grace to hesitate in
+the assertion of their infidelity.
+
+Whence, it seems to me, we may gather one of two things; either that
+there is nothing in any European form of religion so reasonable or
+ascertained, as that it can be taught securely to our youth, or fastened
+in their minds by any rivets of proof which they shall not be able to
+loosen the moment they begin to think; or else, that no means are taken
+to train them in such demonstrable creeds.
+
+It seems to me the duty of a rational nation to ascertain (and to be at
+some pains in the matter) which of these suppositions is true; and, if
+indeed no proof can be given of any supernatural fact, or Divine
+doctrine, stronger than a youth just out of his teens can overthrow in
+the first stirrings of serious thought, to confess this boldly; to get
+rid of the expense of an Establishment, and the hypocrisy of a Liturgy;
+to exhibit its cathedrals as curious memorials of a by-gone
+superstition, and, abandoning all thoughts of the next world, to set
+itself to make the best it can of this.
+
+But if, on the other hand, there _does_ exist any evidence by which the
+probability of certain religious facts may be shown, as clearly, even,
+as the probabilities of things not absolutely ascertained in
+astronomical or geological science, let this evidence be set before all
+our youth so distinctly, and the facts for which it appears inculcated
+upon them so steadily, that although it may be possible for the evil
+conduct of after life to efface, or for its earnest and protracted
+meditation to modify, the impressions of early years, it may not be
+possible for our young men, the instant they emerge from their
+academies, to scatter themselves like a flock of wild fowl risen out of
+a marsh, and drift away on every irregular wind of heresy and apostasy.
+
+Lastly: Our system of European education despises Politics.--That is to
+say, the science of the relations and duties of men to each other. One
+would imagine, indeed, by a glance at the state of the world, that there
+was no such science. And, indeed, it is one still in its infancy.
+
+It implies, in its full sense, the knowledge of the operations of the
+virtues and vices of men upon themselves and society; the understanding
+of the ranks and offices of their intellectual and bodily powers in
+their various adaptations to art, science, and industry; the
+understanding of the proper offices of art, science, and labor
+themselves, as well as of the foundations of jurisprudence, and broad
+principles of commerce; all this being coupled with practical knowledge
+of the present state and wants of mankind.
+
+What, it will be said, and is all this to be taught to schoolboys? No;
+but the first elements of it, all that are necessary to be known by an
+individual in order to his acting wisely in any station of life, might
+be taught, not only to every schoolboy, but to every peasant. The
+impossibility of equality among men; the good which arises from their
+inequality; the compensating circumstances in different states and
+fortunes; the honorableness of every man who is worthily filling his
+appointed place in society, however humble; the proper relations of poor
+and rich, governor and governed; the nature of wealth, and mode of its
+circulation; the difference between productive and unproductive labor;
+the relation of the products of the mind and hand; the true value of
+works of the higher arts, and the possible amount of their production;
+the meaning of "Civilization," its advantages and dangers; the meaning
+of the term "Refinement;" the possibilities of possessing refinement in
+a low station, and of losing it in a high one; and, above all, the
+significance of almost every act of a man's daily life, in its ultimate
+operation upon himself and others;--all this might be, and ought to be,
+taught to every boy in the kingdom, so completely, that it should be
+just as impossible to introduce an absurd or licentious doctrine among
+our adult population, as a new version of the multiplication table. Nor
+am I altogether without hope that some day it may enter into the heads
+of the tutors of our schools to try whether it is not as easy to make an
+Eton boy's mind as sensitive to falseness in policy, as his ear is at
+present to falseness in prosody.
+
+I know that this is much to hope. That English ministers of religion
+should ever come to desire rather to make a youth acquainted with the
+powers of nature and of God, than with the powers of Greek particles;
+that they should ever think it more useful to show him how the great
+universe rolls upon its course in heaven, than how the syllables are
+fitted in a tragic metre; that they should hold it more advisable for
+him to be fixed in the principles of religion than in those of syntax;
+or, finally, that they should ever come to apprehend that a youth likely
+to go straight out of college into parliament, might not unadvisably
+know as much of the Peninsular as of the Peloponnesian War, and be as
+well acquainted with the state of Modern Italy as of old Etruria;--all
+this however unreasonably, I _do_ hope, and mean to work for. For though
+I have not yet abandoned all expectation of a better world than this, I
+believe this in which we live is not so good as it might be. I know
+there are many people who suppose French revolutions, Italian
+insurrections, Caffre wars, and such other scenic effects of modern
+policy, to be among the normal conditions of humanity. I know there are
+many who think the atmosphere of rapine, rebellion, and misery which
+wraps the lower orders of Europe more closely every day, is as natural a
+phenomenon as a hot summer. But God forbid! There are ills which flesh
+is heir to, and troubles to which man is born; but the troubles which he
+is born to are as sparks which fly _upward_, not as flames burning to
+the nethermost Hell. The Poor we must have with us always, and sorrow is
+inseparable from any hour of life; but we may make their poverty such as
+shall inherit the earth, and the sorrow, such as shall be hallowed by
+the hand of the Comforter, with everlasting comfort. We _can_, if we
+will but shake off this lethargy and dreaming that is upon us, and take
+the pains to think and act like men, we can, I say, make kingdoms to be
+like well-governed households, in which, indeed, while no care or
+kindness can prevent occasional heart-burnings, nor any foresight or
+piety anticipate all the vicissitudes of fortune, or avert every stroke
+of calamity, yet the unity of their affection and fellowship remains
+unbroken, and their distress is neither embittered by division,
+prolonged by imprudence, nor darkened by dishonor.
+
+       *       *       *       *       *
+
+The great leading error of modern times is the mistaking erudition for
+education. I call it the leading error, for I believe that, with little
+difficulty, nearly every other might be shown to have root in it; and,
+most assuredly, the worst that are fallen into on the subject of art.
+
+Education then, briefly, is the leading human souls to what is best, and
+making what is best out of them; and these two objects are always
+attainable together, and by the same means; the training which makes men
+happiest in themselves, also makes them most serviceable to others. True
+education, then, has respect, first to the ends which are proposable to
+the man, or attainable by him; and, secondly, to the material of which
+the man is made. So far as it is able, it chooses the end according to
+the material: but it cannot always choose the end, for the position of
+many persons in life is fixed by necessity; still less can it choose
+the material; and, therefore, all it can do, is to fit the one to the
+other as wisely as may be.
+
+But the first point to be understood, is that the material is as various
+as the ends; that not only one man is unlike another, but _every_ man is
+essentially different from _every_ other, so that no training, no
+forming, nor informing, will ever make two persons alike in thought or
+in power. Among all men, whether of the upper or lower orders, the
+differences are eternal and irreconcilable, between one individual and
+another, born under absolutely the same circumstances. One man is made
+of agate, another of oak; one of slate, another of clay. The education
+of the first is polishing; of the second, seasoning; of the third,
+rending; of the fourth, moulding. It is of no use to season the agate;
+it is vain to try to polish the slate; but both are fitted, by the
+qualities they possess, for services in which they may be honored.
+
+Now the cry for the education of the lower classes, which is heard every
+day more widely and loudly, is a wise and a sacred cry, provided it be
+extended into one for the education of _all_ classes, with definite
+respect to the work each man has to do, and the substance of which he is
+made. But it is a foolish and vain cry, if it be understood, as in the
+plurality of cases it is meant to be, for the expression of mere craving
+after knowledge, irrespective of the simple purposes of the life that
+now is, and blessings of that which is to come.
+
+One great fallacy into which men are apt to fall when they are reasoning
+on this subject is: that light, as such, is always good; and darkness,
+as such, always evil. Far from it. Light untempered would be
+annihilation. It is good to them that sit in darkness and in the shadow
+of death; but, to those that faint in the wilderness, so also is the
+shadow of the great rock in a weary land. If the sunshine is good, so
+also the cloud of the latter rain. Light is only beautiful, only
+available for life, when it is tempered with shadow; pure light is
+fearful, and unendurable by humanity. And it is not less ridiculous to
+say that the light, as such, is good in itself, than to say that the
+darkness is good in itself. Both are rendered safe, healthy, and useful
+by the other; the night by the day, the day by the night; and we could
+just as easily live without the dawn as without the sunset, so long as
+we are human. Of the celestial city we are told there shall be "no night
+there," and then we shall know even as also we are known: but the night
+and the mystery have both their service here; and our business is not to
+strive to turn the night into day, but to be sure that we are as they
+that watch for the morning.
+
+Therefore, in the education either of lower or upper classes, it matters
+not the least how much or how little they know, provided they know just
+what will fit them to do their work, and to be happy in it. What the sum
+or the nature of their knowledge ought to be at a given time or in a
+given case, is a totally different question: the main thing to be
+understood is, that a man is not educated, in any sense whatsoever,
+because he can read Latin, or write English, or can behave well in a
+drawingroom; but that he is only educated if he is happy, busy,
+beneficent, and effective in the world; that millions of peasants are
+therefore at this moment better educated than most of those who call
+themselves gentlemen; and that the means taken to "educate" the lower
+classes in any other sense may very often be productive of a precisely
+opposite result.
+
+Observe: I do not say, nor do I believe, that the lower classes ought
+not to be better educated, in millions of ways, than they are. I believe
+_every man in a Christian kingdom ought to be equally well educated_.
+But I would have it education to purpose; stern, practical,
+irresistible, in moral habits, in bodily strength and beauty, in all
+faculties of mind capable of being developed under the circumstances of
+the individual, and especially in the technical knowledge of his own
+business; but yet, infinitely various in its effort, directed to make
+one youth humble, and another confident; to tranquillize this mind, to
+put some spark of ambition into that; now to urge, and now to restrain:
+and in the doing of all this, considering knowledge as one only out of
+myriads of means in its hands, or myriads of gifts at its disposal; and
+giving it or withholding it as a good husbandman waters his garden,
+giving the full shower only to the thirsty plants, and at times when
+they are thirsty, whereas at present we pour it upon the heads of our
+youth as the snow falls on the Alps, on one and another alike, till they
+can bear no more, and then take honor to ourselves because here and
+there a river descends from their crests into the valleys, not
+observing that we have made the loaded hills themselves barren for ever.
+
+Finally: I hold it for indisputable, that the first duty of a state is
+to see that every child born therein shall be well housed, clothed, fed,
+and educated, till it attain years of discretion. But in order to the
+effecting this, the government must have an authority over the people of
+which we now do not so much as dream; and I cannot in this place pursue
+the subject farther.
+
+
+8. EARLY VENETIAN MARRIAGES.
+
+Galliciolli, lib. ii. Sec. 1757, insinuates a doubt of the general custom,
+saying "it would be more reasonable to suppose that only twelve maidens
+were married in public on St. Mark's day;" and Sandi also speaks of
+twelve only. All evidence, however, is clearly in favor of the popular
+tradition; the most curious fact connected with the subject being the
+mention, by Herodotus, of the mode of marriage practised among the
+Illyrian "Veneti" of his time, who presented their maidens for marriage
+on one day in each year; and, with the price paid for those who were
+beautiful, gave dowries to those who had no personal attractions.
+
+It is very curious to find the traces of this custom existing, though in
+a softened form, in Christian times. Still, I admit that there is little
+confidence to be placed in the mere concurrence of the Venetian
+Chroniclers, who, for the most part, copied from each other: but the
+best and most complete account I have read, is that quoted by
+Galliciolli from the "Matricola de' Casseleri," written in 1449; and, in
+that account, the words are quite unmistakable. "It was anciently the
+custom of Venice, that _all the brides_ (novizze) of Venice, when they
+married, should be married by the bishop, in the Church of S. Pietro di
+Castello, on St. Mark's day, which is the 31st of January." Rogers quotes
+Navagiero to the same effect; and Sansovino is more explicit still. "It
+was the custom to contract marriages openly; and when the deliberations
+were completed, the damsels assembled themselves in St. Pietro di
+Castello, for the feast of St. Mark, in February."
+
+
+9. CHARACTER OF THE VENETIAN ARISTOCRACY.
+
+The following noble answer of a Venetian ambassador, Giustiniani, on the
+occasion of an insult offered him at the court of Henry the Eighth, is
+as illustrative of the dignity which there yet remained in the character
+and thoughts of the Venetian noble, as descriptive, in few words, of the
+early faith and deeds of his nation. He writes thus to the Doge, from
+London, on the 15th of April, 1516:
+
+"By my last, in date of the 30th ult., I informed you that the
+countenances of some of these lords evinced neither friendship nor
+goodwill, and that much language had been used to me of a nature
+bordering not merely on arrogance, but even on outrage; and not having
+specified this in the foregoing letters, I think fit now to mention it
+in detail. Finding myself at the court, and talking familiarly about
+other matters, two lay lords, great personages in this kingdom, inquired
+of me 'whence it came that your Excellency was of such slippery faith,
+now favoring one party and then the other?' Although these words ought
+to have irritated me, I answered them with all discretion, 'that you did
+keep, and ever had kept your faith; the maintenance of which has placed
+you in great trouble, and subjected you to wars of longer duration than
+you would otherwise have experienced; descending to particulars in
+justification of your Sublimity.' Whereupon one of them replied, '_Isti
+Veneti sunt piscatores._'[64] Marvellous was the command I then had over
+myself in not giving vent to expressions which might have proved
+injurious to your Signory; and with extreme moderation I rejoined, 'that
+had he been at Venice, and seen our Senate, and the Venetian nobility,
+he perhaps would not speak thus; and moreover, were he well read in our
+history, both concerning the origin of our city and the grandeur of your
+Excellency's feats, neither the one nor the other would seem to him
+those of fishermen; yet,' said I, 'did fishermen found the Christian
+faith, and we have been those fishermen who defended it against the
+forces of the Infidel, our fishing-boats being galleys and ships, our
+hooks the treasure of St. Mark, and our bait the life-blood of our
+citizens, who died for the Christian faith.'"
+
+I take this most interesting passage from a volume of despatches
+addressed from London to the Signory of Venice, by the ambassador
+Giustiniani, during the years 1516-1519; despatches not only full of
+matters of historical interest, but of the most delightful every-day
+description of all that went on at the English court. They were
+translated by Mr. Brown from the original letters, and will, I believe,
+soon be published, and I hope also, read and enjoyed: for I cannot close
+these volumes without expressing a conviction, which has long been
+forcing itself upon my mind, that _restored_ history is of little more
+value than restored painting or architecture; that the only history
+worth reading is that written at the time of which it treats, the
+history of what was done and seen, heard out of the mouths of the men
+who did and saw. One fresh draught of such history is worth more than a
+thousand volumes of abstracts, and reasonings, and suppositions, and
+theories; and I believe that, as we get wiser, we shall take little
+trouble about the history of nations who have left no distinct records
+of themselves, but spend our time only in the examination of the
+faithful documents which, in any period of the world, have been left,
+either in the form of art or literature, portraying the scenes, or
+recording the events, which in those days were actually passing before
+the eyes of men.
+
+
+10. FINAL APPENDIX.
+
+The statements respecting the dates of Venetian buildings made
+throughout the preceding pages, are founded, as above stated, on careful
+and personal examination of all the mouldings, or other features
+available as evidence, of every palace of importance in the city. Three
+parts, at least, of the time occupied in the completion of the work have
+been necessarily devoted to the collection of these evidences, of which
+it would be quite useless to lay the mass before the reader; but of
+which the leading points must be succinctly stated, in order to show the
+nature of my authority for any of the conclusions expressed in the text.
+
+I have therefore collected in the plates which illustrate this article
+of the Appendix, for the examination of any reader who may be interested
+by them, as many examples of the evidence-bearing details as are
+sufficient for the proof required, especially including all the
+exceptional forms; so that the reader may rest assured that if I had
+been able to lay before him all the evidence in my possession, it would
+have been still more conclusive than the portion now submitted to him.
+
+[Illustration: Plate V.
+               BYZANTINE BASES.]
+
+We must examine in succession the Bases, Doorways and Jambs, Capitals,
+Archivolts, Cornices, and Tracery Bars, of Venetian architecture.
+
+
+  _I. Bases._
+
+The principal points we have to notice are the similarity and simplicity
+of the Byzantine bases in general, and the distinction between those of
+Torcello and Murano, and of St. Mark's, as tending to prove the early
+dates attributed in the text to the island churches. I have sufficiently
+illustrated the forms of the Gothic bases in Plates X., XI., and XIII.
+of the first volume, so that I here note chiefly the Byzantine or
+Romanesque ones, adding two Gothic forms for the sake of comparison.
+
+The most characteristic examples, then, are collected in Plate V.
+opposite; namely:
+
+            1, 2, 3, 4. In the upper gallery of apse of Murano.
+            5. Lower shafts of apse. Murano.
+            6. Casa Falier.
+            7. Small shafts of panels. Casa Farsetti.
+            8. Great shafts and plinth. Casa Farsetti.
+            9. Great lower shafts. Fondaco de' Turchi.
+           10. Ducal Palace, upper arcade.
+ PLATE V.  11. General late Gothic form.
+ Vol. III. 12. Tomb of Dogaressa Vital Michele, in St. Mark's atrium.
+           13. Upper arcade of Madonnetta House.
+           14. Rio-Foscari House.
+           15. Upper arcade. Terraced House.
+           16, 17, 18. Nave. Torcello.
+           19, 20. Transepts. St. Mark's.
+           21. Nave. St. Mark's.
+           22. External pillars of northern portico. St. Mark's.
+           23, 24. Clustered pillars of northern portico. St. Mark's.
+           25, 26. Clustered pillars of southern portico. St. Mark's.
+
+Now, observe, first, the enormous difference in style between the bases
+1 to 5, and the rest in the upper row, that is to say, between the bases
+of Murano and the twelfth and thirteenth century bases of Venice; and,
+secondly, the difference between the bases 16 to 20 and the rest in the
+lower row, that is to say, between the bases of Torcello (with those of
+St. Mark's which belong to the nave, and which may therefore be supposed
+to be part of the earlier church), and the later ones of the St. Mark's
+Facade.
+
+Secondly: Note the fellowship between 5 and 6, one of the evidences of
+the early date of the Casa Falier.
+
+Thirdly: Observe the slurring of the upper roll into the cavetto, in 13,
+14, and 15, and the consequent relationship established between three
+most important buildings, the Rio-Foscari House, Terraced House, and
+Madonnetta House.
+
+Fourthly: Byzantine bases, if they have an incision between the upper
+roll and cavetto, are very apt to approach the form of fig. 23, in which
+the upper roll is cut out of the flat block, and the ledge beneath it is
+sloping. Compare Nos. 7, 8, 9, 21, 22, 23, 24, 25, 26. On the other
+hand, the later Gothic base, 11, has always its upper roll well
+developed, and, generally, the fillet between it and the cavetto
+vertical. The sloping fillet is indeed found down to late periods; and
+the vertical fillet, as in No. 12, in Byzantine ones; but still, when a
+base has such a sloping fillet and peculiarly graceful sweeping cavetto,
+as those of No. 10, looking as if they would run into one line with each
+other, it is strong presumptive evidence of its belonging to an early,
+rather than a late period.
+
+The base 12 is the boldest example I could find of the exceptional form
+in early times; but observe, in this, that the upper roll is larger than
+the lower. This is _never_ the case in late Gothic, where the proportion
+is always as in fig. 11. Observe that in Nos. 8 and 9 the upper rolls
+are at least as large as the lower, an important evidence of the dates
+of the Casa Farsetti and Fondaco de' Turchi.
+
+Lastly: Note the peculiarly steep profile of No. 22, with reference to
+what is said of this base in Vol. II. Appendix 9.
+
+
+  _II. Doorways and Jambs._
+
+The entrances to St. Mark's consist, as above mentioned, of great
+circular or ogee porches; underneath which the real open entrances, in
+which the valves of the bronze doors play, are square headed.
+
+[Illustration: Fig. I.]
+
+The mouldings of the jambs of these doors are highly curious, and the
+most characteristic are therefore represented in one view. The outsides
+of the jambs are lowest.
+
+  _a_. Northern lateral door.
+  _b_. First northern door of the facade.
+  _c_. Second door of the facade.
+  _d_. Fourth door of the facade.
+  _e_. Central door of the facade.
+
+I wish the reader especially to note the arbitrary character of the
+curves and incisions; all evidently being drawn by hand, none being
+segments of circles, none like another, none influenced by any visible
+law. I do not give these mouldings as beautiful; they are, for the most
+part, very poor in effect, but they are singularly characteristic of the
+free work of the time.
+
+The kind of door to which these mouldings belong, is shown, with the
+other groups of doors, in Plate XIV. Vol. II. fig. 6 _a_. Then 6 _b_, 6
+_c_, 6 _d_ represent the groups of doors in which the Byzantine
+influence remained energetic, admitting slowly the forms of the pointed
+Gothic; 7 _a_, with the gable above, is the intermediate group between
+the Byzantine and Gothic schools; 7 _b_, 7 _c_, 7 _d_, 7 _e_ are the
+advanced guards of the Gothic and Lombardic invasions, representative of
+a large number of thirteenth century arcades and doors. Observe that 6
+_d_ is shown to be of a late school by its finial, and 6 _e_ of the
+latest school by its finial, complete ogee arch (instead of round or
+pointed), and abandonment of the lintel.
+
+These examples, with the exception of 6 _a_, which is a general form,
+are all actually existing doors; namely:
+
+  6 _b._ In the Fondamenta Venier, near St. Maria della Salute.
+  6 _c._ In the Calle delle Botteri, between the Rialto and San Cassan.
+  6 _d._ Main door of San Gregorio.
+  6 _e._ Door of a palace in Rio San Paternian.
+  7 _a._ Door of a small courtyard near house of Marco Polo.
+  7 _b._ Arcade in narrow canal, at the side of Casa Barbaro.
+  7 _c._ At the turn of the canal, close to the Ponte dell' Angelo.
+  7 _d._ In Rio San Paternian (a ruinous house).
+  7 _e._ At the turn of the canal on which the Sotto Portico della Stua
+           opens, near San Zaccaria.
+
+If the reader will take a magnifying glass to the figure 6 _d_, he will
+see that its square ornaments, of which, in the real door, each contains
+a rose, diminish to the apex of the arch; a very interesting and
+characteristic circumstance, showing the subtle feeling of the Gothic
+builders. They must needs diminish the ornamentation, in order to
+sympathize with the delicacy of the point of the arch. The magnifying
+glass will also show the Bondumieri shield in No. 7 _d_, and the Leze
+shield in No. 7 _e_, both introduced on the keystones in the grand early
+manner. The mouldings of these various doors will be noticed under the
+head Archivolt.
+
+[Illustration: Plate VI.
+               BYZANTINE JAMBS.]
+
+Now, throughout the city we find a number of doors resembling the square
+doors of St. Mark, and occurring with rare exceptions either in
+buildings of the Byzantine period, or imbedded in restored houses;
+never, in a single instance, forming a connected portion of any late
+building; and they therefore furnish a most important piece of evidence,
+wherever they are part of the original structure of a _Gothic_ building,
+that such building is one of the advanced guards of the Gothic school,
+and belongs to its earliest period.
+
+On Plate VI., opposite, are assembled all the important examples I could
+find in Venice of these mouldings. The reader will see at a glance their
+peculiar character, and unmistakable likeness to each other. The
+following are the references:
+
+            1. Door in Calle Mocenigo.
+            2. Angle of tomb of Dogaressa Vital Michele.
+            3. Door in Sotto Portico, St. Apollonia (near Ponte di
+                  Canonica).
+            4. Door in Calle della Verona (another like it is close by).
+            5. Angle of tomb of Doge Marino Morosini.
+            6, 7. Door in Calle Mocenigo.
+            8. Door in Campo S. Margherita.
+ Plate VI.  9. Door at Traghetto San Samuele, on south side of Grand
+ Vol. III.       Canal.
+           10. Door at Ponte St. Toma.
+           11. Great door of Church of Servi.
+           12. In Calle della Chiesa, Campo San Filippo e Giacomo.
+           13. Door of house in Calle di Rimedio (Vol. II.).
+           14. Door in Fondaco de' Turchi.
+           15. Door in Fondamenta Malcanton, near Campo S. Margherita.
+           16. Door in south side of Canna Reggio.
+           17, 18. Doors in Sotto Portico dei Squellini.
+
+The principal points to be noted in these mouldings are their curious
+differences of level, as marked by the dotted lines, more especially in
+14, 15, 16, and the systematic projection of the outer or lower
+mouldings in 16, 17, 18. Then, as points of evidence, observe that 1 is
+the jamb and 6 the archivolt (7 the angle on a larger scale) of the
+brick door given in my folio work from Ramo di rimpetto Mocenigo, one of
+the evidences of the early date of that door; 8 is the jamb of the door
+in Campo Santa Margherita (also given in my folio work), fixing the
+early date of that also; 10 is from a Gothic door opening off the Ponte
+St. Toma; and 11 is also from a Gothic building. All the rest are from
+Byzantine work, or from ruins. The angle of the tomb of Marino Morosini
+(5) is given for comparison only.
+
+The doors with the mouldings 17, 18, are from the two ends of a small
+dark passage, called the Sotto Portico dei Squellini, opening near Ponte
+Cappello, on the Rio-Marin: 14 is the outside one, arranged as usual,
+and at _a_, in the rough stone, are places for the staples of the door
+valve; 15, at the other end of the passage, opening into the little
+Corte dei Squellini, is set with the part _a_ outwards, it also having
+places for hinges; but it is curious that the rich moulding should be
+set in towards the dark passage, though natural that the doors should
+both open one way.
+
+[Illustration: Plate VII.
+               GOTHIC JAMBS.]
+
+The next Plate, VII., will show the principal characters of the Gothic
+jambs, and the total difference between them and the Byzantine ones. Two
+more Byzantine forms, 1 and 2, are given here for the sake of
+comparison; then 3, 4, and 5 are the common profiles of simple jambs of
+doors in the Gothic period; 6 is one of the jambs of the Frari windows,
+continuous into the archivolt, and meeting the traceries, where the line
+is set upon it at the extremity of its main slope; 7 and 8 are jambs of
+the Ducal Palace windows, in which the great semicircle is the half
+shaft which sustains the traceries, and the rest of the profile is
+continuous in the archivolt; 17, 18, and 19 are the principal piers of
+the Ducal Palace; and 20, from St. Fermo of Verona, is put with them in
+order to show the step of transition from the Byzantine form 2 to the
+Gothic chamfer, which is hardly represented at Venice. The other
+profiles on the plate are all late Gothic, given to show the gradual
+increase of complexity without any gain of power. The open lines in 12,
+14, 16, etc., are the parts of the profile cut into flowers or cable
+mouldings; and so much incised as to show the constant outline of the
+cavetto or curve beneath them. The following are the references:
+
+             1. Door in house of Marco Polo.
+             2. Old door in a restored church of St. Cassan.
+             3, 4, 5. Common jambs of Gothic doors.
+             6. Frari windows.
+             7, 8. Ducal Palace windows.
+             9. Casa Priuli, great entrance.
+            10. San Stefano, great door.
+ PLATE VII. 11. San Gregorio, door opening to the water.
+ Vol. III.  12. Lateral door, Frari.
+            13. Door of Campo San Zaccaria.
+            14. Madonna dell'Orto.
+            15. San Gregorio, door in the facade.
+            16. Great lateral door, Frari.
+            17. Pilaster at Vine angle, Ducal Palace.
+            18. Pier, inner cortile, Ducal Palace.
+            19. Pier, under the medallion of Venice, on the Piazetta
+                  facade of the Ducal Palace.
+
+
+  _III. Capitals._
+
+I shall here notice the various facts I have omitted in the text of the
+work.
+
+First, with respect to the Byzantine Capitals represented in Plate VII.
+Vol. II., I omitted to notice that figs. 6 and 7 represent two sides of
+the same capital at Murano (though one is necessarily drawn on a smaller
+scale than the other). Fig. 7 is the side turned to the light, and fig.
+6 to the shade, the inner part, which is quite concealed, not being
+touched at all.
+
+We have here a conclusive proof that these capitals were cut for their
+place in the apse; therefore I have always considered them as tests of
+Venetian workmanship, and, on the strength of that proof, have
+occasionally spoken of capitals as of true Venetian work, which M.
+Lazari supposes to be of the Lower Empire. No. 11, from St. Mark's, was
+not above noticed. The way in which the cross is gradually left in
+deeper relief as the sides slope inwards and away from it, is highly
+picturesque and curious.
+
+No. 9 has been reduced from a larger drawing, and some of the life and
+character of the curves lost in consequence. It is chiefly given to show
+the irregular and fearless freedom of the Byzantine designers, no two
+parts of the foliage being correspondent; in the original it is of white
+marble, the ground being colored blue.
+
+Plate X. Vol. II. represents the four principal orders of Venetian
+capitals in their greatest simplicity, and the profiles of the most
+interesting examples of each. The figures 1 and 4 are the two great
+concave and convex groups, and 2 and 3 the transitional. Above each type
+of form I have put also an example of the group of flowers which
+represent it in nature: fig. 1 has a lily; fig. 2 a variety of the
+Tulipa sylvestris; figs. 3 and 4 forms of the magnolia. I prepared this
+plate in the early spring, when I could not get any other examples,[65]
+or I would rather have had two different species for figs. 3 and 4; but
+the half-open magnolia will answer the purpose, showing the beauty of
+the triple curvature in the sides.
+
+I do not say that the forms of the capitals are actually taken from
+flowers, though assuredly so in some instances, and partially so in the
+decoration of nearly all. But they were designed by men of pure and
+natural feeling for beauty, who therefore instinctively adopted the
+forms represented, which are afterwards proved to be beautiful by their
+frequent occurrence in common flowers.
+
+The convex forms, 3 and 4, are put lowest in the plate only because they
+are heaviest; they are the earliest in date, and have already been
+enough examined.
+
+I have added a plate to this volume (Plate XII.), which should have
+appeared in illustration of the fifth chapter of Vol. II., but was not
+finished in time. It represents the central capital and two of the
+lateral ones of the Fondaco de' Turchi, the central one drawn very
+large, in order to show the excessive simplicity of its chiselling,
+together with the care and sharpness of it, each leaf being expressed by
+a series of sharp furrows and ridges. Some slight errors in the large
+tracings from which the engraving was made have, however, occasioned a
+loss of spring in the curves, and the little fig. 4 of Plate X. Vol. II.
+gives a truer idea of the distant effect of the capital.
+
+The profiles given in Plate X. Vol. II. are the following:
+
+       1. _a._ Main capitals, upper arcade, Madonnetta House.
+          _b._ Main capitals, upper arcade, Casa Falier.
+          _c._ Lateral capitals, upper arcade, Fondaco de' Turchi.
+          _d._ Small pillars of St. Mark's Pulpit.
+          _e._ Casa Farsetti.
+          _f._ Inner capitals of arcade of Ducal Palace.
+          _g._ Plinth of the house[66] at Apostoli.
+          _h._ Main capitals of house at Apostoli.
+          _i._ Main capitals, upper arcade, Fondaco de' Turchi.
+       2. _a._ Lower arcade, Fondaco de' Turchi.
+          _b, c._ Lower pillars, house at Apostoli.
+          _d._ San Simeon Grande.
+ PLATE X. _e._ Restored house on Grand Canal. Three of the old arches left.
+ vol. II. _f._ Upper arcade, Ducal Palace.
+          _g._ Windows of third order, central shaft, Ducal Palace.
+          _h._ Windows of third order, lateral shaft, Ducal Palace.
+          _i._ Ducal Palace, main shafts.
+          _k._ Piazzetta shafts.
+       3. _a._ St. Mark's Nave.
+          _b, c._ Lily capitals, St. Mark's.
+       4. _a._ Fondaco de' Turchi, central shaft, upper arcade.
+          _b._ Murano, upper arcade.
+          _c._ Murano, lower arcade.
+          _d._ Tomb of St. Isidore.
+          _e._ General late Gothic profile.
+
+The last two sections are convex in effect, though not in reality; the
+bulging lines being carved into bold flower-work.
+
+The capitals belonging to the groups 1 and 2, in the Byzantine times,
+have already been illustrated in Plate VIII. Vol. II.; we have yet to
+trace their succession in the Gothic times. This is done in Plate II. of
+this volume, which we will now examine carefully. The following are the
+capitals represented in that plate:
+
+           1. Small shafts of St. Mark's Pulpit.
+           2. From the transitional house in the Calle di Rimedio (conf.
+                Vol. II.).
+           3. General simplest form of the middle Gothic capital.
+           4. Nave of San Giacomo de Lorio.
+           5. Casa Falier.
+           6. Early Gothic house in Campo Sta. M^a. Mater Domini.
+ PLATE II. 7. House at the Apostoli.
+ Vol. III. 8. Piazzetta shafts.
+           9. Ducal Palace, upper arcade.
+          10. Palace of Marco Querini.
+          11. Fondaco de' Turchi.
+          12. Gothic palaces in Campo San Polo.
+          13. Windows of fourth order, Plate XVI. Vol. II.
+          14. Nave of Church of San Stefano.
+          15. Late Gothic Palace at the Miracoli.
+
+The two lateral columns form a consecutive series: the central column is
+a group of exceptional character, running parallel with both. We will
+take the lateral ones first. 1. Capital of pulpit of St. Mark's
+(representative of the simplest concave forms of the Byzantine period).
+Look back to Plate VIII. Vol. II., and observe that while all the forms
+in that plate are contemporaneous, we are now going to follow a series
+_consecutive_ in time, which begins from fig. 1, either in that plate or
+in this; that is to say, with the simplest possible condition to be
+found at the time; and which proceeds to develope itself into gradually
+increasing richness, while the _already rich_ capitals of the old school
+die at its side. In the forms 14 and 15 (Plate VIII.) the Byzantine
+school expired; but from the Byzantine simple capital (1, Plate II.
+above) which was coexistent with them, sprang another hardy race of
+capitals, whose succession we have now to trace.
+
+The form 1, Plate II. is evidently the simplest conceivable condition of
+the truncated capital, long ago represented generally in Vol. I., being
+only rounded a little on its side to fit it to the shaft. The next step
+was to place a leaf beneath each of the truncations (fig. 4, Plate II.,
+San Giacomo de Lorio), the end of the leaf curling over at the top in a
+somewhat formal spiral, partly connected with the traditional volute of
+the Corinthian capital. The sides are then enriched by the addition of
+some ornament, as a shield (fig. 7) or rose (fig. 10), and we have the
+formed capital of the early Gothic. Fig. 10, being from the palace of
+Marco Querini, is certainly not later than the middle of the thirteenth
+century (see Vol. II.), and fig. 7, is, I believe, of the same date; it
+is one of the bearing capitals of the lower story of the palace at the
+Apostoli, and is remarkably fine in the treatment of its angle leaves,
+which are not deeply under-cut, but show their magnificent sweeping
+under surface all the way down, not as a leaf surface, but treated like
+the gorget of a helmet, with a curved line across it like that where the
+gorget meets the mail. I never saw anything finer in simple design. Fig.
+10 is given chiefly as a certification of date, and to show the
+treatment of the capitals of this school on a small scale. Observe the
+more expansive head in proportion to the diameter of the shaft, the
+leaves being drawn from the angles, as if gathered in the hand, till
+their edges meet; and compare the rule given in Vol. I. Chap. IX. Sec.
+XIV. The capitals of the remarkable house, of which a portion is
+represented in Fig. XXXI. Vol. II., are most curious and pure examples of
+this condition; with experimental trefoils, roses, and leaves introduced
+between their volutes. When compared with those of the Querini Palace,
+they form one of the most important evidences of the date of the
+building.
+
+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 mediaeval 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.
+
+Nothing can be more beautiful or original than the adaptation of these
+broad bearing abaci; but as they have nothing to do with the capital
+itself, and could not easily be brought into the space, they are omitted
+in Plate II., where fig. 8 shows the bell of the capital only. Its
+profile is curiously subtle,--apparently concave everywhere, but in
+reality concave (all the way down) only on the angles, and slightly
+convex at the sides (the profile through the side being 2 _k_, Plate X.
+Vol. II.); in this subtlety of curvature, as well as in the simple
+cross, showing the influence of early times.
+
+The leaf on the angle, of which more presently, is fig. 5, Plate XX.
+Vol. II.
+
+Connected with this school of transitional capitals we find a form in
+the later Gothic, such as fig. 14, from the Church of San Stefano; but
+which appears in part derived from an old and rich Byzantine type, of
+which fig. 11, from the Fondaco de' Turchi, is a characteristic example.
+
+I must now take the reader one step farther, and ask him to examine,
+finally, the treatment of the leaves, down to the cutting of their most
+minute lobes, in the series of capitals of which we have hitherto only
+sketched the general forms.
+
+In all capitals with nodding leaves, such as 6 and 9 in Plate II., the
+real form of the leaf is not to be seen, except in perspective; but, in
+order to render the comparison more easy, I have in Plate XX. Vol. II.
+opened all the leaves out, as if they were to be dried in a herbarium,
+only leaving the furrows and sinuosities of surface, but laying the
+outside contour nearly flat upon the page, except for a particular
+reason in figs. 2, 10, 11, and 15.
+
+I shall first, as usual, give the references, and then note the points
+of interest.
+
+           1, 2, 3. Fondaco de' Turchi, upper arcade.
+           4. Greek pillars brought from St. Jean d'Acre.
+           5. Piazzetta shafts.
+           6. Madonnetta House.
+ PLATE XX. 7. Casa Falier.
+  Vol. II. 8. Palace near St. Eustachio.
+           9. Tombs, outside of St. John and Paul.
+          10. Tomb of Giovanni Soranzo.
+          11. Tomb of Andrea Dandolo.
+          12, 13, 14. Ducal Palace.
+
+N.B. The upper row, 1 to 4, is Byzantine, the next transitional, the
+last two Gothic.
+
+Fig. 1. The leaf of the capital No. 6, Plate VIII. Vol. II. Each lobe of
+the leaf has a sharp furrow up to its point, from its root.
+
+Fig. 2. The leaf of the capital on the right hand, at the top of Plate
+XII. in this volume. The lobes worked in the same manner, with deep
+black drill holes between their points.
+
+Fig. 3. One of the leaves of fig. 14, Plate VIII. Vol. II. fully
+unfolded. The lobes worked in the same manner, but left shallow, so as
+not to destroy the breadth of light; the central line being drawn by
+drill holes, and the interstices between lobes cut black and deep.
+
+Fig. 4. Leaf with flower; pure Byzantine work, showing whence the
+treatment of all the other leaves has been derived.
+
+Fig. 6. For the sake of symmetry, this is put in the centre: it is the
+earliest of the three in this row; taken from the Madonnetta House,
+where the capitals have leaves both at their sides and angles. The tall
+angle leaf, with its two lateral ones, is given in the plate; and there
+is a remarkable distinction in the mode of workmanship of these leaves,
+which, though found in a palace of the Byzantine period, is indicative
+of a tendency to transition; namely, that the sharp furrow is now drawn
+_only to the central lobe_ of each division of the leaf, and the rest of
+the surface of the leaf is left nearly flat, a slight concavity only
+marking the division of the extremities. At the base of these leaves
+they are perfectly flat, only cut by the sharp and narrow furrow, as an
+elevated table-land is by ravines.
+
+Fig. 5. A more advanced condition; the fold at the recess, between each
+division of the leaf, carefully expressed, and the concave or depressed
+portions of the extremities marked more deeply, as well as the central
+furrow, and a rib added in the centre.
+
+Fig. 7. A contemporary, but more finished form; the sharp furrows
+becoming softer, and the whole leaf more flexible.
+
+Fig. 8. An exquisite form of the same period, but showing still more
+advanced naturalism, from a very early group of third order windows,
+near the Church of St. Eustachio on the Grand Canal.
+
+Fig. 9. Of the same time, from a small capital of an angle shaft of the
+sarcophagi at the _side_ of St. John and Paul, in the little square
+which is adorned by the Colleone statue. This leaf is very quaint and
+pretty in giving its midmost lateral divisions only two lobes each,
+instead of the usual three or four.
+
+Fig. 10. Leaf employed in the cornice of the tomb of the Doge Giovanni
+Soranzo, who died in 1312. It nods over, and has three ribs on its upper
+surface; thus giving us the completed ideal form of the leaf, but its
+execution is still very archaic and severe.
+
+Now the next example, fig. 11, is from the tomb of the Doge Andrea
+Dandolo, and therefore executed between 1354 and 1360; and this leaf
+shows the Gothic naturalism and refinement of curvature fully developed.
+In this forty years' interval, then, the principal advance of Gothic
+sculpture is to be placed.
+
+I had prepared a complete series of examples, showing this advance, and
+the various ways in which the separations of the ribs, a most
+characteristic feature, are more and more delicately and scientifically
+treated, from the beginning to the middle of the fourteenth century, but
+I feared that no general reader would care to follow me into these
+minutiae, and have cancelled this portion of the work, at least for the
+present, the main point being, that the reader should feel the full
+extent of the change, which he can hardly fail to do in looking from
+fig. 10 to figs. 11 and 12. I believe that fig. 12 is the earlier of the
+two; and it is assuredly the finer, having all the elasticity and
+simplicity of the earliest forms, with perfect flexibility added. In
+fig. 11 there is a perilous element beginning to develope itself into
+one feature, namely, the extremities of the leaves, which, instead of
+merely nodding over, now curl completely round into a kind of ball. This
+occurs early, and in the finest Gothic work, especially in cornices and
+other running mouldings: but it is a fatal symptom, a beginning of the
+intemperance of the later Gothic, and it was followed out with singular
+avidity; the ball of coiled leafage increasing in size and complexity,
+and at last becoming the principal feature of the work; the light
+striking on its vigorous projection, as in fig. 14. Nearly all the
+Renaissance Gothic of Venice depends upon these balls for effect, a late
+capital being generally composed merely of an upper and lower range of
+leaves terminating in this manner.
+
+It is very singular and notable how, in this loss of _temperance_, there
+is loss of _life_. For truly healthy and living leaves do not bind
+themselves into knots at the extremities. They bend, and wave, and nod,
+but never curl. It is in disease, or in death, by blight, or frost, or
+poison only, that leaves in general assume this ingathered form. It is
+the flame of autumn that has shrivelled them, or the web of the
+caterpillar that has bound them: and thus the last forms of the Venetian
+leafage set forth the fate of Venetian pride; and, in their utmost
+luxuriance and abandonment, perish as if eaten of worms.
+
+And now, by glancing back to Plate X. Vol. II, the reader will see in a
+moment the kind of evidence which is found of the date of capitals in
+their profiles merely. Observe: we have seen that the treatment of the
+leaves in the Madonnetta House seemed "indicative of a tendency to
+transition." Note their profile, 1_a_, and its close correspondence with
+1 _h_, which is actually of a transitional capital from the upper arcade
+of second order windows in the Apostoli Palace; yet both shown to be
+very close to the Byzantine period, if not belonging to it, by their
+fellowship with the profile _i_, from the Fondaco de' Turchi. Then note
+the close correspondence of all the other profiles in that line, which
+belong to the concave capitals or plinths of the Byzantine palaces, and
+note their composition, the abacus being, in idea, merely an echo or
+reduplication of the capital itself; as seen in perfect simplicity in
+the profile _f_, which is a roll under a _tall_ concave curve forming
+the bell of the capital, with a roll and _short_ concave curve for its
+abacus. This peculiar abacus is an unfailing test of early date; and our
+finding this simple profile used for the Ducal Palace (_f_), is strongly
+confirmatory of all our former conclusions.
+
+Then the next row, 2, are the Byzantine and early Gothic semi-convex
+curves, in their pure forms, having no roll below; but often with a roll
+added, as at _f_, and in certain early Gothic conditions curiously fused
+into it, with a cavetto between, as _b_, _c_, _d_. But the more archaic
+form is as at _f_ and _k_; and as these two profiles are from the Ducal
+Palace and Piazzetta shafts, they join again with the rest of the
+evidence of their early date. The profiles _i_ and _k_ are both most
+beautiful; _i_ is that of the great capitals of the Ducal Palace, and
+the small profiles between it and _k_ are the varieties used on the
+fillet at its base. The profile _i_ should have had leaves springing
+from it, as 1 _h_ has, only more boldly, but there was no room for them.
+
+The reader cannot fail to discern at a glance the fellowship of the
+whole series of profiles, 2 _a_ to _k_, nor can he but with equal ease
+observe a marked difference in 4 _d_ and 4 _e_ from any others in the
+plate; the bulging outlines of leafage being indicative of the luxuriant
+and flowing masses, no longer expressible with a simple line, but to be
+considered only as confined within it, of the later Gothic. Now _d_ is a
+dated profile from the tomb of St. Isidore, 1355, which by its dog-tooth
+abacus and heavy leafage distinguishes itself from all the other
+profiles, and therefore throws them back into the first half of the
+century. But, observe, it still retains the noble swelling root. This
+character soon after vanishes; and, in 1380, the profile _e_, at once
+heavy, feeble, and ungraceful, with a meagre and valueless abacus hardly
+discernible, is characteristic of all the capitals of Venice.
+
+Note, finally, this contraction of the abacus. Compare 4 _c_, which is
+the earliest form in the plate, from Murano, with 4 _e_, which is the
+latest. The other profiles show the gradual process of change; only
+observe, in 3_a_ the abacus is not drawn; it is so bold that it would
+not come into the plate without reducing the bell curve to too small a
+scale.
+
+So much for the evidence derivable from the capitals; we have next to
+examine that of the archivolts or arch mouldings.
+
+[Illustration: Plate VIII.
+               BYZANTINE ARCHIVOLTS.]
+
+
+  _IV. Archivolts._
+
+In Plate VIII., opposite, are arranged in one view all the conditions of
+Byzantine archivolt employed in Venice, on a large scale. It will be
+seen in an instant that there can be no mistaking the manner of their
+masonry. The soffit of the arch is the horizontal line at the bottom of
+all these profiles, and each of them (except 13, 14) is composed of two
+slabs of marble, one for the soffit, another for the face of the arch;
+the one on the soffit is worked on the edge into a roll (fig. 10) or
+dentil (fig. 9), and the one on the face is bordered on the other side
+by another piece let edgeways into the wall, and also worked into a roll
+or dentil: in the richer archivolts a cornice is added to this roll, as
+in figs. 1 and 4, or takes its place, as in figs. 1, 3, 5, and 6; and in
+such richer examples the facestone, and often the soffit, are
+sculptured, the sculpture being cut into their surfaces, as indicated in
+fig. 11. The concavities cut in the facestones of 1, 2, 4, 5, 6 are all
+indicative of sculpture in effect like that of Fig. XXVI. Vol. II., of
+which archivolt fig. 5, here, is the actual profile. The following are
+the references to the whole:
+
+             1. Rio-Foscari House.
+             2. Terraced House, entrance door.
+             3. Small Porticos of St. Mark's, external arches.
+             4. Arch on the canal at Ponte St. Toma.
+             5. Arch of Corte del Remer.
+             6. Great outermost archivolt of central door, St. Mark's.
+ PLATE VIII. 7. Inner archivolt of southern porch, St. Mark's Facade.
+  Vol. III.  8. Inner archivolt of central entrance, St. Mark's.
+             9. Fondaco de' Turchi, main arcade.
+            10. Byzantine restored house on Grand Canal, lower arcade.
+            11. Terraced House, upper arcade.
+            12. Inner archivolt of northern porch of facade, St. Mark's.
+            13 and 14. Transitional forms.
+
+[Illustration: Plate IX.
+               GOTHIC ARCHIVOLTS.]
+
+There is little to be noted respecting these forms, except that, in fig.
+1, the two lower rolls, with the angular projections between, represent
+the fall of the mouldings of two proximate arches on the abacus of the
+bearing shaft; their two cornices meeting each other, and being
+gradually narrowed into the little angular intermediate piece, their
+sculptures being slurred into the contracted space, a curious proof of
+the earliness of the work. The real archivolt moulding is the same as
+fig. 4 _c c_, including only the midmost of the three rolls in fig. 1.
+
+It will be noticed that 2, 5, 6, and 8 are sculptured on the soffits as
+well as the faces; 9 is the common profile of arches decorated only with
+colored marble, the facestone being colored, the soffit white. The
+effect of such a moulding is seen in the small windows at the right hand
+of Fig. XXVI. Vol. II.
+
+The reader will now see that there is but little difficulty in
+identifying Byzantine work, the archivolt mouldings being so similar
+among themselves, and so unlike any others. We have next to examine the
+Gothic forms.
+
+Figs. 13 and 14 in Plate VIII. represent the first brick mouldings of
+the transitional period, occurring in such instances as Fig. XXIII. or
+Fig. XXXIII. Vol. II. (the soffit stone of the Byzantine mouldings being
+taken away), and this profile, translated into solid stone, forms the
+almost universal moulding of the windows of the second order. These two
+brick mouldings are repeated, for the sake of comparison, at the top of
+Plate IX. opposite; and the upper range of mouldings which they
+commence, in that plate, are the brick mouldings of Venice in the early
+Gothic period. All the forms below are in stone; and the moulding 2,
+translated into stone, forms the universal archivolt of the early
+pointed arches of Venice, and windows of second and third orders. The
+moulding 1 is much rarer, and used for the most part in doors only.
+
+The reader will see at once the resemblance of character in the various
+flat brick mouldings, 3 to 11. They belong to such arches as 1 and 2 in
+Plate XVII. Vol. II.; or 6 _b_, 6 _c_, in Plate XIV. Vol. II., 7 and 8
+being actually the mouldings of those two doors; the whole group being
+perfectly defined, and separate from all the other Gothic work in
+Venice, and clearly the result of an effort to imitate, in brickwork,
+the effect of the flat sculptured archivolts of the Byzantine times.
+(See Vol. II. Chap. VII. Sec. XXXVII.)
+
+Then comes the group 14 to 18 in stone, derived from the mouldings 1 and
+2; first by truncation, 14; then by beading the truncated angle, 15, 16.
+The occurrence of the profile 16 in the three beautiful windows
+represented in the uppermost figure of Plate XVIII. Vol. I. renders that
+group of peculiar interest, and is strong evidence of its antiquity.
+Then a cavetto is added, 17; first shallow and then deeper, 18, which is
+the common archivolt moulding of the central Gothic door and window:
+but, in the windows of the early fourth order, this moulding is
+complicated by various additions of dog-tooth mouldings under the
+dentil, as in 20; or the _gabled_ dentil (see fig. 20, Plate IX. Vol.
+I), as fig. 21; or both, as figs 23, 24. All these varieties expire in
+the advanced period, and the established moulding for windows is 29. The
+intermediate group, 25 to 28, I found only in the high windows of the
+third order in the Ducal Palace, or in the Chapter-house of the Frari,
+or in the arcades of the Ducal Palace; the great outside lower arcade of
+the Ducal Palace has the profile 31, the left-hand side being the
+innermost.
+
+Now observe, all these archivolts, without exception, assume that the
+spectator looks from the outside only: none are complete on both sides;
+they are essentially _window_ mouldings, and have no resemblance to
+those of our perfect Gothic arches prepared for traceries. If they were
+all completely drawn in the plate, they should be as fig. 25, having a
+great depth of wall behind the mouldings, but it was useless to
+represent this in every case. The Ducal Palace begins to show mouldings
+on both sides, 28, 31; and 35 is a _complete_ arch moulding from the
+apse of the Frari. That moulding, though so perfectly developed, is
+earlier than the Ducal Palace, and with other features of the building,
+indicates the completeness of the Gothic system, which made the
+architect of the Ducal Palace found his work principally upon that
+church.
+
+The other examples in this plate show the various modes of combination
+employed in richer archivolts. The triple change of slope in 38 is very
+curious. The references are as follows:
+
+            1. Transitional to the second order.
+            2. Common second order.
+            3. Brick, at Corte del Forno, Round arch.
+            4. Door at San Giovanni Grisostomo.
+            5. Door at Sotto Portico della Stua.
+            6. Door in Campo St. Luca, of rich brickwork.
+            7. Round door at Fondamenta Venier.
+            8. Pointed door. Fig. 6_c_, Plate XIV. Vol. II.
+            9. Great pointed arch, Salizzada San Lio.
+           10. Round door near Fondaco de' Turchi.
+           11. Door with Lion, at Ponte della Corona.
+           12. San Gregorio, Facade.
+           13. St. John and Paul, Nave.
+           14. Rare early fourth order, at San Cassan.
+           15. General early Gothic archivolt.
+           16. Same, from door in Rio San G. Grisostomo.
+           17. Casa Vittura.
+           18. Casa Sagredo, Unique thirds. Vol. II.
+           19. Murano Palace, Unique fourths.[67]
+ PLATE IX. 20. Pointed door of Four-Evangelist House.[68]
+ Vol. III. 21. Keystone door in Campo St. M. Formosa.
+           22. Rare fourths, at St. Pantaleon.
+           23. Rare fourths, Casa Papadopoli.
+           24. Rare fourths, Chess house.[69]
+           25. Thirds of Frari Cloister.
+           26. Great pointed arch of Frari Cloister.
+           27. Unique thirds, Ducal Palace.
+           28. Inner Cortile, pointed arches, Ducal Palace.
+           29. Common fourth and fifth order Archivolt.
+           30. Unique thirds, Ducal Palace.
+           31. Ducal Palace, lower arcade.
+           32. Casa Priuli, arches in the inner court.
+           33. Circle above the central window, Ducal Palace.
+           34. Murano apse.
+           35. Acute-pointed arch, Frari.
+           36. Door of Accademia delle belle Arti.
+           37. Door in Calle Tiossi, near Four-Evangelist House.
+           38. Door in Campo San Polo.
+           39. Door of palace at Ponte Marcello.
+           40. Door of a palace close to the Church of the Miracoli.
+
+
+  _V. Cornices._
+
+Plate X. represents, in one view, the cornices or string-courses of
+Venice, and the abaci of its capitals, early and late; these two
+features being inseparably connected, as explained in Vol. I.
+
+The evidence given by these mouldings is exceedingly clear. The two
+upper lines in the Plate, 1-11, 12-24, are all plinths from Byzantine
+buildings. The reader will at once observe their unmistakable
+resemblances. The row 41 to 50 are contemporary abaci of capitals; 52,
+53, 54, 56, are examples of late Gothic abaci; and observe, especially,
+these are all rounded at the _top_ of the cavetto, but the Byzantine
+abaci are rounded, if at all, at the _bottom_ of the cavetto (see 7, 8,
+9, 10, 20, 28, 46). Consider what a valuable test of date this is, in
+any disputable building.
+
+Again, compare 28, 29, one from St. Mark's, the other from the Ducal
+Palace, and observe the close resemblance, giving farther evidence of
+early date in the palace.
+
+25 and 50 are drawn to the same scale. The former is the wall-cornice,
+the latter the abacus of the great shafts, in the Casa Loredan; the one
+passing into the other, as seen in Fig. XXVIII. Vol. I. It is curious to
+watch the change in proportion, while the moulding, all but the lower
+roll, remains the same.
+
+[Illustration: Plate X.
+               CORNICES AND ABACI.]
+
+The following are the references:
+
+            1. Common plinth of St. Mark's.
+            2. Plinth above lily capitals, St. Mark's.
+            3, 4. Plinths in early surface Gothic.
+            5. Plinth of door in Campo St. Luca.
+            6. Plinth of treasury door, St. Mark's.
+            7. Archivolts of nave, St. Mark's.
+            8. Archivolts of treasury door, St. Mark's.
+            9. Moulding of circular window in St. John and Paul.
+           10. Chief decorated narrow plinth, St. Mark's.
+           11. Plinth of door, Campo St. Margherita.
+           12. Plinth of tomb of Doge Vital Falier.
+           13. Lower plinth, Fondaco de' Turchi, and Terraced House.
+           14. Running plinth of Corte del Remer.
+           15. Highest plinth at top of Fondaco de' Turchi.
+           16. Common Byzantine plinth.
+           17. Running plinth of Casa Falier.
+           18. Plinth of arch at Ponte St. Toma.
+           19, 20, 21. Plinths of tomb of Doge Vital Falier.
+           22. Plinth of window in Calle del Pistor.
+           23. Plinth of tomb of Dogaressa Vital Michele.
+           24. Archivolt in the Frari.
+           25. Running plinth, Casa Loredan.
+           26. Running plinth, under pointed arch, in Salizzada San Lio.
+           27. Running plinth, Casa Erizzo.
+ PLATE X.  28. Circles in portico of St. Mark's.
+ Vol. III. 29. Ducal Palace cornice, lower arcade.
+           30. Ducal Palace cornice, upper arcade.
+           31. Central Gothic plinth.
+           32. Late Gothic plinth.
+           33. Late Gothic plinth, Casa degli Ambasciatori.
+           34. Late Gothic plinth, Palace near the Jesuiti.
+           35, 36. Central balcony cornice.
+           37. Plinth of St. Mark's balustrade.
+           38. Cornice of the Frari, in brick, cabled.
+           39. Central balcony plinth.
+           40. Uppermost cornice, Ducal Palace.
+           41. Abacus of lily capitals, St. Mark's.
+           42. Abacus, Fondaco de' Turchi.
+           43. Abacus, large capital of Terraced House.
+           44. Abacus, Fondaco de' Turchi.
+           45. Abacus, Ducal Palace, upper arcade.
+           46. Abacus, Corte del Remer.
+           47. Abacus, small pillars, St. Mark's pulpit.
+           48. Abacus, Murano and Torcello.
+           49. Abacus, Casa Farsetti.
+           50. Abacus, Casa Loredan, lower story.
+           51. Abacus, capitals of Frari.
+           52. Abacus, Casa Cavalli (plain).
+           53. Abacus, Casa Priuli (flowered).
+           54. Abacus, Casa Foscari (plain).
+           55. Abacus, Casa Priuli (flowered).
+           56. Abacus, Plate II. fig. 15.
+           57. Abacus, St. John and Paul.
+           58. Abacus, St. Stefano.
+
+It is only farther to be noted, that these mouldings are used in various
+proportions, for all kinds of purposes: sometimes for true cornices;
+sometimes for window-sills; sometimes, 3 and 4 (in the Gothic time)
+especially, for dripstones of gables: 11 and such others form little
+plinths or abaci at the spring of arches, such as those shown at _a_,
+Fig. XXIII. Vol. II. Finally, a large number of superb Byzantine
+cornices occur, of the form shown at the top of the arch in Plate V.
+Vol. II., having a profile like 16 or 19 here; with nodding leaves of
+acanthus thrown out from it, being, in fact, merely one range of the
+leaves of a Byzantine capital unwrapped, and formed into a continuous
+line. I had prepared a large mass of materials for the illustration of
+these cornices, and the Gothic ones connected with them; but found the
+subject would take up another volume, and was forced, for the present,
+to abandon it. The lower series of profiles, 7 to 12 in Plate XV. Vol.
+I, shows how the leaf-ornament is laid on the simple early cornices.
+
+
+  _VI. Traceries._
+
+We have only one subject more to examine, the character of the early and
+late Tracery Bars.
+
+The reader may perhaps have been surprised at the small attention given
+to traceries in the course of the preceding volumes: but the reason is,
+that there are no _complicated_ traceries at Venice belonging to the
+good Gothic time, with the single exception of those of the Casa
+Cicogna; and the magnificent arcades of the Ducal Palace Gothic are so
+simple as to require little explanation.
+
+There are, however, two curious circumstances in the later traceries;
+the first, that they are universally considered by the builder (as the
+old Byzantines considered sculptured surfaces of stone) as material out
+of which a certain portion is _to be cut_, to fill his window. A fine
+Northern Gothic tracery is a complete and systematic arrangement of
+arches and foliation, _adjusted_ to the form of the window; but a
+Venetian tracery is a piece of a larger composition, cut to the shape of
+the window. In the Porta della Carta, in the Church of the Madonna
+dell'Orto, in the Casa Bernardo on the Grand Canal, in the old Church of
+the Misericordia, and wherever else there are rich traceries in Venice,
+it will always be found that a certain arrangement of quatrefoils and
+other figures has been planned as if it were to extend indefinitely into
+miles of arcade; and out of this colossal piece of marble lace, a piece
+in the shape of a window is cut, mercilessly and fearlessly: whatever
+fragments and odd shapes of interstice, remnants of this or that figure
+of the divided foliation, may occur at the edge of the window, it
+matters not; all are cut across, and shut in by the great outer
+archivolt.
+
+It is very curious to find the Venetians treating what in other
+countries became of so great individual importance, merely as a kind of
+diaper ground, like that of their chequered colors on the walls. There
+is great grandeur in the idea, though the system of their traceries was
+spoilt by it: but they always treated their buildings as masses of color
+rather than of line; and the great traceries of the Ducal Palace itself
+are not spared any more than those of the minor palaces. They are cut
+off at the flanks in the middle of the quatrefoils, and the terminal
+mouldings take up part of the breadth of the poor half of a quatrefoil
+at the extremity.
+
+One other circumstance is notable also. In good Northern Gothic the
+tracery bars are of a constant profile, the same on both sides; and if
+the plan of the tracery leaves any interstices so small that there is
+not room for the full profile of the tracery bar all round them, those
+interstices are entirely closed, the tracery bars being supposed to have
+met each other. But in Venice, if an interstice becomes anywhere
+inconveniently small, the tracery bar is sacrificed; cut away, or in
+some way altered in profile, in order to afford more room for the light,
+especially in the early traceries, so that one side of a tracery bar is
+often quite different from the other. For instance, in the bars 1 and 2,
+Plate XI., from the Frari and St. John and Paul, the uppermost side is
+towards a great opening, and there was room for the bevel or slope to
+the cusp; but in the other side the opening was too small, and the bar
+falls vertically to the cusp. In 5 the uppermost side is to the narrow
+aperture, and the lower to the small one; and in fig. 9, from the Casa
+Cicogna, the uppermost side is to the apertures of the tracery, the
+lowermost to the arches beneath, the great roll following the design of
+the tracery; while 13 and 14 are left without the roll at the base of
+their cavettos on the uppermost sides, which are turned to narrow
+apertures. The earliness of the Casa Cicogna tracery is seen in a moment
+by its being moulded on the face only. It is in fact nothing more than a
+series of quatrefoiled apertures in the solid wall of the house, with
+mouldings on their faces, and magnificent arches of pure pointed fifth
+order sustaining them below.
+
+[Illustration: Plate XI.
+               TRACERY BARS.]
+
+The following are the references to the figures in the plate:
+
+            1. Frari.
+            2. Apse, St. John and Paul.
+            3. Frari.
+            4. Ducal Palace, inner court, upper window.
+            5. Madonna dell'Orto.
+            6. St. John and Paul.
+            7. Casa Bernardo.
+            8. Casa Contarini Fasan.
+            9. Casa Cicogna.
+           10. 11. Frari.
+           12. Murano Palace (see note, p. 265).
+ PLATE XI. 13. Misericordia.
+ Vol. III. 14. Palace of the younger Foscari.[70]
+           15. Casa d'Oro; great single windows.
+           16. Hotel Danieli.
+           17. Ducal Palace.
+           18. Casa Erizzo, on Grand Canal.
+           19. Main story, Casa Cavalli.
+           20. Younger Foscari.
+           21. Ducal Palace, traceried windows.
+           22. Porta della Carta.
+           23. Casa d'Oro.
+           24. Casa d'Oro, upper story.
+           25. Casa Facanon.
+           26. Casa Cavalli, near Post-Office.
+
+It will be seen at a glance that, except in the very early fillet
+traceries of the Frari and St. John and Paul, Venetian work consists of
+roll traceries of one general pattern. It will be seen also, that 10 and
+11 from the Frari, furnish the first examples of the form afterwards
+completely developed in 17, the tracery bar of the Ducal Palace; but
+that this bar differs from them in greater strength and squareness, and
+in adding a recess between its smaller roll and the cusp. Observe, that
+this is done for strength chiefly; as, in the contemporary tracery (21)
+of the upper windows, no such additional thickness is used.
+
+Figure 17 is slightly inaccurate. The little curved recesses behind the
+smaller roll are not equal on each side; that next the cusp is smallest,
+being about 5/8 of an inch, while that next the cavetto is about 7/8; to
+such an extent of subtlety did the old builders carry their love of
+change.
+
+The return of the cavetto in 21, 23, and 26, is comparatively rare, and
+is generally a sign of later date.
+
+[Illustration: Fig. II.]
+
+[Illustration: Fig. III.]
+
+The reader must observe that the great sturdiness of the form of the
+bars, 5, 9, 17, 24, 25, is a consequence of the peculiar office of
+Venetian traceries in supporting the mass of the building above, already
+noticed in Vol. II.; and indeed the forms of the Venetian Gothic are,
+in many other ways, influenced by the difficulty of obtaining stability
+on sandy foundations. One thing is especially noticeable in all their
+arrangements of traceries; namely, the endeavor to obtain equal and
+horizontal pressure along the whole breadth of the building, not the
+divided and local pressures of Northern Gothic. This object is
+considerably aided by the structure of the balconies, which are of great
+service in knitting the shafts together, forming complete tie-beams of
+marble, as well as a kind of rivets, at their bases. For instance, at
+_b_, Fig. II., is represented the masonry of the base of the upper
+arcade of the Ducal Palace, showing the root of one of its main shafts,
+with the binding balconies. The solid stones which form the foundation
+are much broader than the balcony shafts, so that the socketed
+arrangement is not seen: it is shown as it would appear in a
+longitudinal section. The balconies are not let into the circular
+shafts, but fitted to their circular curves, so as to grasp them, and
+riveted with metal; and the bars of stone which form the tops of the
+balconies are of great strength and depth, the small trefoiled arches
+being cut out of them as in Fig. III., so as hardly to diminish their
+binding power. In the lighter independent balconies they are often cut
+deeper; but in all cases the bar of stone is nearly independent of the
+small shafts placed beneath it, and would stand firm though these were
+removed, as at _a_, Fig. II., supported either by the main shafts of
+the traceries, or by its own small pilasters with semi-shafts at their
+sides, of the plan _d_, Fig. II., in a continuous balcony, and _e_ at
+the angle of one.
+
+There is one more very curious circumstance illustrative of the Venetian
+desire to obtain horizontal pressure. In all the Gothic staircases with
+which I am acquainted, out of Venice, in which vertical shafts are used
+to support an inclined line, those shafts are connected by arches rising
+each above the other, with a little bracket above the capitals, on the
+side where it is necessary to raise the arch; or else, though less
+gracefully, with a longer curve to the lowest side of the arch.
+
+But the Venetians seem to have had a morbid horror of arches which were
+not _on a level_. They could not endure the appearance of the roof of
+one arch bearing against the side of another; and rather than introduce
+the idea of obliquity into bearing curves, they abandoned the arch
+principle altogether; so that even in their richest Gothic staircases,
+where trefoiled arches, exquisitely decorated, are used on the landings,
+they ran the shafts on the sloping stair simply into the bar of stone
+above them, and used the excessively ugly and valueless arrangement of
+Fig. II., rather than sacrifice the sacred horizontality of their arch
+system.
+
+[Illustration: Fig. IV.]
+
+It will be noted, in Plate XI., that the form and character of the
+tracery bars themselves are independent of the position or projection of
+the cusps on their flat sides. In this respect, also, Venetian traceries
+are peculiar, the example 22 of the Porta della Carta being the only one
+in the plate which is subordinated according to the Northern system. In
+every other case the form of the aperture is determined, either by a
+flat and solid cusp as in 6, or by a pierced cusp as in 4. The effect of
+the pierced cusp is seen in the uppermost figure, Plate XVIII. Vol. II.;
+and its derivation from the solid cusp will be understood, at once, from
+the woodcut Fig. IV., which represents a series of the flanking stones
+of any arch of the fifth order, such as _f_ in Plate III. Vol. I.
+
+[Illustration: Fig. V.]
+
+The first on the left shows the condition of cusp in a perfectly simple
+and early Gothic arch, 2 and 3 are those of common arches of the fifth
+order, 4 is the condition in more studied examples of the Gothic
+advanced guard, and 5 connects them all with the system of traceries.
+Introducing the common archivolt mouldings on the projecting edge of 2
+and 3, we obtain the bold and deep fifth order window, used down to the
+close of the fourteenth century or even later, and always grand in its
+depth of cusp, and consequently of shadow; but the narrow cusp 4 occurs
+also in very early work, and is piquant when set beneath a bold flat
+archivolt, as in Fig. V., from the Corte del Forno at Santa Marina. The
+pierced cusp gives a peculiar lightness and brilliancy to the window,
+but is not so sublime. In the richer buildings the surface of the flat
+and solid cusp is decorated with a shallow trefoil (see Plate VIII. Vol.
+I.), or, when the cusp is small, with a triangular incision only, as
+seen in figs. 7 and 8, Plate XI. The recesses on the sides of the other
+cusps indicate their single or double lines of foliation. The cusp of
+the Ducal Palace has a fillet only round its edge, and a ball of red
+marble on its truncated point, and is perfect in its grand simplicity;
+but in general the cusps of Venice are far inferior to those of Verona
+and of the other cities of Italy, chiefly because there was always some
+confusion in the mind of the designer between true cusps and the mere
+bending inwards of the arch of the fourth order. The two series, 4 _a_
+to 4 _e_, and 5 _a_ to 5 _e_, in Plate XIV. Vol. II., are arranged so as
+to show this connexion, as well as the varieties of curvature in the
+trefoiled arches of the fourth and fifth orders, which, though
+apparently slight on so small a scale, are of enormous importance in
+distant effect; a house in which the joints of the cusps project as much
+as in 5 _c_, being quite piquant and grotesque when compared with one in
+which the cusps are subdued to the form 5 _b_. 4 _d_ and 4 _e_ are
+Veronese forms, wonderfully effective and spirited; the latter occurs at
+Verona only, but the former at Venice also. 5 _d_ occurs in Venice, but
+is very rare; and 5 _e_ I found only once, on the narrow canal close to
+the entrance door of the Hotel Danieli. It was partly walled up, but I
+obtained leave to take down the brickwork and lay open one side of the
+arch, which may still be seen.
+
+       *       *       *       *       *
+
+The above particulars are enough to enable the reader to judge of the
+distinctness of evidence which the details of Venetian architecture bear
+to its dates. Farther explanation of the plates would be vainly tedious:
+but the architect who uses these volumes in Venice will find them of
+value, in enabling him instantly to class the mouldings which may
+interest him; and for this reason I have given a larger number of
+examples than would otherwise have been sufficient for my purpose.
+
+
+FOOTNOTES:
+
+  [58] "Olim _magistri_ prothi palatii nostri novi."--_Cadorin_, p. 127.
+
+  [59] A print, dated 1585, barbarously inaccurate, as all prints were
+    at that time, but still in some respects to be depended upon,
+    represents all the windows on the facade full of traceries; and the
+    circles above, between them, occupied by quatrefoils.
+
+  [60] "Lata tanto, quantum est ambulum existens super columnis versus
+    canale respicientibus."
+
+  [61] Bettio, p. 28.
+
+  [62] In the bombardment of Venice in 1848, hardly a single palace
+    escaped without three or four balls through its roof: three came
+    into the Scuola di San Rocco, tearing their way through the pictures
+    of Tintoret, of which the ragged fragments were still hanging from
+    the ceiling in 1851; and the shells had reached to within a hundred
+    yards of St. Mark's Church itself, at the time of the capitulation.
+
+  [63] A _Mohammedan_ youth is punished, I believe, for such
+    misdemeanors, by being _kept away_ from prayers.
+
+  [64] "Those Venetians are fishermen."
+
+  [65] I am afraid that the kind friend, Lady Trevelyan, who helped me
+    to finish this plate, will not like to be thanked here; but I cannot
+    let her send into Devonshire for magnolias, and draw them for me,
+    _without_ thanking her.
+
+  [66] That is, the house in the parish of the Apostoli, on the Grand
+    Canal, noticed in Vol. II.; and see also the Venetian Index, under
+    head "Apostoli."
+
+  [67] Close to the bridge over the main channel through Murano is a
+    massive foursquare Gothic palace, containing some curious traceries,
+    and many _unique_ transitional forms of window, among which these
+    windows of the fourth order occur, with a roll within their dentil
+    band.
+
+  [68] Thus, for the sake of convenience, we may generally call the
+    palace with the emblems of the Evangelists on its spandrils, Vol.
+    II.
+
+  [69] The house with chequers like a chess-board on its spandrils,
+    given in my folio work.
+
+  [70] The palace next the Casa Foscari, on the Grand Canal, sometimes
+    said to have belonged to the son of the Doge.
+
+
+
+
+INDICES.
+
+   I. PERSONAL INDEX.  |  III. TOPICAL INDEX.
+  II. LOCAL INDEX.     |   IV. VENETIAN INDEX.
+
+The first of the following Indices contains the names of persons; the
+second those of places (not in Venice) alluded to in the body of the
+work. The third Index consists of references to the subjects touched
+upon. In the fourth, called the Venetian Index, I have named every
+building of importance in the city of Venice itself, or near it;
+supplying, for the convenience of the traveller, short notices of those
+to which I had no occasion to allude in the text of the work; and making
+the whole as complete a guide as I could, with such added directions as
+I should have given to any private friend visiting the city. As,
+however, in many cases, the opinions I have expressed differ widely from
+those usually received; and, in other instances, subjects which may be
+of much interest to the traveller have not come within the scope of my
+inquiry; the reader had better take Lazari's small Guide in his hand
+also, as he will find in it both the information I have been unable to
+furnish, and the expression of most of the received opinions upon any
+subject of art.
+
+Various inconsistencies will be noticed in the manner of indicating the
+buildings, some being named in Italian, some in English, and some half
+in one, and half in the other. But these inconsistencies are permitted
+in order to save trouble, and make the Index more practically useful.
+For instance, I believe the traveller will generally look for "Mark,"
+rather than for "Marco," when he wishes to find the reference to St.
+Mark's Church; but I think he will look for Rocco, rather than for Roch,
+when he is seeking for the account of the Scuola di San Rocco. So also I
+have altered the character in which the titles of the plates are
+printed, from the black letter in the first volume, to the plain Roman
+in the second and third; finding experimentally that the former
+character was not easily legible, and conceiving that the book would be
+none the worse for this practical illustration of its own principles, in
+a daring sacrifice of symmetry to convenience.
+
+These alphabetical Indices will, however, be of little use, unless
+another, and a very different kind of Index, be arranged in the mind of
+the reader; an Index explanatory of the principal purposes and contents
+of the various parts of this essay. It is difficult to analyze the
+nature of the reluctance with which either a writer or painter takes it
+upon him to explain the meaning of his own work, even in cases where,
+without such explanation, it must in a measure remain always disputable:
+but I am persuaded that this reluctance is, in most instances, carried
+too far; and that, wherever there really is a serious purpose in a book
+or a picture, the author does wrong who, either in modesty or vanity
+(both feelings have their share in producing the dislike of personal
+interpretation), trusts entirely to the patience and intelligence of the
+readers or spectators to penetrate into their significance. At all
+events, I will, as far as possible, spare such trouble with respect to
+these volumes, by stating here, finally and clearly, both what they
+intend and what they contain; and this the rather because I have lately
+noticed, with some surprise, certain reviewers announcing as a
+discovery, what I thought had lain palpably on the surface of the book,
+namely, that "if Mr. Ruskin be right, all the architects, and all the
+architectural teaching of the last three hundred years, must have been
+wrong." That is indeed precisely the fact; and the very thing I meant to
+say, which indeed I thought I had said over and over again. I believe
+the architects of the last three centuries to have been wrong; wrong
+without exception; wrong totally, and from the foundation. This is
+exactly the point I have been endeavoring to prove, from the beginning
+of this work to the end of it. But as it seems not yet to have been
+stated clearly enough, I will here try to put my entire theorem into an
+unmistakable form.
+
+The various nations who attained eminence in the arts before the time of
+Christ, each of them, produced forms of architecture which in their
+various degrees of merit were almost exactly indicative of the degrees
+of intellectual and moral energy of the nations which originated them;
+and each reached its greatest perfection at the time when the true
+energy and prosperity of the people who had invented it were at their
+culminating point. Many of these various styles of architecture were
+good, considered in relation to the times and races which gave birth to
+them; but none were absolutely good or perfect, or fitted for the
+practice of all future time.
+
+The advent of Christianity for the first time rendered possible the full
+development of the soul of man, and therefore the full development of
+the arts of man.
+
+Christianity gave birth to a new architecture, not only immeasurably
+superior to all that had preceded it, but demonstrably the best
+architecture that _can_ exist; perfect in construction and decoration,
+and fit for the practice of all time.
+
+This architecture, commonly called "Gothic," though in conception
+perfect, like the theory of a Christian character, never reached an
+actual perfection, having been retarded and corrupted by various adverse
+influences; but it reached its highest perfection, hitherto manifested,
+about the close of the thirteenth century, being then indicative of a
+peculiar energy in the Christian mind of Europe.
+
+In the course of the fifteenth century, owing to various causes which I
+have endeavored to trace in the preceding pages, the Christianity of
+Europe was undermined; and a Pagan architecture was introduced, in
+imitation of that of the Greeks and Romans.
+
+The architecture of the Greeks and Romans themselves was not good, but
+it was natural; and, as I said before, good in some respects, and for a
+particular time.
+
+But the imitative architecture introduced first in the fifteenth
+century, and practised ever since, was neither good nor natural. It was
+good in no respect, and for no time. All the architects who have built
+in that style have built what was worthless; and therefore the greater
+part of the architecture which has been built for the last three hundred
+years, and which we are now building, is worthless. We must give up this
+style totally, despise it and forget it, and build henceforward only in
+that perfect and Christian style hitherto called Gothic, which is
+everlastingly the best.
+
+This is the theorem of these volumes.
+
+In support of this theorem, the first volume contains, in its first
+chapter, a sketch of the actual history of Christian architecture, up to
+the period of the Reformation; and, in the subsequent chapters, an
+analysis of the entire system of the laws of architectural construction
+and decoration, deducing from those laws positive conclusions as to the
+best forms and manners of building for all time.
+
+The second volume contains, in its first five chapters, an account of
+one of the most important and least known forms of Christian
+architecture, as exhibited in Venice, together with an analysis of its
+nature in the fourth chapter; and, which is a peculiarly important part
+of this section, an account of the power of color over the human mind.
+
+The sixth chapter of the second volume contains an analysis of the
+nature of Gothic architecture, properly so called, and shows that in its
+external form it complies precisely with the abstract laws of structure
+and beauty, investigated in the first volume. The seventh and eighth
+chapters of the second volume illustrate the nature of Gothic
+architecture by various Venetian examples. The third volume
+investigates, in its first chapter, the causes and manner of the
+corruption of Gothic architecture; in its second chapter, defines the
+nature of the Pagan architecture which superseded it; in the third
+chapter, shows the connexion of that Pagan architecture with the various
+characters of mind which brought about the destruction of the Venetian
+nation; and, in the fourth chapter, points out the dangerous tendencies
+in the modern mind which the practice of such an architecture indicates.
+
+Such is the intention of the preceding pages, which I hope will no more
+be doubted or mistaken. As far as regards the manner of its fulfilment,
+though I hope, in the course of other inquiries, to add much to the
+elucidation of the points in dispute, I cannot feel it necessary to
+apologize for the imperfect handling of a subject which the labor of a
+long life, had I been able to bestow it, must still have left
+imperfectly treated.
+
+
+
+
+I.
+
+PERSONAL INDEX.
+
+
+    A
+
+  Alberti, Duccio degli, his tomb, iii. 74, 80.
+  Alexander III., his defence by Venetians, i. 7.
+  Ambrose, St., his verbal subtleties, ii. 320.
+  Angelico, Fra, artistical power of, i. 400; his influence on
+    Protestants, ii. 105; his coloring, ii. 145.
+  Aristotle, his evil influence on the modern mind, ii. 319.
+  Averulinus, his book on architecture, iii. 63.
+
+
+    B
+
+  Barbaro, monuments of the family, iii. 125.
+  Barbarossa, Emperor, i. 7, 9.
+  Baseggio, Pietro, iii. 199.
+  Bellini, John, i. 11; his kindness to Albert Durer, i. 383; general
+    power of, see Venetian Index, under head "Giovanni Grisostomo;"
+    Gentile, his brother, iii. 21.
+  Berti, Bellincion, ii. 263.
+  Browning, Elizabeth B., her poetry, ii. 206.
+  Bunsen, Chevalier, his work on Romanesque Churches, ii. 381.
+  Bunyan, John, his portraiture of constancy, ii. 333; of patience, ii.
+    334; of vanity, ii. 346; of sin, iii. 147.
+
+
+    C
+
+  Calendario, Filippo, iii. 199.
+  Canaletto, i. 24; and see Venetian Index under head "Carita."
+  Canova, i. 217; and see Venetian Index under head "Frari."
+  Cappello, Vincenzo, his tomb, iii. 122.
+  Caracci, school of the, i. 24.
+  Cary, his translation of Dante, ii. 264.
+  Cavalli, Jacopo, his tomb, iii. 82.
+  Cicero, influence of his philosophy, ii. 317, 318.
+  Claude Lorraine, i. 24.
+  Comnenus, Manuel, ii. 263.
+  Cornaro, Marco, his tomb, iii. 79.
+  Correggio, ii. 192.
+  Crabbe, naturalism in his poetry, ii. 195.
+
+
+    D
+
+  Dandolo, Andrea, tomb of, ii. 70; Francesco, tomb of, iii. 74;
+    character of, iii. 76; Simon, tomb of, iii. 79.
+  Dante, his central position, ii. 340, iii. 158; his system of virtue,
+    ii. 323; his portraiture of sin, iii. 147.
+  Daru, his character as a historian, iii. 213.
+  Dolci, Carlo, ii. 105.
+  Dolfino, Giovanni, tomb of, iii. 78.
+  Durer, Albert, his rank as a landscape painter, i. 383; his power in
+    grotesque, iii. 145.
+
+
+    E
+
+  Edwin, King, his conversion, iii. 62.
+
+
+    F
+
+  Faliero, Bertuccio, his tomb, iii. 94; Marino, his house, ii. 254;
+    Vitale, miracle in his time, ii. 61.
+  Fergusson, James, his system of beauty, i. 388.
+  Foscari, Francesco, his reign, i. 4, iii. 165; his tomb, iii. 84; his
+    countenance, iii. 86.
+
+
+    G
+
+  Garbett, answer to Mr., i. 403.
+  Ghiberti, his sculpture, i. 217.
+  Giotto, his system of the virtues, ii. 323, 329, 341; his rank as a
+    painter, ii. 188, iii. 172.
+  Giulio Romano, i. 23.
+  Giustiniani, Marco, his tomb, i. 315; Sebastian, ambassador to
+    England, iii. 224.
+  Godfrey of Bouillon, his piety, iii. 62.
+  Gozzoli, Benozzo, ii. 195.
+  Gradenigo, Pietro, ii. 290.
+  Grande, Can, della Scala, his tomb, i. 268 (the cornice _g_ in Plate
+    XVI. is taken from it), iii. 71.
+  Guariento, his Paradise, ii. 296.
+  Guercino, ii. 105.
+
+
+    H
+
+  Hamilton, Colonel, his paper on the Serapeum, ii. 220.
+  Hobbima, iii. 184.
+  Hunt, William, his painting of peasant boys, ii. 192; of still life,
+    ii. 394.
+  Hunt, William Holman, relation of his works to modern and ancient
+    art, iii. 185.
+
+
+    K
+
+  Knight, Gally, his work on Architecture, i. 378.
+
+
+    L
+
+  Leonardo da Vinci, ii. 171.
+  Louis XI., iii. 194.
+
+
+    M
+
+  Martin, John, ii. 104.
+  Mastino, Can, della Scala, his tomb, ii. 224, iii. 72.
+  Maynard, Miss, her poems, ii. 397.
+  Michael Angelo, ii. 134, 188, iii. 56, 90, 99, 158.
+  Millais, John E., relation of his works to older art, iii. 185;
+    aerial perspective in his "Huguenot," iii. 47.
+  Milton, how inferior to Dante, iii. 147.
+  Mocenigo, Tomaso, his character, i. 4; his speech on rebuilding the
+    Ducal Palace, ii. 299; his tomb, i. 26, iii. 84.
+  Morosini, Carlo, Count, note on Daru's History by, iii. 213.
+  Morosini, Marino, his tomb, iii. 93.
+  Morosini, Michael, his character, iii. 213;
+     his tomb, iii. 80.
+  Murillo, his sensualism, ii. 192.
+
+
+    N
+
+  Napoleon, his genius in civil administration, i. 399.
+  Niccolo Pisano, i. 215.
+
+
+    O
+
+  Orcagna, his system of the virtues, ii. 329.
+  Orseolo, Pietro (Doge), iii. 120.
+  Otho the Great, his vow at Murano, ii. 32.
+
+
+    P
+
+  Palladio, i. 24, 146; and see Venetian Index, under head "Giorgio
+    Maggiore."
+  Participazio, Angelo, founds the Ducal Palace, ii. 287.
+  Pesaro, Giovanni, tomb of, iii. 92; Jacopo, tomb of, iii. 91.
+  Philippe de Commynes, i. 12.
+  Plato, influence of his philosophy, ii. 317, 338; his playfulness,
+    iii. 127.
+  Poussin, Nicolo and Gaspar, i. 23.
+  Procaccini, Camillo, ii. 188.
+  Prout, Samuel, his style, i. 250, iii. 19, 134.
+  Pugin, Welby, his rank as an architect, i. 385.
+
+
+    Q
+
+  Querini, Marco, his palace, ii. 255.
+
+
+    R
+
+  Raffaelle, ii. 188, iii. 56, 108, 136.
+  Reynolds, Sir J., his painting at New College, ii. 323; his general
+    manner, iii. 184.
+  Rogers, Samuel, his works, ii. 195, iii. 113.
+  Rubens, intellectual rank of, i. 400;
+     coarseness of, ii. 145.
+
+
+    S
+
+  Salvator Rosa, i. 24, ii. 105, 145, 188.
+  Scaligeri, tombs of, at Verona; see "Grande," "Mastino," "Signorio;"
+    palace of, ii. 257.
+  Scott, Sir W., his feelings of romance, iii. 191.
+  Shakspeare, his "Seven Ages," whence derived, ii. 361.
+  Sharpe, Edmund, his works, i. 342, 408.
+  Signorio, Can, della Scala, his tomb, character, i. 268, iii. 73.
+  Simplicius, St., ii. 356.
+  Spenser, value of his philosophy, ii. 327, 341; his personifications
+    of the months, ii. 272; his system of the virtues, ii. 326; scheme of
+    the first book of the Faerie Queen, iii. 205.
+  Steno, Michael, ii. 306; his tomb, ii. 296.
+  Stothard (the painter), his works, ii. 187, 195.
+  Symmachus, St., ii. 357.
+
+
+    T
+
+  Teniers, David, ii. 188.
+  Tiepolo, Jacopo and Lorenzo, their tombs, iii. 69; Bajamonte, ii.
+    255.
+  Tintoret, i. 12; his genius and function, ii. 149; his Paradise, ii.
+    304, 372; his rank among the men of Italy, iii. 158.
+  Titian, i. 12; his function and fall, ii. 149, 187.
+  Turner, his rank as a landscape painter, i. 382, ii. 187.
+
+
+    U
+
+  Uguccione, Benedetto, destroys Giotto's facade at Florence, i. 197.
+
+
+    V
+
+  Vendramin, Andrea (Doge), his tomb, i. 27, iii. 88.
+  Verocchio, Andrea, iii. 11, 13.
+  Veronese, Paul, artistical rank of, i. 400; his designs of
+    balustrades, ii. 247; and see in Venetian Index, "Ducal Palace,"
+    "Pisani," "Sebastian," "Redentore," "Accademia."
+
+
+    W
+
+  West, Benjamin, ii. 104.
+  Wordsworth, his observation of nature, i. 247 (note).
+
+
+    Z
+
+  Zeno, Carlo, i. 4, iii. 80.
+  Ziani, Sebastian (Doge), builds Ducal Palace, ii. 289.
+
+
+
+
+II.
+
+LOCAL INDEX.
+
+
+    A
+
+  Abbeville, door of church at, ii. 225; parapet at, ii. 245.
+  Alexandria, Church at, i. 381.
+  Alhambra, ornamentation of, i. 429.
+  Alps, how formed for distant effect, i. 247; how seen from Venice,
+    ii. 2, 28.
+  Amiens, pillars of Cathedral at, i. 102.
+  Arqua, hills of, how seen from Venice, ii. 2.
+  Assisi, Giotto's paintings at, ii. 323.
+
+
+    B
+
+  Beauvais, piers of Cathedral at, i. 93; grandeur of its buttress
+    structure, i. 170.
+  Bergamo, Duomo at, i. 275.
+  Bologna, Palazzo Pepoli at, i. 275.
+  Bourges, Cathedral at, i. 43, 102, 228, 271, 299; ii. 92, 186; house
+    of Jacques Coeur at, i. 346.
+
+
+    C
+
+  Chamouni, glacier forms at, i. 222.
+  Como, Broletto of, i. 141, 339.
+
+
+    D
+
+  Dijon, pillars in Church of Notre Dame at, i. 102; tombs of Dukes of
+    Burgundy, iii. 68.
+
+
+    E
+
+  Edinburgh, college at, i. 207.
+
+
+    F
+
+  Falaise (St. Gervaise at), piers of, i. 103.
+  Florence, Cathedral of, i. 197, iii. 13.
+
+
+    G
+
+  Gloucester, Cathedral of, i. 192.
+
+
+    L
+
+  Lombardy, geology of, ii. 5.
+  London, Church in Margaret Street, Portland Place, iii. 196; Temple
+    Church, i. 412; capitals in Belgrave and Grosvenor Squares, i. 330;
+    Bank of England, base of, i. 283; wall of, typical of accounts, i.
+    295; statue in King William Street, i. 210; shops in Oxford Street,
+    i. 202; Arthur Club-house, i. 295; Athenaeum Club-house, i. 157, 283;
+    Duke of York's Pillar, i. 283; Treasury, i. 205; Whitehall, i. 205;
+    Westminster, fall of houses at, ii. 268; Monument, i. 82, 283; Nelson
+    Pillar, i. 216; Wellington Statue, i. 257.
+  Lucca, Cathedral of, ii. 275; San Michele at, i. 375.
+  Lyons, porch of cathedral at, i. 379.
+
+
+    M
+
+  Matterhorn (Mont Cervin), structure of, i. 58; lines of, applied to
+    architecture, i. 308, 310, 332.
+  Mestre, scene in street of, i. 355.
+  Milan, St. Ambrogio, piers of, i. 102; capital of, i. 324; St.
+    Eustachio, tomb of St. Peter Martyr, i. 218.
+  Moulins, brickwork at, i. 296.
+  Murano, general aspect of, ii. 29; Duomo of, ii. 32; balustrades of,
+    ii. 247; inscriptions at, ii. 384.
+
+
+    N
+
+  Nineveh, style of its decorations, i. 234, 239; iii. 159.
+
+
+    O
+
+  Orange (South France), arch at, i. 250.
+  Orleans, Cathedral of, i. 95.
+
+
+    P
+
+  Padua, Arena chapel at, ii. 324; St. Antonio at, i. 135; St. Sofia
+    at, i. 327; Eremitani, Church of, at, i. 135.
+  Paris, Hotel des Invalides, i. 214; Arc de l'Etoile, i. 291; Colonne
+    Vendome, i. 212.
+  Pavia, St. Michele at, piers of, i. 102, 337; ornaments of, i. 376.
+  Pisa, Baptistery of, ii. 275.
+  Pistoja, San Pietro at, i. 295.
+
+
+    R
+
+  Ravenna, situation of, ii. 6.
+  Rouen, Cathedral, piers of, i. 103, 153; pinnacles of, ii. 213; St.
+    Maclou at, sculptures of, ii. 197.
+
+
+    S
+
+  Salisbury Cathedral, piers of, i. 102; windows at, ii. 224.
+  Sens, Cathedral of, i. 135.
+  Switzerland, cottage architecture of, i. 156, 203, iii. 133.
+
+
+    V
+
+  Verona, San Fermo at, i. 136, ii. 259; Sta. Anastasia at, i. 142;
+    Duomo of, i. 373; St. Zeno at, i. 373; balconies at, ii. 247;
+    archivolt at, i. 335; tombs at, see in Personal Index, "Grande,"
+    "Mastino," "Signorio."
+  Vevay, architecture of, i. 136.
+  Vienne (South France), Cathedral of, i. 274.
+
+
+    W
+
+  Warwick, Guy's tower at, i. 168.
+  Wenlock (Shropshire), Abbey of, i. 270.
+  Winchester, Cathedral of, i. 192.
+
+
+    Y
+
+  York, Minster of, i. 205, 313.
+
+
+
+
+III.
+
+TOPICAL INDEX.
+
+
+    A
+
+  Abacus, defined, i. 107; law of its proportion, i. 111-115; its
+    connection with cornices, i. 116; its various profiles, i. 319-323;
+    iii. 243-248.
+  Acanthus, leaf of, its use in architecture, i. 233; how treated at
+    Torcello, ii. 15.
+  Alabaster, use of, in incrustation, ii. 86.
+  Anachronism, necessity of, in the best art, ii. 198.
+  Anatomy, a disadvantageous study for artists, iii. 47.
+  Angels, use of their images in Venetian heraldry, ii. 278; statues
+    of, on the Ducal Palace, ii. 311.
+  Anger, how symbolically represented, ii. 344.
+  Angles, decoration of, i. 260; ii. 305; of Gothic Palaces, ii. 238;
+    of Ducal Palace, ii. 307.
+  Animal character in northern and southern climates, ii. 156; in
+    grotesque art, iii. 149.
+  Apertures, analysis of their structure, i. 50; general forms of, i.
+    174.
+  Apse, forms of, in southern and northern churches compared, i. 170.
+  Arabesques of Raffaelle, their baseness, iii. 136.
+  Arabian architecture, i. 18, 234, 235, 429; ii. 135.
+  Arches, general structure of, i. 122; moral characters of, i. 126;
+    lancet, round, and depressed, i. 129; four-centred, i. 130; ogee, i.
+    131; non-concentric, i. 133, 341; masonry of, i. 133, ii. 218; load
+    of, i. 144; are not derived from vegetation, ii. 201.
+  Architects, modern, their unfortunate position, i. 404, 407.
+  Architecture, general view of its divisions, i. 47-51; how to judge
+    of it, ii. 173; adaptation of, to requirements of human mind, iii.
+    192; richness of early domestic, ii. 100, iii. 2; manner of its
+    debasement in general, iii. 3.
+  Archivolts, decoration of, i. 334; general families of, i. 335; of
+    Murano, ii. 49; of St. Mark's, ii. 95; in London, ii. 97; Byzantine,
+    ii. 138; profiles of, iii. 244.
+  Arts, relative dignity of, i. 395; how represented in Venetian
+    sculpture, ii. 355; what relation exists between them and their
+    materials, ii. 394; art divided into the art of facts, of design, and
+    of both, ii. 183; into purist, naturalist, and sensualist, ii. 187;
+    art opposed to inspiration, iii. 151; defined, iii. 170;
+    distinguished from science, iii. 35; how to enjoy that of the
+    ancients, iii. 188.
+  Aspiration, not the primal motive of Gothic work, i. 151.
+  Astrology, judicial, representation of its doctrines in Venetian
+    sculpture, ii. 352.
+  Austrian government in Italy, iii. 209.
+  Avarice, how represented figuratively, ii. 344.
+
+
+    B
+
+  Backgrounds, diapered, iii. 20.
+  Balconies, of Venice, ii. 243; general treatment of, iii. 254; of
+    iron, ii. 247.
+  Ballflower, its use in ornamentation, i. 279.
+  Balustrades. See "Balconies."
+  Bases, general account of, iii. 225; of walls, i. 55; of piers, i.
+    73; of shafts, i. 84; decoration of, i. 281; faults of Gothic
+    profiles of, i. 285; spurs of, i. 286; beauty of, in St. Mark's, i.
+    290; Lombardie, i. 292; ought not to be richly decorated, i. 292;
+    general effect of, ii. 387.
+  Battlements, i. 162; abuse of, in ornamentation, i. 219.
+  Beauty and ornament, relation of the terms, i. 404.
+  Bellstones of capitals defined, i. 108.
+  Birds, use of in ornamentation, i. 234, ii. 140.
+  Bishops, their ancient authority, ii. 25.
+  Body, its relation to the soul, i. 41, 395.
+  Brackets, division of, i. 161; ridiculous forms of, i. 161.
+  Breadth in Byzantine design, ii. 133.
+  Brickwork, ornamental, i. 296; in general, ii. 241, 260, 261.
+  Brides of Venice, legend of the, iii. 113, 116.
+  Buttresses, general structure of, i. 166; flying, i. 192; supposed
+    sanctity of, i. 173.
+  Bull, symbolical use of, in representing rivers, i. 418, 421, 424.
+  Byzantine style, analysis of, ii. 75; ecclesiastical fitness of, ii.
+    97; centralization in, ii. 236; palaces built in, ii. 118; sculptures
+    in, ii. 137, 140.
+
+
+    C
+
+  Candlemas, ancient symbols of, ii. 272.
+  Capitals, general structure of, i. 105; bells of, i. 107; just
+    proportions of, i. 114; various families of, i. 13, 65, 324, ii. 129,
+    iii. 231; are necessary to shafts in good architecture, i. 119;
+    Byzantine, ii. 131, iii. 231; Lily, of St. Mark's, ii. 137; of
+    Solomon's temple, ii. 137.
+  Care, how symbolized, ii. 348. See "Sorrow."
+  Caryatides, i. 302.
+  Castles, English, entrances of, i. 177.
+  Cathedrals, English, effect of, ii. 63.
+  Ceilings, old Venetian, ii. 280.
+  Centralization in design, ii. 237.
+  Chalet of Switzerland, its character, i. 203.
+  Chamfer defined, i. 263; varieties of, i. 262, 429.
+  Changefulness, an element of Gothic, ii. 172.
+  Charity, how symbolized, ii. 327, 339.
+  Chartreuse, Grande, morbid life in, iii. 190.
+  Chastity, how symbolized, ii. 328.
+  Cheerfulness, how symbolized, ii. 326, 348; virtue of, ii. 326.
+  Cherries, cultivation of, at Venice, ii. 361.
+  Christianity, how mingled with worldliness, iii. 109; how imperfectly
+    understood, iii. 168; influence of, in liberating workmen, ii. 159,
+    i. 243; influence of, on forms, i. 99.
+  Churches, wooden, of the North, i. 381; considered as ships, ii. 25;
+    decoration of, how far allowable, ii. 102.
+  Civilization, progress of, iii. 168; twofold danger of, iii. 169.
+  Classical literature, its effect on the modern mind, iii. 12.
+  Climate, its influence on architecture, i. 151, ii. 155, 203.
+  Color, its importance in early work, ii. 38, 40, 78, 91; its
+    spirituality, ii. 145, 396; its relation to music, iii. 186;
+    quartering of, iii. 20; how excusing realization, iii. 186.
+  Commerce, how regarded by Venetians, i. 6.
+  Composition, definition of the term, ii. 182.
+  Constancy, how symbolized, ii. 333.
+  Construction, architectural, how admirable, i. 36.
+  Convenience, how consulted by Gothic architecture, ii. 179.
+  Cornices, general divisions of, i. 63, iii. 248; of walls, i. 60; of
+    roofs, i. 149; ornamentation of, i. 305; curvatures of, i. 310;
+    military, i. 160; Greek, i. 157.
+  Courses in walls, i. 60.
+  Crockets, their use in ornamentation, i. 346; their abuse at Venice,
+    iii. 109.
+  Crosses, Byzantine, ii. 139.
+  Crusaders, character of the, ii. 263.
+  Crystals, architectural appliance of, i. 225.
+  Cupid, representation of, in early and later art, ii. 342.
+  Curvature, on what its beauty depends, i. 222, iii. 5.
+  Cusps, definition of, i. 135; groups of, i. 138; relation of, to
+    vegetation, ii. 219; general treatment of, iii. 255; earliest
+    occurrence of, ii. 220.
+
+
+    D
+
+  Daguerreotype, probable results of, iii. 169.
+  Darkness, a character of early churches, ii. 18; not an abstract
+    evil, iii. 220.
+  Death, fear of, in Renaissance times, iii. 65, 90, 92; how anciently
+    regarded, iii. 139, 156.
+  Decoration, true nature of, i. 405; how to judge of, i. 44, 45. See
+    "Ornament."
+  Demons, nature of, how illustrated by Milton and Dante, iii. 147.
+  Dentil, Venetian, defined, i. 273, 275.
+  Design, definition of the term, ii. 183; its relations to naturalism,
+    ii. 184.
+  Despair, how symbolized, ii. 334.
+  Diaper patterns in brick, i. 296; in color, iii. 21, 22.
+  Discord, how symbolized, ii. 333.
+  Discs, decoration by means of, i. 240, 416; ii. 147, 264.
+  Division of labor, evils of, ii. 165.
+  Doge of Venice, his power, i. 3, 360.
+  Dogtooth moulding defined, i. 269.
+  Dolphins, moral disposition of, i. 230; use of, in symbolic
+    representation of sea, i. 422, 423.
+  Domestic architecture, richness of, in middle ages, ii. 99.
+  Doors, general structure of, i. 174, 176; smallness of in English
+    cathedrals, i. 176; ancient Venetian, ii. 277, iii. 227.
+  Doric architecture, i. 157, 301, 307; Christian Doric, i. 308, 315.
+  Dragon, conquered by St. Donatus, ii. 33; use of, in ornamentation,
+    ii. 219.
+  Dreams, how resembled by the highest arts, iii. 153; prophetic, in
+    relation to the Grotesque, iii. 156.
+  Dress, its use in ornamentation, i. 212; early Venetian, ii. 383;
+    dignity of, iii. 191; changes in modern dress, iii. 192.
+  Duties of buildings, i. 47.
+
+
+    E
+
+  Earthquake of 1511, ii. 242.
+  Eastern races, their power over color, ii. 147.
+  Eaves, construction of, i. 156.
+  Ecclesiastical architecture in Venice, i. 20; no architecture
+    exclusively ecclesiastical, ii. 99.
+  Edge decoration, i. 268.
+  Education, University, i. 391; iii. 110; evils of, with respect to
+    architectural workmen, ii. 107; how to be successfully undertaken,
+    ii. 165, 214; modern education in general, how mistaken, iii. 110,
+    234; system of, in Plato, ii. 318; of Persian kings, ii. 318; not to
+    be mistaken for erudition, iii. 219; ought to be universal, iii. 220.
+  Egg and arrow mouldings, i. 314.
+  Egyptian architecture, i. 99, 239; ii. 203.
+  Elgin marbles, ii. 171.
+  Encrusted architecture, i. 271, 272; general analysis of, ii. 76.
+  Energy of Northern Gothic, i. 371; ii. 16, 204.
+  English (early) capitals, faults of, i. 100, 411; English mind, its
+    mistaken demands of perfection, ii. 160.
+  Envy, how set forth, ii. 346.
+  Evangelists, types of, how explicable, iii. 155.
+
+
+    F
+
+  Faerie Queen, Spenser's, value of, theologically, ii. 328.
+  Faith, influence of on art, ii. 104, 105; Titian's picture of, i. 11;
+    how symbolized, ii. 337.
+  Falsehood, how symbolized, ii. 349.
+  Fatalism, how expressed in Eastern architecture, ii. 205.
+  Fear, effect of, on human life, iii. 137; on Grotesque art, iii. 142.
+  Feudalism, healthy effects of, i. 184.
+  Fig-tree, sculpture of, on Ducal Palace, ii. 307.
+  Fillet, use of, in ornamentation, i. 267.
+  Finials, their use in ornamentation, i. 346; a sign of decline in
+    Venetian architecture, iii. 109.
+  Finish in workmanship, when to be required, ii. 165; dangers of, iii.
+    170, ii. 162.
+  Fir, spruce, influence of, on architecture, i. 152.
+  Fire, forms of, in ornamentation, i. 228.
+  Fish, use of, in ornamentation, i. 229.
+  Flamboyant Gothic, i. 278, ii. 225.
+  Flattery, common in Renaissance times, iii. 64.
+  Flowers, representation of, how desirable, i. 340; how represented in
+    mosaic, iii. 179.
+  Fluting of columns, a mistake, i. 301.
+  Foils, definition of, ii. 221.
+  Foliage, how carved in declining periods, iii. 8, 17. See "Vegetation."
+  Foliation defined, ii. 219; essential to Gothic architecture, ii. 222.
+  Folly, how symbolized, ii. 325, 348.
+  Form of Gothic, defined, ii. 209.
+  Fortitude, how symbolized, ii. 337.
+  Fountains, symbolic representations of, i. 427.
+  French architecture, compared with Italian, ii. 226.
+  Frivolity, how exhibited in Grotesque art, iii. 143.
+  Fruit, its use in ornamentation, i. 232.
+
+
+    G
+
+  Gable, general structure of, i. 124; essential to Gothic, ii. 210, 217.
+  Gardens, Italian, iii. 136.
+  Generalization, abuses of, iii. 176.
+  Geology of Lombardy, ii. 5.
+  Glass, its capacities in architecture, i. 409; manufacture of, ii.
+    166; true principles of working in, ii. 168, 395.
+  Gluttony, how symbolized, ii. 343.
+  Goldsmiths' work, a high form of art, ii. 166.
+  Gondola, management of, ii. 375.
+  Gothic architecture, analysis of, ii. 151; not derived from vegetable
+    structure, i. 121; convenience of, ii. 178; divisions of, ii. 215;
+    surface and linear, ii. 226; Italian and French, ii. 226; flamboyant,
+    i. 278, ii. 225; perpendicular, i. 192, ii. 223, 227; early English,
+    i. 109; how to judge of it, ii. 228; how fitted for domestic
+    purposes, ii. 269, iii. 195; how first corrupted, iii. 3; how to be
+    at present built, iii. 196; early Venetian, ii. 248; ecclesiastical
+    Venetian, i. 21; central Venetian, ii. 231; how adorned by color in
+    Venice, iii. 23.
+  Government of Venice, i. 2, ii. 366.
+  Grammar, results of too great study of it, iii. 55, 106.
+  Greek architecture, general character of, i. 240, ii. 215, iii. 159.
+  Grief. See "Sorrow."
+  Griffins, Lombardic, i. 292, 387.
+  Grotesque, analysis of, iii. 132; in changes of form, i. 317; in
+    Venetian painting, iii. 162; symbolical, iii. 155; its character in
+    Renaissance work, iii. 113, 121, 136, 143.
+  Gutters of roofs, i. 151.
+
+
+    H
+
+  Heathenism, typified in ornament, i. 317. See "Paganism."
+  Heaven and Hell, proofs of their existence in natural phenomena, iii.
+    138.
+  History, how to be written and read, iii. 224.
+  Hobbima, iii. 184.
+  Honesty, how symbolized, ii. 349.
+  Hope, how symbolized, ii. 341.
+  Horseshoe arches, i. 129, ii. 249, 250.
+  Humanity, spiritual nature of, i. 41; divisions of, with respect to
+    art, i. 394.
+  Humility, how symbolized, ii. 339.
+
+
+    I
+
+  Idleness, how symbolized, ii. 345.
+  Idolatry, proper sense of the term, ii. 388; is no encourager of art,
+    ii. 110. See "Popery."
+  Imagination, its relation to art, iii. 182.
+  Imitation of precious stones, &c., how reprehensible, iii. 26, 30.
+  Imposts, continuous, i. 120.
+  Infidelity, how symbolized, ii. 335; an element of the Renaissance
+    spirit, iii. 100.
+  Injustice, how symbolized, ii. 349.
+  Inlaid ornamentation, i. 369; perfection of, in early Renaissance,
+    iii. 26.
+  Inscriptions at Murano, ii. 47, 54; use of, in early times, ii. 111.
+  Insects, use of, in ornamentation, i. 230.
+  Inspiration, how opposed to art, iii. 151, 171.
+  Instinct, its dignity, iii. 171.
+  Intellect, how variable in dignity, iii. 173.
+  Involution, delightfulness of, in ornament, ii. 136.
+  Iron, its use in architecture, i. 184, 410.
+  Italians, modern character of, iii. 209.
+  Italy, how ravaged by recent war, iii. 209.
+
+
+    J
+
+  Jambs, Gothic, iii. 137.
+  Jesting, evils of, iii. 129.
+  Jesuits, their restricted power in Venice, i. 366.
+  Jewels, their cutting, a bad employment, ii. 166.
+  Judgments, instinctive, i. 399.
+  Job, book of, its purpose, iii. 53.
+
+
+    K
+
+  Keystones, how mismanaged in Renaissance work. See Venetian Index,
+    under head "Libreria."
+  Knowledge, its evil consequences, iii. 40; how to be received, iii.
+    50, &c. See "Education."
+
+
+    L
+
+  Labor, manual, ornamental value of, i. 407; evils of its division,
+    ii. 165; is not a degradation, ii. 168.
+  Labyrinth, in Venetian streets, its clue, ii. 254.
+  Lagoons, Venetian, nature of, ii. 7, 8.
+  Landscape, lower schools of, i. 24; Venetian, ii. 149; modern love
+    of, ii. 175, iii. 123.
+  Laws of right in architecture, i. 32; laws in general, how
+    permissibly violated, i. 255, ii. 210; their position with respect to
+    art, iii. 96; and to religion, iii. 205.
+  Leaves, use of, in ornamentation, i. 232 (see "Vegetation");
+    proportion of, ii. 128.
+  Liberality, how symbolized, ii. 333.
+  Life in Byzantine architecture, ii. 133.
+  Lilies, beautiful proportions of, ii. 128; used for parapet
+    ornaments, ii. 242; lily capitals, ii. 137.
+  Limitation of ornament, i. 254.
+  Lines, abstract use of, in ornament, i. 221.
+  Lintel, its structure, i. 124, 126.
+  Lion, on piazzetta shafts, iii. 238.
+  Load, of arches, i. 133.
+  Logic, a contemptible science, iii. 105.
+  Lombardic architecture, i. 17.
+  Lotus leaf, its use in architecture, i. 233.
+  Love, its power over human life, iii. 137.
+  Lusts, their power over human nature, how symbolized by Spenser, ii.
+    328.
+  Luxury, how symbolized, ii. 342; how traceable in ornament, iii. 4;
+    of Renaissance schools, iii. 61.
+
+
+    M
+
+  Madonna, Byzantine representations of, ii. 53.
+  Magnitude, vulgar admiration of, iii. 64.
+  Malmsey, use of, in Feast of the Maries, iii. 117.
+  Marble, its uses, iii. 27.
+  Maries, Feast of the, iii. 117.
+  Mariolatry, ancient and modern, ii. 55.
+  Marriages of Venetians, iii. 116.
+  Masonry, Mont-Cenisian, i. 132; of walls, i. 61; of arches, i. 133.
+  Materials, invention of new, how injurious to art, iii. 42.
+  Misery, how symbolized, ii. 347.
+  Modesty, how symbolized, ii. 335.
+  Monotony, its place in art, ii. 176.
+  Months, personifications of, in ancient art, ii. 272.
+  Moroseness, its guilt, iii. 130.
+  Mosaics at Torcello, ii. 18, 19; at St. Mark's, ii. 70, 112; early
+    character of, ii. 110, iii. 175, 178.
+  Music, its relation to color, iii. 186.
+  Mythology of Venetian painters, ii. 150; ancient, how injurious to
+    the Christian mind, iii. 107.
+
+
+    N
+
+  Natural history, how necessary a study, iii. 54.
+  Naturalism, general analysis of it with respect to art, ii. 181, 190;
+    its advance in Gothic art, iii. 6; not to be found in the encrusted
+    style, ii. 89; its presence in the noble Grotesque, iii. 144.
+  Nature (in the sense of material universe) not improvable by art, i.
+    350; its relation to architecture, i. 351.
+  Niches, use of, in Northern Gothic, i. 278; in Venetian, ii. 240; in
+    French and Veronese, ii. 227.
+  Norman hatchet-work, i. 297; zigzag, i. 339.
+  Novelty, its necessity to the human mind, ii. 176.
+
+
+    O
+
+  Oak-tree, how represented in symbolical art, iii. 185.
+  Obedience, how symbolized, ii. 334.
+  Oligarchical government, its effect on the Venetians, i. 5.
+  Olive-tree, neglect of, by artists, iii. 175; general expression of,
+    iii. 176, 177; representations of, in mosaic, iii. 178.
+  Order, uses and disadvantages of, ii. 172.
+  Orders, Doric and Corinthian, i. 13; ridiculous divisions of, i. 157,
+    370; ii. 173, 249; iii. 99.
+  Ornament, material of, i. 211; the best, expresses man's delight in
+    God's work, i. 220; not in his own, i. 211; general treatment of, i.
+    236; is necessarily imperfect, i. 237, 240; divided into servile,
+    subordinate, and insubordinate, i. 242, ii. 158; distant effect of,
+    i. 248; arborescent, i. 252; restrained within limits, i. 255; cannot
+    be overcharged if good, i. 406.
+  Oxford, system of education at, i. 391.
+
+
+    P
+
+  Paganism, revival of its power in modern times, iii. 105, 107, 122.
+  Painters, their power of perception, iii. 37; influence of society
+    on, iii. 41; what they should know, iii. 41; what is their business,
+    iii. 187.
+  Palace, the Crystal, merits of, i. 409.
+  Palaces, Byzantine, ii. 118, 391; Gothic, ii. 231.
+  Papacy. See "Popery."
+  Parapets, i. 162, ii. 240.
+  Parthenon, curves of, ii. 127.
+  Patience, how symbolized, ii. 334.
+  Pavements, ii. 52.
+  Peacocks, sculpture of, i. 240.
+  Pedestals of shafts, i. 82; and see Venetian Index under head
+    "Giorgio Maggiore."
+  Perception opposed to knowledge, iii. 37.
+  Perfection, inordinate desire of, destructive of art, i. 237; ii.
+    133, 158, 169.
+  Perpendicular style, i. 190, 253; ii. 223, 227.
+  Personification, evils of, ii. 322.
+  Perspective, aerial, ridiculous exaggerations of, iii. 45; ancient
+    pride in, iii. 57; absence of, in many great works, see in Venetian
+    Index the notice of Tintoret's picture of the Pool of Bethesda, under
+    head "Rocco."
+  Phariseeism and Liberalism, how opposed, iii. 97.
+  Philology, a base science, iii. 54.
+  Piazzetta at Venice, plan of, ii. 283; shafts of, ii. 233.
+  Pictures, judgment of, how formed, ii. 371; neglect of, in Venice,
+    ii. 372; how far an aid to religion, ii. 104, 110.
+  Picturesque, definition of term, iii. 134.
+  Piers, general structure of, i. 71, 98, 118.
+  Pilgrim's Progress. See "Bunyan."
+  Pine of Italy, its effect on architecture, i. 152; of Alps, effect in
+    distance, i. 245. See "Fir."
+  Pinnacles are of little practical service, i. 170; their effect on
+    common roofs, i. 347.
+  Play, its relation to Grotesque art, iii. 126.
+  Pleasure, its kinds and true uses, iii. 189.
+  Popery, how degraded in contest with Protestantism, i. 34, iii. 103;
+    its influence on art, i. 23, 34, 35, 384, 432, ii. 51; typified in
+    ornament, i. 316; power of Pope in Venice, i. 362; arts used in
+    support of Popery, ii. 74.
+  Porches, i. 195.
+  Portraiture, power of, in Venice, iii. 164.
+  Posture-making in Renaissance art, iii. 90.
+  Prayers, ancient and modern, difference between, ii. 315, 390.
+  Pre-Raphaelitism, iii. 90; present position of, iii. 168, 174, 188.
+  Pride, how symbolized, ii. 343, iii. 207; of knowledge, iii. 35; of
+    state, iii. 59; of system, iii. 95.
+  Priests, restricted power of, in Venice, i. 366.
+  Proportions, subtlety of, in early work, ii. 38, 121, 127.
+  Protestantism, its influence on art, i. 23; typified in ornament, i.
+    316; influence of, on prosperity of nations, i. 368; expenditure in
+    favor of, i. 434; is incapable of judging of art, ii. 105; how
+    expressed in art, ii. 205; its errors in opposing Romanism, iii, 102,
+    103, 104; its shame of religious confession, ii. 278.
+  Prudence, how symbolized, ii. 340.
+  Pulpits, proper structure of, ii. 22, 380.
+  Purism in art, its nature and definition, ii. 189.
+  Purity, how symbolized, iii. 20.
+
+
+    Q
+
+  Quadrupeds, use of in ornamentation, i. 234.
+  Quantity of ornament, its regulation, i. 23.
+
+
+    R
+
+  Rationalism, its influence on art, i. 23.
+  Realization, how far allowable in noble art, iii. 182, 186.
+  Recesses, decoration of, i. 278.
+  Recumbent statues, iii. 72.
+  Redundance, an element of Gothic, ii. 206.
+  Religion, its influence on Venetian policy, i. 6; how far aided by
+    pictorial art, ii. 104, 109; contempt of, in Renaissance times, iii.
+    122.
+  Renaissance architecture, nature of, iii. 33; early, iii. 1;
+    Byzantine, iii. 15; Roman, iii. 32; Grotesque, iii. 112;
+    inconsistencies of, iii. 42, etc.
+  Reptiles, how used in ornamentation, i. 230.
+  Resistance, line of, in arches, i. 126.
+  Restraint, ornamental, value of, i. 255.
+  Reverence, how ennobling to humanity, ii. 163.
+  Rhetoric, a base study, iii. 106.
+  Rigidity, an element of Gothic, ii. 203.
+  Rivers, symbolical representation of, i. 419, 420.
+  Rocks, use of, in ornamentation, i. 224; organization of, i. 246;
+    curvatures of, i. 58, 224.
+  Roll-mouldings, decoration of, i. 276.
+  Romance, modern errors of, ii. 4; how connected with dress, iii. 192.
+  Romanesque style, i. 15, 19, 145; ii. 215. See "Byzantine," and
+    "Renaissance."
+  Romanism. See "Popery."
+  Roofs, analysis of, i. 46, 148; ii. 212, 216; domed, i. 149; Swiss,
+    i. 149, 345; steepness of, conducive to Gothic character, i. 151, ii.
+    209; decoration of, i. 343.
+  Rustication, is ugly and foolish, i. 65; natural objects of which it
+    produces a resemblance, i. 296.
+
+
+    S
+
+  Salvia, its leaf applied to architecture, i. 287, 306.
+  Sarcophagi, Renaissance treatment of, iii. 90; ancient, iii. 69, 93.
+  Satellitic shafts, i. 95.
+  Satire in Grotesque art, iii. 126, 145.
+  Savageness, the first element of Gothic, ii. 155; in Grotesque art,
+    iii. 159.
+  Science opposed to art, iii. 36.
+  Sculpture, proper treatment of, i. 216, &c.
+  Sea, symbolical representations of, i. 352, 421; natural waves of, i.
+    351.
+  Sensualism in art, its nature and definition, ii. 189; how redeemed
+    by color, ii. 145.
+  Serapeum at Memphis, cusps of, ii. 220.
+  Sermons, proper manner of regarding them, ii. 22; mode of their
+    delivery in Scotch church, ii. 381.
+  Serrar del Consiglio, ii. 291.
+  Shafts, analysis of, i. 84; vaulting shafts, i. 145; ornamentation
+    of, i. 300; twisted, by what laws regulated, i. 303; strength of, i.
+    402; laws by which they are regulated in encrusted style, ii. 82.
+  Shields, use of, on tombs, ii. 224, iii. 87.
+  Shipping, use of, in ornamentation, i. 215.
+  Shops in Venice, ii. 65.
+  Sight, how opposed to thought, iii. 39.
+  Simplicity of life in thirteenth century, ii. 263.
+  Sin, how symbolized in Grotesque art, iii. 141.
+  Slavery of Greeks and Egyptians, ii. 158; of English workmen, ii.
+    162, 163.
+  Society, unhealthy state of, in modern times, ii. 163.
+  Sorrow, how sinful, ii. 325; how symbolized, ii. 347.
+  Soul, its development in art, iii. 173, 188; its connection with the
+    body, i. 41, 395.
+  Spandrils, structure of, i. 146; decoration of, i. 297.
+  Spirals, architectural value of, i. 222, ii. 16.
+  Spurs of bases, i. 79.
+  Staircases, i. 208; of Gothic palaces, ii. 280.
+  Stucco, when admissible, iii. 21.
+  Subordination of ornament, i. 240.
+  Superimposition of buildings, i. 200; ii. 386.
+  Surface-Gothic, explanation of term, ii. 225, 227.
+  Symbolism, i. 417; how opposed to personification, ii. 322.
+  System, pride of, how hurtful, iii. 95, 99.
+
+
+    T
+
+  Temperance, how symbolized, ii. 338; temperance in color and
+    curvature, iii. 420.
+  Theology, opposed to religion, iii. 216; of Spencer, iii. 205.
+  Thirteenth century, its high position with respect to art, ii. 263.
+  Thought, opposed to sight, iii. 39.
+  Tombs at Verona, i. 142, 412; at Venice, ii. 69; early Christian,
+    iii. 67; Gothic, iii. 71; Renaissance treatment of, iii. 84.
+  Towers, proper character of, i. 204; of St. Mark's, i 207.
+  Traceries, structure of, i. 184, 185; flamboyant, i. 189; stump, i.
+    189; English perpendicular, i 190, ii. 222; general character of, ii.
+    220; strength of, in Venetian Gothic, ii. 234, iii. 253; general
+    forms of tracery bars, iii. 250.
+  Treason, how detested by Dante, ii. 327.
+  Trees, use of, in ornamentation, i. 231.
+  Trefoil, use of, in ornamentation, ii. 42.
+  Triangles, used for ornaments at Murano, ii. 43.
+  Tribune at Torcello, ii. 24.
+  Triglyphs, ugliness of, i, 43.
+  Trunkmakers, their share in recovery of Brides of Venice, iii. 117, 118.
+  Truth, relation of, to religion, in Spenser's "Faerie Queen," iii,
+    205; typified by stones, iii. 31.
+  Tympanum, decoration of, i. 299.
+
+
+    U
+
+  Unity of Venetian nobility, i. 10.
+
+
+    V
+
+  Vain glory, speedy punishment of, iii. 122.
+  Vanity, how symbolized, ii. 346.
+  Variety in ornamental design, importance of, ii. 43, 133, 142, 172.
+  Vegetation, use of, in ornamentation, i. 232; peculiar meaning of, in
+    Gothic, ii. 199; how connected with cusps, ii. 219.
+  Veil (wall veil), construction of, i. 58; decoration of, i. 294.
+  Vine, Lombardic sculpture of, i. 375; at Torcello, ii. 15; use of, in
+    ornamentation, ii. 141; in symbolism, ii. 143; sculpture of, on Ducal
+    Palace, ii. 308.
+  Virtues, how symbolized in sepulchral monuments, iii. 82, 86; systems
+    of, in Pagan and Christian philosophy, ii. 312; cardinal, ii. 317,
+    318, 320; of architecture, i. 36, 44.
+  Voussoirs defined, i. 125; contest between them and architraves, i.
+    336.
+
+
+    W
+
+  Walls, general analysis of their structure, i. 48; bases of, i. 52,
+    53; cornices of, i. 63; rustication of, i. 61, 338; decoration of, i.
+    294; courses in, i. 61, 295.
+  Water, its use in ornamentation, i. 226; ancient representations of,
+    i. 417.
+  Weaving, importance of associations connected with, ii. 136.
+  Wells, old Venetian, ii. 279.
+  Windows, general forms of, i. 179; Arabian, i. 180, ii. 135;
+    square-headed, ii. 211, 269; development of, in Venice, ii. 235;
+    orders of, in Venice, ii. 248; advisable form of, in modern
+    buildings, ii. 269.
+  Winds, how symbolized at Venice, ii. 367.
+  Wooden architecture, i. 381.
+  Womanhood, virtues of, as given by Spenser, ii. 326.
+
+
+    Z
+
+  Zigzag, Norman, i. 339.
+
+
+
+
+IV.
+
+VENETIAN INDEX.
+
+
+I have endeavored to make the following index as useful as possible to
+the traveller, by indicating only the objects which are really worth his
+study. A traveller's interest, stimulated as it is into strange vigor by
+the freshness of every impression, and deepened by the sacredness of the
+charm of association which long familiarity with any scene too fatally
+wears away,[71] is too precious a thing to be heedlessly wasted; and as
+it is physically impossible to see and to understand more than a certain
+quantity of art in a given time, the attention bestowed on second-rate
+works, in such a city as Venice, is not merely lost, but actually
+harmful,--deadening the interest and confusing the memory with respect
+to those which it is a duty to enjoy, and a disgrace to forget. The
+reader need not fear being misled by any omissions; for I have
+conscientiously pointed out every characteristic example, even of the
+styles which I dislike, and have referred to Lazari in all instances in
+which my own information failed: but if he is in any wise willing to
+trust me, I should recommend him to devote his principal attention, if
+he is fond of paintings, to the works of Tintoret, Paul Veronese, and
+John Bellini; not of course neglecting Titian, yet remembering that
+Titian can be well and thoroughly studied in almost any great European
+gallery, while Tintoret and Bellini can be judged of _only_ in Venice,
+and Paul Veronese, though gloriously represented by the two great
+pictures in the Louvre, and many others throughout Europe, is yet not to
+be fully estimated until he is seen at play among the fantastic chequers
+of the Venetian ceilings.
+
+I have supplied somewhat copious notices of the pictures of Tintoret,
+because they are much injured, difficult to read, and entirely neglected
+by other writers on art. I cannot express the astonishment and
+indignation I felt on finding, in Kugler's handbook, a paltry cenacolo,
+painted probably in a couple of hours for a couple of zecchins, for the
+monks of St. Trovaso, quoted as characteristic of this master; just as
+foolish readers quote separate stanzas of Peter Bell or the Idiot Boy,
+as characteristic of Wordsworth. Finally, the reader is requested to
+observe, that the dates assigned to the various buildings named in the
+following index, are almost without exception conjectural; that is to
+say, founded exclusively on the internal evidence of which a portion has
+been given in the Final Appendix. It is likely, therefore, that here and
+there, in particular instances, further inquiry may prove me to have
+been deceived; but such occasional errors are not of the smallest
+importance with respect to the general conclusions of the preceding
+pages, which will be found to rest on too broad a basis to be disturbed.
+
+
+    A
+
+ ACCADEMIA DELLE BELLE ARTI. Notice above the door the two bas-reliefs
+   of St. Leonard and St. Christopher, chiefly remarkable for their rude
+   cutting at so late a date as 1377; but the niches under which they
+   stand are unusual in their bent gables, and in little crosses within
+   circles which fill their cusps. The traveller is generally too much
+   struck by Titian's great picture of the "Assumption," to be able to
+   pay proper attention to the other works in this gallery. Let him,
+   however, ask himself candidly, how much of his admiration is
+   dependent merely upon the picture being larger than any other in the
+   room, and having bright masses of red and blue in it: let him be
+   assured that the picture is in reality not one whit the better for
+   being either large, or gaudy in color; and he will then be better
+   disposed to give the pains necessary to discover the merit of the more
+   profound and solemn works of Bellini and Tintoret. One of the most
+   wonderful works in the whole gallery is Tintoret's "Death of Abel," on
+   the left of the "Assumption;" the "Adam and Eve," on the right of it,
+   is hardly inferior; and both are more characteristic examples of the
+   master, and in many respects better pictures, than the much vaunted
+   "Miracle of St. Mark." All the works of Bellini in this room are of
+   great beauty and interest. In the great room, that which contains
+   Titian's "Presentation of the Virgin," the traveller should examine
+   carefully all the pictures by Vittor Carpaccio and Gentile Bellini,
+   which represent scenes in ancient Venice; they are full of interesting
+   architecture and costume. Marco Basaiti's "Agony in the Garden" is a
+   lovely example of the religious school. The Tintorets in this room are
+   all second rate, but most of the Veronese are good, and the large ones
+   are magnificent.
+
+ ALIGA. See GIORGIO.
+
+ ALVISE, CHURCH OF ST. I have never been in this church, but Lazari
+   dates its interior, with decision, as of the year 1388, and it may be
+   worth a glance, if the traveller has time.
+
+ ANDREA, CHURCH OF ST. Well worth visiting for the sake of the
+   peculiarly sweet and melancholy effect of its little grass-grown
+   campo, opening to the lagoon and the Alps. The sculpture over the
+   door, "St. Peter walking on the Water," is a quaint piece of
+   Renaissance work. Note the distant rocky landscape, and the oar of the
+   existing gondola floating by St. Andrew's boat. The church is of the
+   later Gothic period, much defaced, but still picturesque. The lateral
+   windows are bluntly trefoiled, and good of their time.
+
+ ANGELI, CHURCH DELGLI, at Murano. The sculpture of the "Annunciation"
+   over the entrance-gate is graceful. In exploring Murano, it is worth
+   while to row up the great canal thus far for the sake of the opening
+   to the lagoon.
+
+ ANTONINO, CHURCH OF ST. Of no importance.
+
+ APOLLINARE, CHURCH OF ST. Of no importance.
+
+ APOSTOLI, CHURCH OF THE. The exterior is nothing. There is said to be
+   a picture by Veronese in the interior, "The Fall of the Manna." I have
+   not seen it; but, if it be of importance, the traveller should compare
+   it carefully with Tintoret's, in the Scuola di San Rocco, and San
+   Giorgio Maggiore.
+
+ APOSTOLI, PALACE AT, II. 253, on the Grand Canal, near the Rialto,
+   opposite the fruit-market. A most important transitional palace. Its
+   sculpture in the first story is peculiarly rich and curious; I think
+   Venetian, in imitation of Byzantine. The sea story and first floor are
+   of the first half of the thirteenth century, the rest modern. Observe
+   that only one wing of the sea story is left, the other half having
+   been modernized. The traveller should land to look at the capital
+   drawn in Plate II. of Vol. III. fig. 7.
+
+ ARSENAL. Its gateway is a curiously picturesque example of Renaissance
+   workmanship, admirably sharp and expressive in its ornamental
+   sculpture; it is in many parts like some of the best Byzantine work.
+   The Greek lions in front of it appear to me to deserve more praise
+   than they have received; though they are awkwardly balanced between
+   conventional and imitative representation, having neither the severity
+   proper to the one, nor the veracity necessary for the other.
+
+
+    B
+
+ BADOER, PALAZZO, in the Campo San Giovanni in Bragola. A magnificent
+   example of the fourteenth century Gothic, circa 1310-1320, anterior to
+   the Ducal Palace, and showing beautiful ranges of the fifth order
+   window, with fragments of the original balconies, and the usual
+   lateral window larger than any of the rest. In the centre of its
+   arcade on the first floor is the inlaid ornament drawn in Plate VIII.
+   Vol. I. The fresco painting on the walls is of later date; and I
+   believe the heads which form the finials have been inserted afterwards
+   also, the original windows having been pure fifth order.
+
+   The building is now a ruin, inhabited by the lowest orders; the first
+   floor, when I was last in Venice, by a laundress.
+
+ BAFFO, PALAZZO, in the Campo St. Maurizio. The commonest late
+   Renaissance. A few olive leaves and vestiges of two figures still
+   remain upon it, of the frescoes by Paul Veronese, with which it was
+   once adorned.
+
+ BALBI, PALAZZO, in Volta di Canal. Of no importance.
+
+ BARBARIGO, PALAZZO, on the Grand Canal, next the Casa Pisani. Late
+   Renaissance; noticeable only as a house in which some of the best
+   pictures of Titian were allowed to be ruined by damp, and out of which
+   they were then sold to the Emperor of Russia.
+
+ BARBARO, PALAZZO, on the Grand Canal, next the Palazzo Cavalli. These
+   two buildings form the principal objects in the foreground of the view
+   which almost every artist seizes on his first traverse of the Grand
+   Canal, the Church of the Salute forming a most graceful distance.
+   Neither is, however, of much value, except in general effect; but the
+   Barbaro is the best, and the pointed arcade in its side wall, seen
+   from the narrow canal between it and the Cavalli, is good Gothic, of
+   the earliest fourteenth century type.
+
+ BARNABA, CHURCH OF ST. Of no importance.
+
+ BARTOLOMEO, CHURCH OF ST. I did not go to look at the works of
+   Sebastian del Piombo which it contains, fully crediting M. Lazari's
+   statement, that they have been "Barbaramente sfigurati da mani
+   imperite, che pretendevano ristaurarli." Otherwise the church is of no
+   importance.
+
+ BASSO, CHURCH OF ST. Of no importance.
+
+ BATTAGIA, PALAZZO, on the Grand Canal. Of no importance.
+
+ BECCHERIE. See QUERINI.
+
+ BEMBO, PALAZZO, on the Grand Canal, next the Casa Manin. A noble
+   Gothic pile, circa 1350-1380, which, before it was painted by the
+   modern Venetians with the two most valuable colors of Tintoret, Bianco
+   e Nero, by being whitewashed above, and turned into a coal warehouse
+   below, must have been among the most noble in effect on the whole
+   Grand Canal. It still forms a beautiful group with the Rialto, some
+   large shipping being generally anchored at its quay. Its sea story and
+   entresol are of earlier date, I believe, than the rest; the doors of
+   the former are Byzantine (see above, Final Appendix, under head
+   "Jambs"); and above the entresol is a beautiful Byzantine cornice,
+   built into the wall, and harmonizing well with the Gothic work.
+
+ BEMBO, PALAZZO, in the Calle Magno, at the Campo de' due Pozzi, close
+   to the Arsenal. Noticed by Lazari and Selvatico as having a very
+   interesting staircase. It is early Gothic, circa 1330, but not a whit
+   more interesting than many others of similar date and design. See
+   "Contarini Porta de Ferro," "Morosini," "Sanudo," and "Minelli."
+
+ BENEDETTO, CAMPO OF ST. Do not fail to see the superb, though
+   partially ruinous, Gothic palace fronting this little square. It is
+   very late Gothic, just passing into Renaissance; unique in Venice, in
+   masculine character, united with the delicacy of the incipient style.
+   Observe especially the brackets of the balconies, the flower-work on
+   the cornices, and the arabesques on the angles of the balconies
+   themselves.
+
+ BENEDETTO, CHURCH OF ST. Of no importance.
+
+ BERNARDO, PALAZZO, on the Grand Canal. A very noble pile of early
+   fifteenth century Gothic, founded on the Ducal Palace. The traceries
+   in its lateral windows are both rich and unusual.
+
+ BERNARDO, PALAZZO, at St. Polo. A glorious palace, on a narrow canal,
+   in a part of Venice now inhabited by the lower orders only. It is
+   rather late Central Gothic, circa 1380-1400, but of the finest kind,
+   and superb in its effect of color when seen from the side. A capital
+   in the interior court is much praised by Selvatico and Lazari, because
+   its "foglie d'acanto" (anything by the by, _but_ acanthus), "quasi
+   agitate de vento si attorcigliano d'intorno alla campana, _concetto
+   non indegno della bell'epoca greca_!" Does this mean "epoca
+   Bisantina?" The capital is simply a translation into Gothic sculpture
+   of the Byzantine ones of St. Mark's and the Fondaco de' Turchi (see
+   Plate VIII. Vol. I. fig. 14), and is far inferior to either. But,
+   taken as a whole, I think that, after the Ducal Palace, this is the
+   noblest in effect of all in Venice.
+
+ BRENTA, Banks of the, I. 354. Villas on the, I. 354.
+
+ BUSINELLO, CASA, II. 391.
+
+ BYZANTINE PALACES generally, II. 118.
+
+
+    C
+
+ CAMERLENGHI, PALACE OF THE, beside the Rialto. A graceful work of the
+   early Renaissance (1525) passing into Roman Renaissance. Its details
+   are inferior to most of the work of the school. The "Camerlenghi,"
+   properly "Camerlenghi di Comune," were the three officers or ministers
+   who had care of the administration of public expenses.
+
+ CANCELLARIA, II. 293.
+
+ CANCIANO, CHURCH OF ST. Of no importance.
+
+ CAPPELLO, PALAZZO, at St. Aponal. Of no interest. Some say that Bianca
+   Cappello fled from it; but the tradition seems to fluctuate between
+   the various houses belonging to her family.
+
+ CARITA, CHURCH OF THE. Once an interesting Gothic church of the
+   fourteenth century, lately defaced, and applied to some of the usual
+   important purposes of the modern Italians. The effect of its ancient
+   facade may partly be guessed at from the pictures of Canaletto, but
+   only guessed at; Canaletto being less to be trusted for renderings of
+   details, than the rudest and most ignorant painter of the thirteenth
+   century.
+
+ CARMINI, CHURCH OF THE. A most interesting church of late thirteenth
+   century work, but much altered and defaced. Its nave, in which the
+   early shafts and capitals of the pure truncate form are unaltered, is
+   very fine in effect; its lateral porch is quaint and beautiful,
+   decorated with Byzantine circular sculptures (of which the central one
+   is given in Vol. II. Plate XI. fig. 5), and supported on two shafts
+   whose capitals are the most archaic examples of the pure Rose form
+   that I know in Venice.
+
+   There is a glorious Tintoret over the first altar on the right in
+   entering; the "Circumcision of Christ." I do not know an aged head
+   either more beautiful or more picturesque than that of the high
+   priest. The cloister is full of notable tombs, nearly all dated; one,
+   of the fifteenth century, to the left on entering, is interesting from
+   the color still left on the leaves and flowers of its sculptured
+   roses.
+
+ CASSANO, CHURCH OF ST. This church must on no account be missed, as it
+   contains three Tintorets, of which one, the "Crucifixion," is among
+   the finest in Europe. There is nothing worth notice in the building
+   itself, except the jamb of an ancient door (left in the Renaissance
+   buildings, facing the canal), which has been given among the examples
+   of Byzantine jambs; and the traveller may, therefore, devote his
+   entire attention to the three pictures in the chancel.
+
+   1. _The Crucifixion._ (On the left of the high altar.) It is
+   refreshing to find a picture taken care of, and in a bright though not
+   a good light, so that such parts of it as are seen at all are seen
+   well. It is also in a better state than most pictures in galleries,
+   and most remarkable for its new and strange treatment of the subject.
+   It seems to have been painted more for the artist's own delight, than
+   with any labored attempt at composition; the horizon is so low that
+   the spectator must fancy himself lying at full length on the grass, or
+   rather among the brambles and luxuriant weeds, of which the foreground
+   is entirely composed. Among these, the seamless robe of Christ has
+   fallen at the foot of the cross; the rambling briars and wild grasses
+   thrown here and there over its folds of rich, but pale, crimson.
+   Behind them, and seen through them, the heads of a troop of Roman
+   soldiers are raised against the sky; and, above them, their spears and
+   halberds form a thin forest against the horizontal clouds. The three
+   crosses are put on the extreme right of the picture, and its centre is
+   occupied by the executioners, one of whom, standing on a ladder,
+   receives from the other at once the sponge and the tablet with the
+   letters INRI. The Madonna and St. John are on the extreme left,
+   superbly painted, like all the rest, but quite subordinate. In fact,
+   the whole mind of the painter seems to have been set upon making the
+   principals accessary, and the accessaries principal. We look first at
+   the grass, and then at the scarlet robe; and then at the clump of
+   distant spears, and then at the sky, and last of all at the cross. As
+   a piece of color, the picture is notable for its extreme modesty.
+   There is not a single very full or bright tint in any part, and yet
+   the color is delighted in throughout; not the slightest touch of it
+   but is delicious. It is worth notice also, and especially, because
+   this picture being in a fresh state we are sure of one fact, that,
+   like nearly all other great colorists, Tintoret was afraid of light
+   greens in his vegetation. He often uses dark blue greens in his
+   shadowed trees, but here where the grass is in full light, it is all
+   painted with various hues of sober brown, more especially where it
+   crosses the crimson robe. The handling of the whole is in his noblest
+   manner; and I consider the picture generally quite beyond all price.
+   It was cleaned, I believe, some years ago, but not injured, or at
+   least as little injured as it is possible for a picture to be which
+   has undergone any cleaning process whatsoever.
+
+   2. _The Resurrection._ (Over the high altar.) The lower part of this
+   picture is entirely concealed by a miniature temple, about five feet
+   high, on the top of the altar; certainly an insult little expected by
+   Tintoret, as, by getting on steps, and looking over the said temple,
+   one may see that the lower figures of the picture are the most
+   labored. It is strange that the painter never seemed able to conceive
+   this subject with any power, and in the present work he is
+   marvellously hampered by various types and conventionalities. It is
+   not a painting of the Resurrection, but of Roman Catholic saints,
+   _thinking_ about the Resurrection. On one side of the tomb is a bishop
+   in full robes, on the other a female saint, I know not who; beneath
+   it, an angel playing on an organ, and a cherub blowing it; and other
+   cherubs flying about the sky, with flowers; the whole conception being
+   a mass of Renaissance absurdities. It is, moreover, heavily painted,
+   over-done, and over-finished; and the forms of the cherubs utterly
+   heavy and vulgar. I cannot help fancying the picture has been restored
+   in some way or another, but there is still great power in parts of it.
+   If it be a really untouched Tintoret, it is a highly curious example
+   of failure from over-labor on a subject into which his mind was not
+   thrown: the color is hot and harsh, and felt to be so more painfully,
+   from its opposition to the grand coolness and chastity of the
+   "Crucifixion." The face of the angel playing the organ is highly
+   elaborated; so, also, the flying cherubs.
+
+   3. _The Descent into Hades._ (On the right-hand side of the high
+   altar.) Much injured and little to be regretted. I never was more
+   puzzled by any picture, the painting being throughout careless, and in
+   some places utterly bad, and yet not like modern work; the principal
+   figure, however, of Eve, has either been redone, or is scholar's work
+   altogether, as, I suspect, most of the rest of the picture. It looks
+   as if Tintoret had sketched it when he was ill, left it to a bad
+   scholar to work on with, and then finished it in a hurry; but he has
+   assuredly had something to do with it; it is not likely that anybody
+   else would have refused all aid from the usual spectral company with
+   which common painters fill the scene. Bronzino, for instance, covers
+   his canvas with every form of monster that his sluggish imagination
+   could coin. Tintoret admits only a somewhat haggard Adam, a graceful
+   Eve, two or three Venetians in court dress, seen amongst the smoke,
+   and a Satan represented as a handsome youth, recognizable only by the
+   claws on his feet. The picture is dark and spoiled, but I am pretty
+   sure there are no demons or spectres in it. This is quite in
+   accordance with the master's caprice, but it considerably diminishes
+   the interest of a work in other ways unsatisfactory. There may once
+   have been something impressive in the shooting in of the rays at the
+   top of the cavern, as well as in the strange grass that grows in the
+   bottom, whose infernal character is indicated by its all being knotted
+   together; but so little of these parts can be seen, that it is not
+   worth spending time on a work certainly unworthy of the master, and in
+   great part probably never seen by him.
+
+ CATTARINA, CHURCH OF ST., said to contain a _chef-d'oeuvre_ of Paul
+   Veronese, the "Marriage of St. Catherine." I have not seen it.
+
+ CAVALLI, PALAZZO, opposite the Academy of Arts. An imposing pile, on
+   the Grand Canal, of Renaissance Gothic, but of little merit in the
+   details; and the effect of its traceries has been of late destroyed by
+   the fittings of modern external blinds. Its balconies are good, of the
+   later Gothic type. See "BARBARO."
+
+ CAVALLI, PALAZZO, next the Casa Grimani (or Post-Office), but on the
+   other side of the narrow canal. Good Gothic, founded on the Ducal
+   Palace, circa 1380. The capitals of the first story are remarkably
+   rich in the deep fillets at the necks. The crests, heads of
+   sea-horses, inserted between the windows, appear to be later, but are
+   very fine of their kind.
+
+ CICOGNA, PALAZZO, at San Sebastiano, II. 265.
+
+ CLEMENTE, CHURCH OF ST. On an island to the south of Venice, from
+   which the view of the city is peculiarly beautiful. See "SCALZI."
+
+ CONTARINI PORTA DI FERRO, PALAZZO, near the Church of St. John and
+   Paul, so called from the beautiful ironwork on a door, which was some
+   time ago taken down by the proprietor and sold. Mr. Rawdon Brown
+   rescued some of the ornaments from the hands of the blacksmith, who
+   had bought them for old iron. The head of the door is a very
+   interesting stone arch of the early thirteenth century, already drawn
+   in my folio work. In the interior court is a beautiful remnant of
+   staircase, with a piece of balcony at the top, circa 1350, and one of
+   the most richly and carefully wrought in Venice. The palace, judging
+   by these remnants (all that are now left of it, except a single
+   traceried window of the same date at the turn of the stair), must once
+   have been among the most magnificent in Venice.
+
+ CONTARINI (DELLE FIGURE), PALAZZO, on the Grand Canal, III. 17.
+
+ CONTARINI DAI SCRIGNI, PALAZZO, on the Grand Canal. A Gothic building,
+   founded on the Ducal Palace. Two Renaissance statues in niches at the
+   sides give it its name.
+
+ CONTARINI FASAN, PALAZZO, on the Grand Canal, II. 244. The richest
+   work of the fifteenth century domestic Gothic in Venice, but notable
+   more for richness than excellence of design. In one respect, however,
+   it deserves to be regarded with attention, as showing how much beauty
+   and dignity may be bestowed on a very small and unimportant
+   dwelling-house by Gothic sculpture. Foolish criticisms upon it have
+   appeared in English accounts of foreign buildings, objecting to it on
+   the ground of its being "ill-proportioned;" the simple fact being,
+   that there was no room in this part of the canal for a wider house,
+   and that its builder made its rooms as comfortable as he could, and
+   its windows and balconies of a convenient size for those who were to
+   see through them, and stand on them, and left the "proportions"
+   outside to take care of themselves; which, indeed, they have very
+   sufficiently done; for though the house thus honestly confesses its
+   diminutiveness, it is nevertheless one of the principal ornaments of
+   the very noblest reach of the Grand Canal, and would be nearly as
+   great a loss, if it were destroyed, as the Church of La Salute itself.
+
+ CONTARINI, PALAZZO, at St. Luca. Of no importance.
+
+ CORNER DELLA CA' GRANDE, PALAZZO, on the Grand Canal. One of the worst
+   and coldest buildings of the central Renaissance, It is on a grand
+   scale, and is a conspicuous object, rising over the roofs of the
+   neighboring houses in the various aspects of the entrance of the Grand
+   Canal, and in the general view of Venice from San Clemente.
+
+ CORNER DELLA REGINA, PALAZZO. A late Renaissance building of no merit
+   or interest.
+
+ CORNER MOCENIGO, PALAZZO, at St. Polo. Of no interest.
+
+ CORNER SPINELLI, PALAZZO, on the Grand Canal. A graceful and
+   interesting example of the early Renaissance, remarkable for its
+   pretty circular balconies.
+
+ CORNER, RACCOLTA. I must refer the reader to M. Lazari's Guide for an
+   account of this collection, which, however, ought only to be visited
+   if the traveller is not pressed for time.
+
+
+    D
+
+ DANDOLO, PALAZZO, on the Grand Canal. Between the Casa Loredan and
+   Casa Bembo is a range of modern buildings, some of which occupy, I
+   believe, the site of the palace once inhabited by the Doge Henry
+   Dandolo. Fragments of early architecture of the Byzantine school may
+   still be traced in many places among their foundations, and two doors
+   in the foundation of the Casa Bembo itself belong to the same group.
+   There is only one existing palace, however, of any value, on this
+   spot, a very small but rich Gothic one of about 1300, with two groups
+   of fourth order windows in its second and third stories, and some
+   Byzantine circular mouldings built into it above. This is still
+   reported to have belonged to the family of Dandolo, and ought to be
+   carefully preserved, as it is one of the most interesting and ancient
+   Gothic palaces which yet remain.
+
+ DANIELI, ALBERGO. See Nani.
+
+ DA PONTE, PALAZZO. Of no interest.
+
+ DARIO, PALAZZO, I. 370; III. 211.
+
+ DOGANA DI MARE, at the separation of the Grand Canal from the Giudecca.
+   A barbarous building of the time of the Grotesque Renaissance (1676),
+   rendered interesting only by its position. The statue of Fortune,
+   forming the weathercock, standing on the world, is alike
+   characteristic of the conceits of the time, and of the hopes and
+   principles of the last days of Venice.
+
+ DONATO, CHURCH OF ST., at Murano, II. 31.
+
+ DONA', PALAZZO, on the Grand Canal. I believe the palace described under
+   this name as of the twelfth century, by M. Lazari, is that which I
+   have called the Braided House, II. 132, 392.
+
+ D'ORO CASA. A noble pile of very quaint Gothic, once superb in general
+   effect, but now destroyed by restorations. I saw the beautiful slabs
+   of red marble, which formed the bases of its balconies, and were
+   carved into noble spiral mouldings of strange sections, half a foot
+   deep, dashed to pieces when I was last in Venice; its glorious
+   interior staircase, by far the most interesting Gothic monument of the
+   kind in Venice, had been carried away, piece by piece, and sold for
+   waste marble, two years before. Of what remains, the most beautiful
+   portions are, or were, when I last saw them, the capitals of the
+   windows in the upper story, most glorious sculpture of the fourteenth
+   century. The fantastic window traceries are, I think, later; but the
+   rest of the architecture of this palace is anomalous, and I cannot
+   venture to give any decided opinion respecting it. Parts of its
+   mouldings are quite Byzantine in character, but look somewhat like
+   imitations.
+
+ DUCAL PALACE, I. 29; history of, II. 282, etc.; III. 199; plan and
+   section of, II. 282, 283; description of, II. 304, etc.; series of its
+   capitals, II. 332, etc.; spandrils of, I. 299, 415; shafts of, I. 413;
+   traceries of, derived from those of the Frari, II. 234; angles of, II.
+   239; main balcony of, II. 245; base of, III. 212; Rio Facade of, III.
+   25; paintings in, II. 372. The multitude of works by various masters,
+   which cover the walls of this palace is so great, that the traveller
+   is in general merely wearied and confused by them. He had better
+   refuse all attention except to the following works:
+
+   1. _Paradise_, by Tintoret; at the extremity of the Great Council
+   chamber. I found it impossible to count the number of figures in this
+   picture, of which the grouping is so intricate, that at the upper part
+   it is not easy to distinguish one figure from another; but I counted
+   150 important figures in one half of it alone; so that, as there are
+   nearly as many in subordinate position, the total number cannot be
+   under 500. I believe this is, on the whole, Tintoret's
+   _chef-d'oeuvre_; though it is so vast that no one takes the trouble
+   to read it, and therefore less wonderful pictures are preferred to it.
+   I have not myself been able to study except a few fragments of it, all
+   executed in his finest manner; but it may assist a hurried observer to
+   point out to him that the whole composition is divided into concentric
+   zones, represented one above another like the stories of a cupola,
+   round the figures of Christ and the Madonna, at the central and
+   highest point: both these figures are exceedingly dignified and
+   beautiful. Between each zone or belt of the nearer figures, the white
+   distances of heaven are seen filled with floating spirits. The picture
+   is, on the whole, wonderfully preserved, and the most precious thing
+   that Venice possesses. She will not possess it long; for the Venetian
+   academicians, finding it exceedingly unlike their own works, declare
+   it to want harmony, and are going to retouch it to their own ideas of
+   perfection.
+
+   2. _Siege of Zara_; the first picture on the right on entering the
+   Sala del Scrutinio. It is a mere battle piece, in which the figures,
+   like the arrows, are put in by the score. There are high merits in the
+   thing, and so much invention that it is possible Tintoret may have
+   made the sketch for it; but, if executed by him at all, he has done it
+   merely in the temper in which a sign-painter meets the wishes of an
+   ambitious landlord. He seems to have been ordered to represent all the
+   events of the battle at once; and to have felt that, provided he gave
+   men, arrows, and ships enough, his employers would be perfectly
+   satisfied. The picture is a vast one, some thirty feet by fifteen.
+
+   Various other pictures will be pointed out by the custode, in these
+   two rooms, as worthy of attention, but they are only historically, not
+   artistically, interesting. The works of Paul Veronese on the ceiling
+   have been repainted; and the rest of the pictures on the walls are by
+   second-rate men. The traveller must, once for all, be warned against
+   mistaking the works of Domenico Robusti (Domenico Tintoretto), a very
+   miserable painter, for those of his illustrious father, Jacopo.
+
+   3. _The Doge Grimani kneeling before Faith_, by Titian; in the Sala
+   delle quattro Porte. To be observed with care, as one of the most
+   striking examples of Titian's want of feeling and coarseness of
+   conception. (See above, Vol. I. p. 12.) As a work of mere art, it is,
+   however, of great value. The traveller who has been accustomed to
+   deride Turner's indistinctness of touch, ought to examine carefully
+   the mode of painting the Venice in the distance at the bottom of this
+   picture.
+
+   4. _Frescoes on the Roof of the Sala delle quattro Porte_, by
+   Tintoret. Once magnificent beyond description, now mere wrecks (the
+   plaster crumbling away in large flakes), but yet deserving of the most
+   earnest study.
+
+   5. _Christ taken down from the Cross_, by Tintoret; at the upper end
+   of the Sala dei Pregadi. One of the most interesting mythic pictures
+   of Venice, two doges being represented beside the body of Christ, and
+   a most noble painting; executed, however, for distant effect, and seen
+   best from the end of the room.
+
+   6. _Venice, Queen of the Sea_, by Tintoret. Central compartment of the
+   ceiling, in the Sala dei Pregadi. Notable for the sweep of its vast
+   green surges, and for the daring character of its entire conception,
+   though it is wild and careless, and in many respects unworthy of the
+   master. Note the way in which he has used the fantastic forms of the
+   sea weeds, with respect to what was above stated (III. 158), as to his
+   love of the grotesque.
+
+   7. _The Doge Loredano in Prayer to the Virgin_, by Tintoret; in the
+   same room. Sickly and pale in color, yet a grand work; to be studied,
+   however, more for the sake of seeing what a great man does "to order,"
+   when he is wearied of what is required from him, than for its own
+   merit.
+
+   8. _St. George and the Princess._ There are, besides the "Paradise,"
+   only six pictures in the Ducal Palace, as far as I know, which
+   Tintoret painted carefully, and those are all exceedingly fine: the
+   most finished of these are in the Anti-Collegio; but those that are
+   most majestic and characteristic of the master are two oblong ones,
+   made to fill the panels of the walls in the Anti-Chiesetta; these two,
+   each, I suppose, about eight feet by six, are in his most quiet and
+   noble manner. There is excessively little color in them, their
+   prevalent tone being a greyish brown opposed with grey, black, and a
+   very warm russet. They are thinly painted, perfect in tone, and quite
+   untouched. The first of them is "St. George and the Dragon," the
+   subject being treated in a new and curious way. The principal figure
+   is the princess, who sits astride on the dragon's neck, holding him by
+   a bridle of silken riband; St. George stands above and behind her,
+   holding his hands over her head as if to bless her, or to keep the
+   dragon quiet by heavenly power; and a monk stands by on the right,
+   looking gravely on. There is no expression or life in the dragon,
+   though the white flashes in its eye are very ghastly: but the whole
+   thing is entirely typical; and the princess is not so much represented
+   riding on the dragon, as supposed to be placed by St. George in an
+   attitude of perfect victory over her chief enemy. She has a full rich
+   dress of dull red, but her figure is somewhat ungraceful. St. George
+   is in grey armor and grey drapery, and has a beautiful face; his
+   figure entirely dark against the distant sky. There is a study for
+   this picture in the Manfrini Palace.
+
+   9. _St. Andrew and St. Jerome._ This, the companion picture, has even
+   less color than its opposite. It is nearly all brown and grey; the
+   fig-leaves and olive-leaves brown, the faces brown, the dresses brown,
+   and St. Andrew holding a great brown cross. There is nothing that can
+   be called color, except the grey of the sky, which approaches in some
+   places a little to blue, and a single piece of dirty brick-red in St.
+   Jerome's dress; and yet Tintoret's greatness hardly ever shows more
+   than in the management of such sober tints. I would rather have these
+   two small brown pictures, and two others in the Academy perfectly
+   brown also in their general tone--the "Cain and Abel" and the "Adam
+   and Eve,"--than all the other small pictures in Venice put together,
+   which he painted in bright colors, for altar pieces; but I never saw
+   two pictures which so nearly approached grisailles as these, and yet
+   were delicious pieces of color. I do not know if I am right in calling
+   one of the saints St. Andrew. He stands holding a great upright wooden
+   cross against the sky. St. Jerome reclines at his feet, against a
+   rock, over which some glorious fig leaves and olive branches are
+   shooting; every line of them studied with the most exquisite care, and
+   yet cast with perfect freedom.
+
+   10. _Bacchus and Ariadne._ The most beautiful of the four careful
+   pictures by Tintoret, which occupy the angles of the Anti-Collegio.
+   Once one of the noblest pictures in the world, but now miserably
+   faded, the sun being allowed to fall on it all day long. The design of
+   the forms of the leafage round the head of the Bacchus, and the
+   floating grace of the female figure above, will, however, always give
+   interest to this picture, unless it be repainted.
+
+   The other three Tintorets in this room are careful and fine, but far
+   inferior to the "Bacchus;" and the "Vulcan and the Cyclops" is a
+   singularly meagre and vulgar study of common models.
+
+   11. _Europa_, by Paul Veronese: in the same room. One of the very few
+   pictures which both possess and deserve a high reputation.
+
+   12. _Venice enthroned_, by Paul Veronese; on the roof of the same
+   room. One of the grandest pieces of frank color in the Ducal Palace.
+
+   13. _Venice, and the Doge Sebastian Venier_; at the upper end of the
+   Sala del Collegio. An unrivalled Paul Veronese, far finer even than
+   the "Europa."
+
+   14. _Marriage of St. Catherine_, by Tintoret; in the same room. An
+   inferior picture, but the figure of St. Catherine is quite exquisite.
+   Note how her veil falls over her form, showing the sky through it, as
+   an alpine cascade falls over a marble rock.
+
+   There are three other Tintorets on the walls of this room, but all
+   inferior, though full of power. Note especially the painting of the
+   lion's wings, and of the colored carpet, in the one nearest the
+   throne, the Doge Alvise Mocenigo adoring the Redeemer.
+
+   The roof is entirely by Paul Veronese, and the traveller who really
+   loves painting, ought to get leave to come to this room whenever he
+   chooses; and should pass the sunny summer mornings there again and
+   again, wandering now and then into the Anti-Collegio and Sala dei
+   Pregadi, and coming back to rest under the wings of the couched lion
+   at the feet of the "Mocenigo." He will no otherwise enter so deeply
+   into the heart of Venice.
+
+
+    E
+
+ EMO, PALAZZO, on the Grand Canal. Of no interest.
+
+ ERIZZO, PALAZZO, near the Arsenal, II. 262.
+
+ ERIZZO, PALAZZO, on the Grand Canal, nearly opposite the Fondaco
+   de'Turchi. A Gothic palace, with a single range of windows founded on
+   the Ducal traceries, and bold capitals. It has been above referred to
+   in the notice of tracery bars.
+
+ EUFEMIA, CHURCH OF ST. A small and defaced, but very curious, early
+   Gothic church on the Giudecca. Not worth visiting, unless the
+   traveller is seriously interested in architecture.
+
+ EUROPA, ALBERGO, ALL'. Once a Giustiniani Palace. Good Gothic, circa
+   1400, but much altered.
+
+ EVANGELISTI, CASA DEGLI, II. 265.
+
+ [Illustration: Plate XII.
+                CAPITALS OF FONDACO DE' TURCHI.]
+
+
+    F
+
+ FACANON, PALAZZO (ALLA FAVA). A fair example of the fifteenth century
+   Gothic, founded on Ducal Palace.
+
+ FALIER, PALAZZO, at the Apostoli. Above, II. 253.
+
+ FANTINO, CHURCH OF ST. Said to contain a John Bellini, otherwise of no
+   importance.
+
+ FARSETTI, PALAZZO, on the Grand Canal, II. 124, 393.
+
+ FAVA, CHURCH OF ST. Of no importance.
+
+ FELICE, CHURCH OF ST. Said to contain a Tintoret, which, if untouched,
+   I should conjecture, from Lazari's statement of its subject, St.
+   Demetrius armed, with one of the Ghisi family in prayer, must be very
+   fine. Otherwise the church is of no importance.
+
+ FERRO, PALAZZO, on the Grand Canal. Fifteenth century Gothic, very
+   hard and bad.
+
+ FLANGINI, PALAZZO, on the Grand Canal. Of no importance.
+
+ FONDACO DE' TURCHI, I. 328; II. 120, 121, 236. The opposite plate,
+   representing three of its capitals, has been several times referred
+   to.
+
+ FONDACO DE' TEDESCHI. A huge and ugly building near the Rialto,
+   rendered, however, peculiarly interesting by remnants of the frescoes
+   by Giorgione with which it was once covered. See Vol. II. 80, and III.
+   23.
+
+ FORMOSA, CHURCH OF SANTA MARIA, III. 113, 122,
+
+ FOSCA, CHURCH OF ST. Notable for its exceedingly picturesque
+   campanile, of late Gothic, but uninjured by restorations, and
+   peculiarly Venetian in being crowned by the cupola instead of the
+   pyramid, which would have been employed at the same period in any
+   other Italian city.
+
+ FOSCARI, PALAZZO, on the Grand Canal. The noblest example in Venice of
+   the fifteenth century Gothic, founded on the Ducal Palace, but lately
+   restored and spoiled, all but the stone-work of the main windows. The
+   restoration was necessary, however: for, when I was in Venice in 1845,
+   this palace was a foul ruin; its great hall a mass of mud, used as a
+   back receptacle of a stone-mason's yard; and its rooms whitewashed,
+   and scribbled over with indecent caricatures. It has since been
+   partially strengthened and put in order; but as the Venetian
+   municipality have now given it to the Austrians to be used as
+   barracks, it will probably soon be reduced to its former condition.
+   The lower palaces at the side of this building are said by some to
+   have belonged to the younger Foscari. See "GIUSTINIANI."
+
+ FRANCESCO DELLA VIGNA, CHURCH OF ST. Base Renaissance, but must be
+   visited in order to see the John Bellini in the Cappella Santa. The
+   late sculpture, in the Cappella Giustiniani, appears from Lazari's
+   statement to be deserving of careful study. This church is said also
+   to contain two pictures by Paul Veronese.
+
+ FRARI, CHURCH OF THE. Founded in 1250, and continued at various
+   subsequent periods. The apse and adjoining chapels are the earliest
+   portions, and their traceries have been above noticed (II. 234) as the
+   origin of those of the Ducal Palace. The best view of the apse, which
+   is a very noble example of Italian Gothic, is from the door of the
+   Scuola di San Rocco. The doors of the church are all later than any
+   other portion of it, very elaborate Renaissance Gothic. The interior
+   is good Gothic, but not interesting, except in its monuments. Of
+   these, the following are noticed in the text of this volume:
+
+   That of Duccio degli Alberti, at pages 74, 80; of the unknown Knight,
+   opposite that of Duccio, III. 74; of Francesco Foscari, III. 84; of
+   Giovanni Pesaro, 91; of Jacopo Pesaro, 92.
+
+   Besides these tombs, the traveller ought to notice carefully that of
+   Pietro Bernardo, a first-rate example of Renaissance work; nothing can
+   be more detestable or mindless in general design, or more beautiful in
+   execution. Examine especially the griffins, fixed in admiration of
+   bouquets, at the bottom. The fruit and flowers which arrest the
+   attention of the griffins may well arrest the traveller's also;
+   nothing can be finer of their kind. The tomb of Canova, _by_ Canova,
+   cannot be missed; consummate in science, intolerable in affectation,
+   ridiculous in conception, null and void to the uttermost in invention
+   and feeling. The equestrian statue of Paolo Savelli is spirited; the
+   monument of the Beato Pacifico, a curious example of Renaissance
+   Gothic with wild crockets (all in terra cotta). There are several good
+   Vivarini's in the church, but its chief pictorial treasure is the John
+   Bellini in the sacristy, the most finished and delicate example of the
+   master in Venice.
+
+
+    G
+
+ GEREMIA, CHURCH OF ST. Of no importance.
+
+ GESUATI, CHURCH OF THE. Of no importance.
+
+ GIACOMO DE LORIO, CHURCH OF ST., a most interesting church, of the early
+   thirteenth century, but grievously restored. Its capitals have been
+   already noticed as characteristic of the earliest Gothic; and it is
+   said to contain four works of Paul Veronese, but I have not examined
+   them. The pulpit is admired by the Italians, but is utterly worthless.
+   The verdantique pillar, in the south transept, is a very noble example
+   of the "Jewel Shaft." See the note at p. 83, Vol. II.
+
+ GIACOMO DI RIALTO, CHURCH OF ST. A picturesque little church, on the
+   Piazza di Rialto. It has been grievously restored, but the pillars and
+   capitals of its nave are certainly of the eleventh century; those of
+   its portico are of good central Gothic; and it will surely not be left
+   unvisited, on this ground, if on no other, that it stands on the site,
+   and still retains the name, of the first church ever built on that
+   Rialto which formed the nucleus of future Venice, and became
+   afterwards the mart of her merchants.
+
+ GIOBBE, CHURCH OF ST., near the Cana Reggio. Its principal entrance is
+   a very fine example of early Renaissance sculpture. Note in it,
+   especially, its beautiful use of the flower of the convolvulus. There
+   are said to be still more beautiful examples of the same period, in
+   the interior. The cloister, though much defaced, is of the Gothic
+   period, and worth a glance.
+
+ GIORGIO DE' GRECI, CHURCH OF ST. The Greek Church. It contains no
+   valuable objects of art, but its service is worth attending by those
+   who have never seen the Greek ritual.
+
+ GIORGIO DE' SCHIAVONI, CHURCH OF ST. Said to contain a very precious
+   series of paintings by Victor Carpaccio. Otherwise of no interest.
+
+ GIORGIO IN ALIGA (St. George in the seaweed), Church of St. Unimportant
+   in itself, but the most beautiful view of Venice at sunset is from a
+   point at about two thirds of the distance from the city to the island.
+
+ GIORGIO MAGGIORE, CHURCH OF ST. A building which owes its interesting
+   effect chiefly to its isolated position, being seen over a great space
+   of lagoon. The traveller should especially notice in its facade the
+   manner in which the central Renaissance architects (of whose style
+   this church is a renowned example) endeavored to fit the laws they had
+   established to the requirements of their age. Churches were required
+   with aisles and clerestories, that is to say, with a high central nave
+   and lower wings; and the question was, how to face this form with
+   pillars of one proportion. The noble Romanesque architects built story
+   above story, as at Pisa and Lucca; but the base Palladian architects
+   dared not do this. They must needs retain some image of the Greek
+   temple; but the Greek temple was all of one height, a low gable roof
+   being borne on ranges of equal pillars. So the Palladian builders
+   raised first a Greek temple with pilasters for shafts; and, _through
+   the middle of its roof, or horizontal beam_, that is to say, of the
+   cornice which externally represented this beam, they lifted another
+   temple on pedestals, adding these barbarous appendages to the shafts,
+   which otherwise would not have been high enough; fragments of the
+   divided cornice or tie-beam being left between the shafts, and the
+   great door of the church thrust in between the pedestals. It is
+   impossible to conceive a design more gross, more barbarous, more
+   childish in conception, more servile in plagiarism, more insipid in
+   result, more contemptible under every point of rational regard.
+
+   Observe, also, that when Palladio had got his pediment at the top of
+   the church, he did not know what to do with it; he had no idea of
+   decorating it except by a round hole in the middle. (The traveller
+   should compare, both in construction and decoration, the Church of the
+   Redentore with this of San Giorgio.) Now, a dark penetration is often
+   a most precious assistance to a building dependent upon color for its
+   effect; for a cavity is the only means in the architect's power of
+   obtaining certain and vigorous shadow; and for this purpose, a
+   circular penetration, surrounded by a deep russet marble moulding, is
+   beautifully used in the centre of the white field on the side of the
+   portico of St. Mark's. But Palladio had given up color, and pierced
+   his pediment with a circular cavity, merely because he had not wit
+   enough to fill it with sculpture. The interior of the church is like a
+   large assembly room, and would have been undeserving of a moment's
+   attention, but that it contains some most precious pictures, namely:
+
+   1. _Gathering the Manna._ (On the left hand of the high altar.) One of
+   Tintoret's most remarkable landscapes. A brook flowing through a
+   mountainous country, studded with thickets and palm trees; the
+   congregation have been long in the Wilderness, and are employed in
+   various manufactures much more than in gathering the manna. One group
+   is forging, another grinding manna in a mill, another making shoes,
+   one woman making a piece of dress, some washing; the main purpose of
+   Tintoret being evidently to indicate the _continuity_ of the supply of
+   heavenly food. Another painter would have made the congregation
+   hurrying to gather it, and wondering at it; Tintoret at once makes us
+   remember that they have been fed with it "by the space of forty
+   years." It is a large picture, full of interest and power, but
+   scattered in effect, and not striking except from its elaborate
+   landscape.
+
+   2. _The Last Supper._ (Opposite the former.) These two pictures have
+   been painted for their places, the subjects being illustrative of the
+   sacrifice of the mass. This latter is remarkable for its entire
+   homeliness in the general treatment of the subject; the entertainment
+   being represented like any large supper in a second-rate Italian inn,
+   the figures being all comparatively uninteresting; but we are reminded
+   that the subject is a sacred one, not only by the strong light shining
+   from the head of Christ, but because the smoke of the lamp which hangs
+   over the table turns, as it rises, into a multitude of angels, all
+   painted in grey, the color of the smoke; and so writhed and twisted
+   together that the eye hardly at first distinguishes them from the
+   vapor out of which they are formed, ghosts of countenances and filmy
+   wings filling up the intervals between the completed heads. The idea
+   is highly characteristic of the master. The picture has been
+   grievously injured, but still shows miracles of skill in the
+   expression of candle-light mixed with twilight; variously reflected
+   rays, and half tones of the dimly lighted chamber, mingled with the
+   beams of the lantern and those from the head of Christ, flashing along
+   the metal and glass upon the table, and under it along the floor, and
+   dying away into the recesses of the room.
+
+   3. _Martyrdom of various Saints._ (Altar piece of the third altar in
+   the South aisle.) A moderately sized picture, and now a very
+   disagreeable one, owing to the violent red into which the color that
+   formed the glory of the angel at the top is changed. It has been
+   hastily painted, and only shows the artist's power in the energy of
+   the figure of an executioner drawing a bow, and in the magnificent
+   ease with which the other figures are thrown together in all manner of
+   wild groups and defiances of probability. Stones and arrows are flying
+   about in the air at random.
+
+   4. _Coronation of the Virgin._ (Fourth altar in the same aisle.)
+   Painted more for the sake of the portraits at the bottom, than of the
+   Virgin at the top. A good picture, but somewhat tame for Tintoret, and
+   much injured. The principal figure, in black, is still, however, very
+   fine.
+
+   5. _Resurrection of Christ._ (At the end of the north aisle, in the
+   chapel beside the choir.) Another picture painted chiefly for the sake
+   of the included portraits, and remarkably cold in general conception;
+   its color has, however, been gay and delicate, lilac, yellow, and blue
+   being largely used in it. The flag which our Saviour bears in his
+   hand, has been once as bright as the sail of a Venetian fishing-boat,
+   but the colors are now all chilled, and the picture is rather crude
+   than brilliant; a mere wreck of what it was, and all covered with
+   droppings of wax at the bottom.
+
+   6. _Martyrdom of St. Stephen._ (Altar piece in the north transept.)
+   The Saint is in a rich prelate's dress, looking as if he had just been
+   saying mass, kneeling in the foreground, and perfectly serene. The
+   stones are flying about him like hail, and the ground is covered with
+   them as thickly as if it were a river bed. But in the midst of them,
+   at the saint's right hand, there is a book lying, crushed but open,
+   two or three stones which have torn one of its leaves lying upon it.
+   The freedom and ease with which the leaf is crumpled is just as
+   characteristic of the master as any of the grander features; no one
+   but Tintoret could have so crushed a leaf; but the idea is still more
+   characteristic of him, for the book is evidently meant for the Mosaic
+   History which Stephen had just been expounding, and its being crushed
+   by the stones shows how the blind rage of the Jews was violating their
+   own law in the murder of Stephen. In the upper part of the picture are
+   three figures,--Christ, the Father, and St. Michael. Christ of course
+   at the right hand of the Father, as Stephen saw him standing; but
+   there is little dignity in this part of the conception. In the middle
+   of the picture, which is also the middle distance, are three or four
+   men throwing stones, with Tintoret's usual vigor of gesture, and
+   behind them an immense and confused crowd; so that, at first, we
+   wonder where St. Paul is; but presently we observe that, in the front
+   of this crowd, and _almost exactly in the centre of the picture_,
+   there is a figure seated on the ground, very noble and quiet, and with
+   some loose garments thrown across its knees. It is dressed in vigorous
+   black and red. The figure of the Father in the sky above is dressed in
+   black and red also, and these two figures are the centres of color to
+   the whole design. It is almost impossible to praise too highly the
+   refinement of conception which withdrew the unconverted St. Paul into
+   the distance, so as entirely to separate him from the immediate
+   interest of the scene, and yet marked the dignity to which he was
+   afterward to be raised, by investing him with the colors which
+   occurred nowhere else in the picture except in the dress which veils
+   the form of the Godhead. It is also to be noted as an interesting
+   example of the value which the painter put upon color only; another
+   composer would have thought it necessary to exalt the future apostle
+   by some peculiar dignity of action or expression. The posture of the
+   figure is indeed grand, but inconspicuous; Tintoret does not depend
+   upon it, and thinks that the figure is quite ennobled enough by being
+   made a key-note of color.
+
+   It is also worth observing how boldly imaginative is the treatment
+   which covers the ground with piles of stones, and yet leaves the
+   martyr apparently unwounded. Another painter would have covered him
+   with blood, and elaborated the expression of pain upon his
+   countenance. Tintoret leaves us under no doubt as to what manner of
+   death he is dying; he makes the air hurtle with the stones, but he
+   does not choose to make his picture disgusting, or even painful. The
+   face of the martyr is serene, and exulting; and we leave the picture,
+   remembering only how "he fell asleep."
+
+ GIOVANELLI, PALAZZO, at the Ponte di Noale. A fine example of
+   fifteenth century Gothic, founded on the Ducal Palace.
+
+ GIOVANNI E PAOLO, CHURCH OF ST.[72] Foundation of, III. 69. An
+   impressive church, though none of its Gothic is comparable with that
+   of the North, or with that of Verona. The Western door is interesting
+   as one of the last conditions of Gothic design passing into
+   Renaissance, very rich and beautiful of its kind, especially the
+   wreath of fruit and flowers which forms its principal molding. The
+   statue of Bartolomeo Colleone, in the little square beside the church,
+   is certainly one of the noblest works in Italy. I have never seen
+   anything approaching it in animation, in vigor of portraiture, or
+   nobleness of line. The reader will need Lazari's Guide in making the
+   circuit of the church, which is full of interesting monuments: but I
+   wish especially to direct his attention to two pictures, besides the
+   celebrated Peter Martyr: namely,
+
+   1. _The Crucifixion_, by Tintoret; on the wall of the left-hand aisle,
+   just before turning into the transept. A picture fifteen feet long by
+   eleven or twelve high. I do not believe that either the "Miracle of
+   St. Mark," or the great "Crucifixion" in the Scuola di San Rocco, cost
+   Tintoret more pains than this comparatively small work, which is now
+   utterly neglected, covered with filth and cobwebs, and fearfully
+   injured. As a piece of color, and light and shade, it is altogether
+   marvellous. Of all the fifty figures which the picture contains, there
+   is not one which in any way injures or contends with another; nay,
+   there is not a single fold of garment or touch of the pencil which
+   could be spared; every virtue of Tintoret, as a painter, is there in
+   its highest degree,--color at once the most intense and the most
+   delicate, the utmost decision in the arrangement of masses of light,
+   and yet half tones and modulations of endless variety; and all
+   executed with a magnificence of handling which no words are energetic
+   enough to describe. I have hardly ever seen a picture in which there
+   was so much decision, and so little impetuosity, and in which so
+   little was conceded to haste, to accident, or to weakness. It is too
+   infinite a work to be describable; but among its minor passages of
+   extreme beauty, should especially be noticed the manner in which the
+   accumulated forms of the human body, which fill the picture from end
+   to end, are prevented from being felt heavy, by the grace and
+   elasticity of two or three sprays of leafage which spring from a
+   broken root in the foreground, and rise conspicuous in shadow against
+   an interstice filled by the pale blue, grey, and golden light in which
+   the distant crowd is invested, the office of this foliage being, in an
+   artistical point of view, correspondent to that of the trees set by
+   the sculptors of the Ducal Palace on its angles. But they have a far
+   more important meaning in the picture than any artistical one. If the
+   spectator will look carefully at the root which I have called broken,
+   he will find that in reality, it is not broken, but cut; the other
+   branches of the young tree having _lately been cut away_. When we
+   remember that one of the principal incidents in great San Rocco
+   Crucifixion is the ass feeding on withered palm leaves, we shall be at
+   no loss to understand the great painter's purpose in lifting the
+   branch of this mutilated olive against the dim light of the distant
+   sky; while, close beside it, St. Joseph of Arimathea drags along the
+   dust a white garment--observe, the principal light of the
+   picture,--stained with the blood of that King before whom, five days
+   before, his crucifiers had strewn their own garments in the way.
+
+   2. _Our Lady with the Camerlenghi._ (In the centre chapel of the three
+   on the right of the choir.) A remarkable instance of the theoretical
+   manner of representing Scriptural facts, which, at this time, as noted
+   in the second chapter of this volume, was undermining the belief of
+   the facts themselves. Three Venetian chamberlains desired to have
+   their portraits painted, and at the same time to express their
+   devotion to the Madonna; to that end they are painted kneeling before
+   her, and in order to account for their all three being together, and
+   to give a thread or clue to the story of the picture, they are
+   represented as the Three Magi; but lest the spectator should think it
+   strange that the Magi should be in the dress of Venetian chamberlains,
+   the scene is marked as a mere ideality, by surrounding the person of
+   the Virgin with saints who lived five hundred years after her. She has
+   for attendants St. Theodore, St. Sebastian, and St. Carlo (query St.
+   Joseph). One hardly knows whether most to regret the spirit which was
+   losing sight of the verities of religious history in imaginative
+   abstractions, or to praise the modesty and piety which desired rather
+   to be represented as kneeling before the Virgin than in the discharge
+   or among the insignia of important offices of state.
+
+   As an "Adoration of the Magi," the picture is, of course, sufficiently
+   absurd: the St. Sebastian leans back in the corner to be out of the
+   way; the three Magi kneel, without the slightest appearance of
+   emotion, to a Madonna seated in a Venetian loggia of the fifteenth
+   century, and three Venetian servants behind bear their offerings in a
+   very homely sack, tied up at the mouth. As a piece of portraiture and
+   artistical composition, the work is altogether perfect, perhaps the
+   best piece of Tintoret's portrait-painting in existence. It is very
+   carefully and steadily wrought, and arranged with consummate skill on
+   a difficult plan. The canvas is a long oblong, I think about eighteen
+   or twenty feet long, by about seven high; one might almost fancy the
+   painter had been puzzled to bring the piece into use, the figures
+   being all thrown into positions which a little diminish their height.
+   The nearest chamberlain is kneeling, the two behind him bowing
+   themselves slightly, the attendants behind bowing lower, the Madonna
+   sitting, the St. Theodore sitting still lower on the steps at her
+   feet, and the St. Sebastian leaning back, so that all the lines of the
+   picture incline more or less from right to left as they ascend. This
+   slope, which gives unity to the detached groups, is carefully
+   exhibited by what a mathematician would call coordinates,--the upright
+   pillars of the loggia and the horizontal clouds of the beautiful sky.
+   The color is very quiet, but rich and deep, the local tones being
+   brought out with intense force, and the cast shadows subdued, the
+   manner being much more that of Titian than of Tintoret. The sky
+   appears full of light, though it is as dark as the flesh of the faces;
+   and the forms of its floating clouds, as well as of the hills over
+   which they rise, are drawn with a deep remembrance of reality. There
+   are hundreds of pictures of Tintoret's more amazing than this, but I
+   hardly know one that I more love.
+
+   The reader ought especially to study the sculpture round the altar of
+   the Capella del Rosario, as an example of the abuse of the sculptor's
+   art; every accessory being labored out with as much ingenuity and
+   intense effort to turn sculpture into painting, the grass, trees, and
+   landscape being as far realized as possible, and in alto-relievo.
+   These bas-reliefs are by various artists, and therefore exhibit the
+   folly of the age, not the error of an individual.
+
+   The following alphabetical list of the tombs in this church which are
+   alluded to as described in the text, with references to the pages
+   where they are mentioned, will save some trouble:
+
+     Cavalli, Jacopo, III. 82.    |  Mocenigo, Pietro, III. 89.
+     Cornaro, Marco, III. 11.     |  Mocenigo, Tomaso, I. 8, 26, III. 84.
+     Dolfin, Giovanni, III. 78.   |  Morosini, Michele, III. 80.
+     Giustiniani, Marco, I. 315.  |  Steno, Michele, III. 83.
+     Mocenigo, Giovanni, III. 89. |  Vendramin, Andrea, I. 27, III. 88.
+
+ GIOVANNI GRISOSTOMO, CHURCH OF ST. One of the most important in
+   Venice. It is early Renaissance, containing some good sculpture, but
+   chiefly notable as containing a noble Sebastian del Piombo, and a John
+   Bellini, which a few years hence, unless it be "restored," will be
+   esteemed one of the most precious pictures in Italy, and among the
+   most perfect in the world. John Bellini is the only artist who appears
+   to me to have united, in equal and magnificent measures, justness of
+   drawing, nobleness of coloring, and perfect manliness of treatment,
+   with the purest religious feeling. He did, as far as it is possible to
+   do it, instinctively and unaffectedly, what the Caracci only pretended
+   to do. Titian colors better, but has not his piety. Leonardo draws
+   better, but has not his color. Angelico is more heavenly, but has not
+   his manliness, far less his powers of art.
+
+ GIOVANNI ELEMOSINARIO, CHURCH OF ST. Said to contain a Titian and a
+   Bonifazio. Of no other interest.
+
+ GIOVANNI IN BRAGOLA, CHURCH OF ST. A Gothic church of the fourteenth
+   century, small, but interesting, and said to contain some precious
+   works by Cima da Conegliano, and one by John Bellini.
+
+ GIOVANNI NOVO, CHURCH OF ST. Of no importance.
+
+ GIOVANNI, S., SCUOLA DI. A fine example of the Byzantine Renaissance,
+   mixed with remnants of good late Gothic. The little exterior cortile
+   is sweet in feeling, and Lazari praises highly the work of the
+   interior staircase.
+
+ GIUDECCA. The crescent-shaped island (or series of islands), which
+   forms the most northern extremity of the city of Venice, though
+   separated by a broad channel from the main city. Commonly said to
+   derive its name from the number of Jews who lived upon it; but Lazari
+   derives it from the word "Judicato," in Venetian dialect "Zudega," it
+   having been in old time "adjudged" as a kind of prison territory to
+   the more dangerous and turbulent citizens. It is now inhabited only by
+   the poor, and covered by desolate groups of miserable dwellings,
+   divided by stagnant canals.
+
+   Its two principal churches, the Redentore and St. Eufemia, are named
+   in their alphabetical order.
+
+ GIULIANO, CHURCH OF ST. Of no importance.
+
+ GIUSEPPE DI CASTELLO, CHURCH OF ST. Said to contain a Paul Veronese:
+   otherwise of no importance.
+
+ GIUSTINA, CHURCH OF ST. Of no importance.
+
+ GIUSTINIANI PALAZZO, on the Grand Canal, now Albergo all' Europa. Good
+   late fourteenth century Gothic, but much altered.
+
+ GIUSTINIANI, PALAZZO, next the Casa Foscari, on the Grand Canal.
+   Lazari, I know not on what authority, says that this palace was built
+   by the Giustiniani family before 1428. It is one of those founded
+   directly on the Ducal Palace, together with the Casa Foscari at its
+   side: and there could have been no doubt of their date on this ground;
+   but it would be interesting, after what we have seen of the progress
+   of the Ducal Palace, to ascertain the exact year of the erection of
+   any of these imitations.
+
+   This palace contains some unusually rich detached windows, full of
+   tracery, of which the profiles are given in the Appendix, under the
+   title of the Palace of the Younger Foscari, it being popularly
+   reported to have belonged to the son of the Doge.
+
+ GIUSTINIAN LOLIN, PALAZZO, on the Grand Canal. Of no importance.
+
+ GRASSI PALAZZO, on the Grand Canal, now Albergo all' Imperator d'
+   Austria. Of no importance.
+
+ GREGORIO, CHURCH OF ST., on the Grand Canal. An important church of
+   the fourteenth century, now desecrated, but still interesting. Its
+   apse is on the little canal crossing from the Grand Canal to the
+   Giudecca, beside the Church of the Salute, and is very characteristic
+   of the rude ecclesiastical Gothic contemporary with the Ducal Palace.
+   The entrance to its cloisters, from the Grand Canal, is somewhat
+   later; a noble square door, with two windows on each side of it, the
+   grandest examples in Venice of the late window of the fourth order.
+
+   The cloister, to which this door gives entrance, is exactly
+   contemporary with the finest work of the Ducal Palace, circa 1350. It
+   is the loveliest cortile I know in Venice; its capitals consummate in
+   design and execution; and the low wall on which they stand showing
+   remnants of sculpture unique, as far as I know, in such application.
+
+ GRIMANI, PALAZZO, on the Grand Canal, III. 32.
+
+   There are several other palaces in Venice belonging to this family,
+   but none of any architectural interest.
+
+
+    J
+
+ JESUITI, CHURCH OF THE. The basest Renaissance; but worth a visit in
+   order to examine the imitations of curtains in white marble inlaid
+   with green.
+
+   It contains a Tintoret, "The Assumption," which I have not examined;
+   and a Titian, "The Martyrdom of St. Lawrence," originally, it seems to
+   me, of little value, and now, having been restored, of none.
+
+
+    L
+
+ LABIA PALAZZO, on the Canna Reggio. Of no importance.
+
+ LAZZARO DE' MENDICANTI, CHURCH OF ST. Of no importance.
+
+ LIBRERIA VECCHIA. A graceful building of the central Renaissance,
+   designed by Sansovino, 1536, and much admired by all architects of the
+   school. It was continued by Scamozzi, down the whole side of St.
+   Mark's Place, adding another story above it, which modern critics
+   blame as destroying the "eurithmia;" never considering that had the
+   two low stories of the Library been continued along the entire length
+   of the Piazza, they would have looked so low that the entire dignity
+   of the square would have been lost. As it is, the Library is left in
+   its originally good proportions, and the larger mass of the Procuratie
+   Nuove forms a more majestic, though less graceful, side for the great
+   square.
+
+   But the real faults of the building are not in its number of stories,
+   but in the design of the parts. It is one of the grossest examples of
+   the base Renaissance habit of turning _keystones_ into _brackets_,
+   throwing them out in bold projection (not less than a foot and a half)
+   beyond the mouldings of the arch; a practice utterly barbarous,
+   inasmuch as it evidently tends to dislocate the entire arch, if any
+   real weight were laid on the extremity of the keystone; and it is also
+   a very characteristic example of the vulgar and painful mode of
+   filling spandrils by naked figures in alto-relievo, leaning against
+   the arch on each side, and appearing as if they were continually in
+   danger of slipping off. Many of these figures have, however, some
+   merit in themselves; and the whole building is graceful and effective
+   of its kind. The continuation of the Procuratie Nuove, at the western
+   extremity of St. Mark's Place (together with various apartments in the
+   great line of the Procuratie Nuove) forms the "Royal Palace," the
+   residence of the Emperor when at Venice. This building is entirely
+   modern, built in 1810, in imitation of the Procuratie Nuove, and on
+   the site of Sansovino's Church of San Geminiano.
+
+   In this range of buildings, including the Royal Palace, the Procuratie
+   Nuove, the old Library, and the "Zecca" which is connected with them
+   (the latter being an ugly building of very modern date, not worth
+   notice architecturally), there are many most valuable pictures, among
+   which I would especially direct attention, first to those in the
+   Zecca, namely, a beautiful and strange Madonna, by Benedetto Diana;
+   two noble Bonifazios; and two groups, by Tintoret, of the Provveditori
+   della Zecca, by no means to be missed, whatever may be sacrificed to
+   see them, on account of the quietness and veracity of their unaffected
+   portraiture, and the absolute freedom from all vanity either in the
+   painter or in his subjects.
+
+   Next, in the "Antisala" of the old Library, observe the "Sapienza" of
+   Titian, in the centre of the ceiling; a most interesting work in the
+   light brilliancy of its color, and the resemblance to Paul Veronese.
+   Then, in the great hall of the old Library, examine the two large
+   Tintorets, "St. Mark saving a Saracen from Drowning," and the
+   "Stealing of his Body from Constantinople," both rude, but great (note
+   in the latter the dashing of the rain on the pavement, and running of
+   the water about the feet of the figures): then in the narrow spaces
+   between the windows, there are some magnificent single figures by
+   Tintoret, among the finest things of the kind in Italy, or in Europe.
+   Finally, in the gallery of pictures in the Palazzo Reale, among other
+   good works of various kinds, are two of the most interesting
+   Bonifazios in Venice, the "Children of Israel in their journeyings,"
+   in one of which, if I recollect right, the quails are coming in flight
+   across a sunset sky, forming one of the earliest instances I know of a
+   thoroughly natural and Turneresque effect being felt and rendered by
+   the old masters. The picture struck me chiefly from this circumstance;
+   but, the note-book in which I had described it and its companion
+   having been lost on my way home, I cannot now give a more special
+   account of them, except that they are long, full of crowded figures,
+   and peculiarly light in color and handling as compared with
+   Bonifazio's work in general.
+
+ LIO, CHURCH OF ST. Of no importance, but said to contain a spoiled
+   Titian.
+
+ LIO, SALIZZADA DI ST., windows in, II. 252, 257.
+
+ LOREDAN, PALAZZO, on the Grand Canal, near the Rialto, II. 123, 393.
+   Another palace of this name, on the Campo St. Stefano, is of no
+   importance.
+
+ LORENZO, CHURCH OF ST. Of no importance.
+
+ LUCA, CHURCH OF ST. Its campanile is of very interesting and quaint
+   early Gothic, and it is said to contain a Paul Veronese, "St Luke and
+   the Virgin." In the little Campiello St. Luca, close by, is a very
+   precious Gothic door, rich in brickwork, of the thirteenth century;
+   and in the foundations of the houses on the same side of the square,
+   but at the other end of it, are traceable some shafts and arches
+   closely resembling the work of the Cathedral of Murano, and evidently
+   having once belonged to some most interesting building.
+
+ LUCIA, CHURCH OF ST. Of no importance.
+
+
+    M
+
+ MADDALENA, CHURCH OF STA. MARIA. Of no importance.
+
+ MALIPIERO, PALAZZO, on the Campo St. M. Formosa, facing the canal at its
+   extremity. A very beautiful example of the Byzantine Renaissance. Note
+   the management of color in its inlaid balconies.
+
+ MANFRINI, PALAZZO. The architecture is of no interest; and as it is in
+   contemplation to allow the collection of pictures to be sold, I shall
+   take no note of them. But even if they should remain, there are few of
+   the churches in Venice where the traveller had not better spend his
+   time than in this gallery; as, with the exception of Titian's
+   "Entombment," one or two Giorgiones, and the little John Bellini (St.
+   Jerome), the pictures are all of a kind which may be seen elsewhere.
+
+ MANGILI VALMARANA, PALAZZO, on the Grand Canal. Of no importance.
+
+ MANIN, PALAZZO, on the Grand Canal. Of no importance.
+
+ MANZONI, PALAZZO, on the Grand Canal, near the Church of the Carita. A
+   perfect and very rich example of Byzantine Renaissance: its warm
+   yellow marbles are magnificent.
+
+ MARCILIAN, CHURCH OF ST. Said to contain a Titian, "Tobit and the
+   Angel:" otherwise of no importance.
+
+ MARIA, CHURCHES OF STA. See FORMOSA, MATER DOMINI, MIRACOLI, ORTO,
+   SALUTE, and ZOBENIGO.
+
+ MARCO, SCUOLA DI SAN, III. 16.
+
+ MARK, CHURCH OF ST., history of, II. 57; approach to, II. 71; general
+   teaching of, II. 112, 116; measures of facade of, II. 126; balustrades
+   of, II. 244, 247; cornices of, I. 311; horseshoe arches of, II. 249;
+   entrances of, II. 271, III. 245; shafts of, II. 384; base in
+   baptistery of, I. 290; mosaics in atrium of, II. 112; mosaics in
+   cupola of, II. 114, III. 192; lily capitals of, II. 137; Plates
+   illustrative of (Vol. II.), VI. VII. figs. 9, 10, 11, VIII. figs. 8,
+   9, 12, 13, 15, IX. XI. fig. 1, and Plate III. Vol. III.
+
+ MARK, SQUARE OF ST. (Piazza di San Marco), anciently a garden, II. 58;
+   general effect of, II. 66, 116; plan of, II. 282.
+
+ MARTINO, CHURCH OF ST. Of no importance.
+
+ MATER DOMINI, CHURCH OF ST. MARIA. It contains two important pictures:
+   one over the second altar on the right, "St. Christina," by Vincenzo
+   Catena, a very lovely example of the Venetian religious school; and,
+   over the north transept door, the "Finding of the Cross," by Tintoret,
+   a carefully painted and attractive picture, but by no means a good
+   specimen of the master, as far as regards power of conception. He does
+   not seem to have entered into his subject. There is no wonder, no
+   rapture, no entire devotion in any of the figures. They are only
+   interested and pleased in a mild way; and the kneeling woman who hands
+   the nails to a man stooping forward to receive them on the right hand,
+   does so with the air of a person saying, "You had better take care of
+   them; they may be wanted another time." This general coldness in
+   expression is much increased by the presence of several figures on the
+   right and left, introduced for the sake of portraiture merely; and
+   the reality, as well as the feeling, of the scene is destroyed by our
+   seeing one of the youngest and weakest of the women with a huge cross
+   lying across her knees, the whole weight of it resting upon her. As
+   might have been expected, where the conception is so languid, the
+   execution is little delighted in; it is throughout steady and
+   powerful, but in no place affectionate, and in no place impetuous. If
+   Tintoret had always painted in this way, he would have sunk into a
+   mere mechanist. It is, however, a genuine and tolerably well preserved
+   specimen, and its female figures are exceedingly graceful; that of St.
+   Helena very queenly, though by no means agreeable in feature. Among
+   the male portraits on the left there is one different from the usual
+   types which occur either in Venetian paintings or Venetian populace;
+   it is carefully painted, and more like a Scotch Presbyterian minister,
+   than a Greek. The background is chiefly composed of architecture,
+   white, remarkably uninteresting in color, and still more so in form.
+   This is to be noticed as one of the unfortunate results of the
+   Renaissance teaching at this period. Had Tintoret backed his Empress
+   Helena with Byzantine architecture, the picture might have been one of
+   the most gorgeous he ever painted.
+
+ MATER DOMINI, CAMPO DI STA. MARIA, II. 261. A most interesting little
+   piazza, surrounded by early Gothic houses, once of singular beauty;
+   the arcade at its extremity, of fourth order windows, drawn in my
+   folio work, is one of the earliest and loveliest of its kind in
+   Venice; and in the houses at the side is a group of second order
+   windows with their intermediate crosses, all complete, and well worth
+   careful examination.
+
+ MICHELE IN ISOLA, CHURCH OF ST. On the island between Venice and
+   Murano. The little Cappella Emiliana at the side of it has been much
+   admired, but it would be difficult to find a building more feelingless
+   or ridiculous. It is more like a German summer-house, or angle turret,
+   than a chapel, and may be briefly described as a bee-hive set on a low
+   hexagonal tower, with dashes of stone-work about its windows like the
+   flourishes of an idle penman.
+
+   The cloister of this church is pretty; and the attached cemetery is
+   worth entering, for the sake of feeling the strangeness of the quiet
+   sleeping ground in the midst of the sea.
+
+ MICHIEL DALLE COLONNE, PALAZZO. Of no importance.
+
+ MINELLI, PALAZZO. In the Corte del Maltese, at St. Paternian. It has a
+   spiral external staircase, very picturesque, but of the fifteenth
+   century and without merit.
+
+ MIRACOLI, CHURCH OF STA. MARIA DEI. The most interesting and finished
+   example in Venice of the Byzantine Renaissance, and one of the most
+   important in Italy of the cinque-cento style. All its sculptures
+   should be examined with great care, as the best possible examples of a
+   bad style. Observe, for instance, that in spite of the beautiful work
+   on the square pillars which support the gallery at the west end, they
+   have no more architectural effect than two wooden posts. The same kind
+   of failure in boldness of purpose exists throughout; and the building
+   is, in fact, rather a small museum of unmeaning, though refined
+   sculpture, than a piece of architecture.
+
+   Its grotesques are admirable examples of the base Raphaelesque design
+   examined above, III. 136. Note especially the children's heads tied up
+   by the hair, in the lateral sculptures at the top of the altar steps.
+   A rude workman, who could hardly have carved the head at all, might
+   have allowed this or any other mode of expressing discontent with his
+   own doings; but the man who could carve a child's head so perfectly
+   must have been wanting in all human feeling, to cut it off, and tie it
+   by the hair to a vine leaf. Observe, in the Ducal Palace, though far
+   ruder in skill, the heads always _emerge_ from the leaves, they are
+   never _tied_ to them.
+
+ MISERICORDIA, CHURCH OF. The church itself is nothing, and contains
+   nothing worth the traveller's time; but the Albergo de' Confratelli
+   della Misericordia at its side is a very interesting and beautiful
+   relic of the Gothic Renaissance. Lazari says, "del secolo xiv.;" but I
+   believe it to be later. Its traceries are very curious and rich, and
+   the sculpture of its capitals very fine for the late time. Close to
+   it, on the right-hand side of the canal which is crossed by the wooden
+   bridge, is one of the richest Gothic doors in Venice, remarkable for
+   the appearance of antiquity in the general design and stiffness of its
+   figures, though it bears its date 1505. Its extravagant crockets are
+   almost the only features which, but for this written date, would at
+   first have confessed its lateness; but, on examination, the figures
+   will be found as bad and spiritless as they are apparently archaic,
+   and completely exhibiting the Renaissance palsy of imagination.
+
+   The general effect is, however, excellent, the whole arrangement
+   having been borrowed from earlier work.
+
+   The action of the statue of the Madonna, who extends her robe to
+   shelter a group of diminutive figures, representative of the Society
+   for whose house the sculpture was executed, may be also seen in most
+   of the later Venetian figures of the Virgin which occupy similar
+   situations. The image of Christ is placed in a medallion on her
+   breast, thus fully, though conventionally, expressing the idea of
+   self-support which is so often partially indicated by the great
+   religious painters in their representations of the infant Jesus.
+
+ MOISE, CHURCH OF ST., III. 124. Notable as one of the basest examples
+   of the basest school of the Renaissance. It contains one important
+   picture, namely "Christ washing the Disciples' Feet," by Tintoret; on
+   the left side of the chapel, north of the choir. This picture has been
+   originally dark, is now much faded--in parts, I believe, altogether
+   destroyed--and is hung in the worst light of a chapel, where, on a
+   sunny day at noon, one could not easily read without a candle. I
+   cannot, therefore, give much information respecting it; but it is
+   certainly one of the least successful of the painter's works, and both
+   careless and unsatisfactory in its composition as well as its color.
+   One circumstance is noticeable, as in a considerable degree detracting
+   from the interest of most of Tintoret's representations of our Saviour
+   with his disciples. He never loses sight of the fact that all were
+   poor, and the latter ignorant; and while he never paints a senator, or
+   a saint once thoroughly canonized, except as a gentleman, he is very
+   careful to paint the Apostles, in their living intercourse with the
+   Saviour, in such a manner that the spectator may see in an instant, as
+   the Pharisee did of old, that they were unlearned and ignorant men;
+   and, whenever we find them in a room, it is always such a one as would
+   be inhabited by the lower classes. There seems some violation of this
+   practice in the dais, or flight of steps, at the top of which the
+   Saviour is placed in the present picture; but we are quickly reminded
+   that the guests' chamber or upper room ready prepared was not likely
+   to have been in a palace, by the humble furniture upon the floor,
+   consisting of a tub with a copper saucepan in it, a coffee-pot, and a
+   pair of bellows, curiously associated with a symbolic cup with a
+   wafer, which, however, is in an injured part of the canvas, and may
+   have been added by the priests. I am totally unable to state what the
+   background of the picture is or has been; and the only point farther
+   to be noted about it is the solemnity, which, in spite of the familiar
+   and homely circumstances above noticed, the painter has given to the
+   scene, by placing the Saviour, in the act of washing the feet of
+   Peter, at the top of a circle of steps, on which the other Apostles
+   kneel in adoration and astonishment.
+
+ MORO, PALAZZO. See OTHELLO.
+
+ MOROSINI, PALAZZO, near the Ponte dell' Ospedaletto, at San Giovannie
+   Paolo. Outside it is not interesting, though the gateway shows remains
+   of brickwork of the thirteenth century. Its interior court is
+   singularly beautiful; the staircase of early fourteenth century Gothic
+   has originally been superb, and the window in the angle above is the
+   most perfect that I know in Venice of the kind; the lightly sculptured
+   coronet is exquisitely introduced at the top of its spiral shaft.
+
+   This palace still belongs to the Morosini family, to whose present
+   representative, the Count Carlo Morosini, the reader is indebted for
+   the note on the character of his ancestors, above, III. 213.
+
+ MOROSINI, PALAZZO, at St. Stefano. Of no importance.
+
+
+    N
+
+ NANI-MOCENIGO, PALAZZO. (Now Hotel Danieli.) A glorious example of the
+   central Gothic, nearly contemporary with the finest part of the Ducal
+   Palace. Though less impressive in effect than the Casa Foscari or Casa
+   Bernardo, it is of purer architecture than either: and quite unique in
+   the delicacy of the form of the cusps in the central group of windows,
+   which are shaped like broad scimitars, the upper foil of the windows
+   being very small. If the traveller will compare these windows with
+   the neighboring traceries of the Ducal Palace, he will easily perceive
+   the peculiarity.
+
+ NICOLO DEL LIDO, CHURCH OF ST. Of no importance.
+
+ NOME DI GESU, CHURCH OF THE. Of no importance.
+
+
+    O
+
+ ORFANI, CHURCH OF THE. Of no importance.
+
+ ORTO, CHURCH OF STA. MARIA, DELL'. An interesting example of Renaissance
+   Gothic, the traceries of the windows being very rich and quaint.
+
+   It contains four most important Tintorets: "The Last Judgment," "The
+   Worship of the Golden Calf," "The Presentation of the Virgin," and
+   "Martyrdom of St. Agnes." The first two are among his largest and
+   mightiest works, but grievously injured by damp and neglect; and
+   unless the traveller is accustomed to decipher the thoughts in a
+   picture patiently, he need not hope to derive any pleasure from them.
+   But no pictures will better reward a resolute study. The following
+   account of the "Last Judgment," given in the second volume of "Modern
+   Painters," will be useful in enabling the traveller to enter into the
+   meaning of the picture, but its real power is only to be felt by
+   patient examination of it.
+
+   "By Tintoret only has this unimaginable event (the Last Judgment) been
+   grappled with in its Verity; not typically nor symbolically, but as
+   they may see it who shall not sleep, but be changed. Only one
+   traditional circumstance he has received, with Dante and Michael
+   Angelo, the Boat of the Condemned; but the impetuosity of his mind
+   bursts out even in the adoption of this image; he has not stopped at
+   the scowling ferryman of the one, nor at the sweeping blow and demon
+   dragging of the other, but, seized Hylas like by the limbs, and
+   tearing up the earth in his agony, the victim is dashed into his
+   destruction; nor is it the sluggish Lethe, nor the fiery lake, that
+   bears the cursed vessel, but the oceans of the earth and the waters of
+   the firmament gathered into one white, ghastly cataract; the river of
+   the wrath of God, roaring down into the gulf where the world has
+   melted with its fervent heat, choked with the ruins of nations, and
+   the limbs of its corpses tossed out of its whirling, like
+   water-wheels. Bat-like, out of the holes and caverns and shadows of
+   the earth, the bones gather, and the clay heaps heave, rattling and
+   adhering into half-kneaded anatomies, that crawl, and startle, and
+   struggle up among the putrid weeds, with the clay clinging to their
+   clotted hair, and their heavy eyes sealed by the earth darkness yet,
+   like his of old who went his way unseeing to the Siloam Pool; shaking
+   off one by one the dreams of the prison-house, hardly hearing the
+   clangor of the trumpets of the armies of God, blinded yet more, as
+   they awake, by the white light of the new Heaven, until the great
+   vortex of the four winds bears up their bodies to the judgment seat;
+   the Firmament is all full of them, a very dust of human souls, that
+   drifts, and floats, and falls into the interminable, inevitable light;
+   the bright clouds are darkened with them as with thick snow, currents
+   of atom life in the arteries of heaven, now soaring up slowly, and
+   higher and higher still, till the eye and the thought can follow no
+   farther, borne up, wingless, by their inward faith and by the angel
+   powers invisible, now hurled in countless drifts of horror before the
+   breath of their condemnation."
+
+   Note in the opposite picture the way the clouds are wrapped about in
+   the distant Sinai.
+
+   The figure of the little Madonna in the "Presentation" should be
+   compared with Titian's in his picture of the same subject in the
+   Academy. I prefer Tintoret's infinitely: and note how much finer is
+   the feeling with which Tintoret has relieved the glory round her head
+   against the pure sky, than that which influenced Titian in encumbering
+   his distance with architecture.
+
+   The "Martyrdom of St. Agnes" _was_ a lovely picture. It has been
+   "restored" since I saw it.
+
+ OSPEDALETTO, CHURCH OF THE. The most monstrous example of the
+   Grotesque Renaissance which there is in Venice; the sculptures on its
+   facade representing masses of diseased figures and swollen fruit.
+
+   It is almost worth devoting an hour to the successive examination of
+   five buildings, as illustrative of the last degradation of the
+   Renaissance. San Moise is the most clumsy, Santa Maria Zobenigo the
+   most impious, St. Eustachio the most ridiculous, the Ospedaletto the
+   most monstrous, and the head at Santa Maria Formosa the most foul.
+
+ OTHELLO, HOUSE OF, at the Carmini. The researches of Mr. Brown into
+   the origin of the play of "Othello" have, I think, determined that
+   Shakspeare wrote on definite historical grounds; and that Othello may
+   be in many points identified with Christopher Moro, the lieutenant of
+   the republic at Cyprus, in 1508. See "Ragguagli su Maria Sanuto," i.
+   252.
+
+   His palace was standing till very lately, a Gothic building of the
+   fourteenth century, of which Mr. Brown possesses a drawing. It is now
+   destroyed, and a modern square-windowed house built on its site. A
+   statue, said to be a portrait of Moro, but a most paltry work, is set
+   in a niche in the modern wall.
+
+
+    P
+
+ PANTALEONE, CHURCH OF ST. Said to contain a Paul Veronese; otherwise of
+   no importance.
+
+ PATERNIAN, CHURCH OF ST. Its little leaning tower forms an interesting
+   object as the traveller sees it from the narrow canal which passes
+   beneath the Porte San Paternian. The two arched lights of the belfry
+   appear of very early workmanship, probably of the beginning of the
+   thirteenth century.
+
+ PESARO PALAZZO, on the Grand Canal. The most powerful and impressive
+   in effect of all the palaces of the Grotesque Renaissance. The heads
+   upon its foundation are very characteristic of the period, but there
+   is more genius in them than usual. Some of the mingled expressions of
+   faces and grinning casques are very clever.
+
+ PIAZZETTA, pillars of, see Final Appendix under head "Capital." The
+   two magnificent blocks of marble brought from St. Jean d'Acre, which
+   form one of the principal ornaments of the Piazzetta, are Greek
+   sculpture of the sixth century, and will be described in my folio
+   work.
+
+ PIETA, CHURCH OF THE. Of no importance.
+
+ PIETRO, CHURCH OF ST., at Murano. Its pictures, once valuable, are now
+   hardly worth examination, having been spoiled by neglect.
+
+ PIETRO, DI CASTELLO, CHURCH OF ST., I. 7, 361. It is said to contain
+   a Paul Veronese, and I suppose the so-called "Chair of St. Peter" must
+   be worth examining.
+
+ PISANI, PALAZZO, on the Grand Canal. The latest Venetian Gothic, just
+   passing into Renaissance. The capitals of the first floor windows are,
+   however, singularly spirited and graceful, very daringly under-cut,
+   and worth careful examination. The Paul Veronese, once the glory of
+   this palace, is, I believe, not likely to remain in Venice. The other
+   picture in the same room, the "Death of Darius," is of no value.
+
+ PISANI, PALAZZO, at St. Stefano. Late Renaissance, and of no merit,
+   but grand in its colossal proportions, especially when seen from the
+   narrow canal at its side, which terminated by the apse of the Church
+   of San Stefano, is one of the most picturesque and impressive little
+   pieces of water scenery in Venice.
+
+ POLO, CHURCH OF ST. Of no importance, except as an example of the
+   advantages accruing from restoration. M. Lazari says of it, "Before
+   this church was modernized, its principal chapel was adorned with
+   Mosaics, and possessed a pala of silver gilt, of Byzantine
+   workmanship, which is now lost."
+
+ POLO, SQUARE OF ST. (Campo San Polo.) A large and important square,
+   rendered interesting chiefly by three palaces on the side of it
+   opposite the church, of central Gothic (1360), and fine of their time,
+   though small. One of their capitals has been given in Plate II. of
+   this volume, fig. 12. They are remarkable as being decorated with
+   sculptures of the Gothic time, in imitation of Byzantine ones; the
+   period being marked by the dog-tooth and cable being used instead of
+   the dentil round the circles.
+
+ POLO, PALAZZO, at San G. Grisostomo (the house of Marco Polo), II. 139.
+   Its interior court is full of interest, showing fragments of the old
+   building in every direction, cornices, windows, and doors, of almost
+   every period, mingled among modern rebuilding and restoration of all
+   degrees of dignity.
+
+ PORTA DELLA CARTA, II. 302.
+
+ PRIULI, PALAZZO. A most important and beautiful early Gothic Palace,
+   at San Severo; the main entrance is from the Fundamento San Severo,
+   but the principal facade is on the other side, towards the canal. The
+   entrance has been grievously defaced, having had winged lions filling
+   the spandrils of its pointed arch, of which only feeble traces are now
+   left, the facade has very early fourth order windows in the lower
+   story, and above, the beautiful range of fifth order windows drawn at
+   the bottom of Plate XVIII. Vol. II., where the heads of the fourth
+   order range are also seen (note their inequality, the larger one at
+   the flank). This Palace has two most interesting traceried angle
+   windows also, which, however, I believe are later than those on the
+   facade; and finally, a rich and bold interior staircase.
+
+   PROCURATIE NUOVE, see "LIBRERIA" VECCHIA: A graceful series buildings,
+   of late fifteenth century design, forming the northern side of St.
+   Mark's Place, but of no particular interest.
+
+
+    Q
+
+ QUERINI, PALAZZO, now the Beccherie, II. 255, III. 234.
+
+
+    R
+
+ RAFFAELLE, CHIESA DELL'ANGELO. Said to contain a Bonifazio, otherwise of
+   no importance.
+
+ REDENTORE, CHURCH OF THE, II. 378. It contains three interesting John
+   Bellinis, and also, in the sacristy, a most beautiful Paul Veronese.
+
+ REMER, CORTE DEL, house in. II. 251.
+
+ REZZONICO, PALAZZO, on the Grand Canal. Of the Grotesque Renaissance
+   time, but less extravagant than usual.
+
+ RIALTO, BRIDGE OF THE. The best building raised in the time of the
+   Grotesque Renaissance; very noble in its simplicity, in its
+   proportions, and in its masonry. Note especially the grand way in
+   which the oblique archstones rest on the butments of the bridge, safe,
+   palpably both to the sense and eye: note also the sculpture of the
+   Annunciation on the southern side of it; how beautifully arranged, so
+   as to give more lightness and a grace to the arch--_the dove, flying
+   towards the Madonna, forming the keystone_,--and thus the whole action
+   of the figures being parallel to the curve of the arch, while all the
+   masonry is at right angles to it. Note, finally, one circumstance
+   which gives peculiar firmness to the figure of the angel, and
+   associates itself with the general expression of strength in the
+   whole building; namely that the sole of the advanced foot is set
+   perfectly level, as if placed on the ground, instead of being thrown
+   back behind like a heron's, as in most modern figures of this kind.
+
+   The sculptures themselves are not good; but these pieces of feeling in
+   them are very admirable. The two figures on the other side, St. Mark
+   and St. Theodore, are inferior, though all by the same sculptor,
+   Girolamo Campagna.
+
+   The bridge was built by Antonio da Ponte, in 1588. It was anciently of
+   wood, with a drawbridge in the centre, a representation of which may
+   be seen in one of Carpaccio's pictures at the Accademia delle Belle
+   Arti: and the traveller should observe that the interesting effect,
+   both of this and the Bridge of Sighs, depends in great part on their
+   both being _more_ than bridges; the one a covered passage, the other a
+   row of shops, sustained on an arch. No such effect can be produced
+   merely by the masonry of the roadway itself.
+
+ RIO DEL PALAZZO, II. 282.
+
+ ROCCO, CAMPIELLO DI SAN, windows in, II. 258.
+
+ ROCCO, CHURCH OF ST. Notable only for the most interesting pictures by
+   Tintoret which it contains, namely:
+
+   1. _San Rocco before the Pope._ (On the left of the door as we enter.)
+   A delightful picture in his best manner, but not much labored; and,
+   like several other pictures in this church, it seems to me to have
+   been executed at some period of the painter's life when he was either
+   in ill health, or else had got into a mechanical way of painting, from
+   having made too little reference to nature for a long time. There is
+   something stiff and forced in the white draperies on both sides, and a
+   general character about the whole which I can feel better than I can
+   describe; but which, if I had been the painter's physician, would have
+   immediately caused me to order him to shut up his painting-room, and
+   take a voyage to the Levant, and back again. The figure of the Pope
+   is, however, extremely beautiful, and is not unworthy, in its jewelled
+   magnificence, here dark against the sky, of comparison with the figure
+   of the high priest in the "Presentation," in the Scuola di San Rocco.
+
+   2. _Annunciation._ (On the other side of the door, on entering.) A
+   most disagreeable and dead picture, having all the faults of the age,
+   and none of the merits of the painter. It must be a matter of future
+   investigation to me, what could cause the fall of his mind from a
+   conception so great and so fiery as that of the "Annunciation" in the
+   Scuola di San Rocco, to this miserable reprint of an idea worn out
+   centuries before. One of the most inconceivable things in it,
+   considered as the work of Tintoret, is that where the angel's robe
+   drifts away behind his limb, one cannot tell by the character of the
+   outline, or by the tones of the color, whether the cloud comes in
+   before the robe, or whether the robe cuts upon the cloud. The Virgin
+   is uglier than that of the Scuola, and not half so real; and the
+   draperies are crumpled in the most commonplace and ignoble folds. It
+   is a picture well worth study, as an example of the extent to which
+   the greatest mind may be betrayed by the abuse of its powers, and the
+   neglect of its proper food in the study of nature.
+
+   3. _Pool of Bethesda._ (On the right side of the church, in its
+   centre, the lowest of the two pictures which occupy the wall.) A noble
+   work, but eminently disagreeable, as must be all pictures of this
+   subject; and with the same character in it of undefinable want, which
+   I have noticed in the two preceding works. The main figure in it is
+   the cripple, who has taken up his bed; but the whole effect of this
+   action is lost by his not turning to Christ, but flinging it on his
+   shoulder like a triumphant porter with a huge load; and the corrupt
+   Renaissance architecture, among which the figures are crowded, is both
+   ugly in itself, and much too small for them. It is worth noticing, for
+   the benefit of persons who find fault with the perspective of the
+   Pre-Raphaelites, that the perspective of the brackets beneath these
+   pillars is utterly absurd; and that, in fine, the presence or absence
+   of perspective has nothing to do with the merits of a great picture:
+   not that the perspective of the Pre-Raphaelites _is_ false in any case
+   that I have examined, the objection being just as untenable as it is
+   ridiculous.
+
+   4. _San Rocco in the Desert._ (Above the last-named picture.) A single
+   recumbent figure in a not very interesting landscape, deserving less
+   attention than a picture of St. Martin just opposite to it,--a noble
+   and knightly figure on horseback by Pordenone, to which I cannot pay a
+   greater compliment than by saying that I was a considerable time in
+   doubt whether or not it was another Tintoret.
+
+   5. _San Rocco in the Hospital._ (On the right-hand side of the altar.)
+   There are four vast pictures by Tintoret in the dark choir of this
+   church, not only important by their size (each being some twenty-five
+   feet long by ten feet high), but also elaborate compositions; and
+   remarkable, one for its extraordinary landscape, and the other as the
+   most studied picture in which the painter has introduced horses in
+   violent action. In order to show what waste of human mind there is in
+   these dark churches of Venice, it is worth recording that, as I was
+   examining these pictures, there came in a party of eighteen German
+   tourists, not hurried, nor jesting among themselves as large parties
+   often do, but patiently submitting to their cicerone, and evidently
+   desirous of doing their duty as intelligent travellers. They sat down
+   for a long time on the benches of the nave, looked a little at the
+   "Pool of Bethesda," walked up into the choir and there heard a lecture
+   of considerable length from their _valet-de-place_ upon some subject
+   connected with the altar itself, which, being in German, I did not
+   understand; they then turned and went slowly out of the church, not
+   one of the whole eighteen ever giving a single glance to any of the
+   four Tintorets, and only one of them, as far as I saw, even raising
+   his eyes to the walls on which they hung, and immediately withdrawing
+   them, with a jaded and _nonchalant_ expression easily interpretable
+   into "Nothing but old black pictures." The two Tintorets above
+   noticed, at the end of the church, were passed also without a glance;
+   and this neglect is not because the pictures have nothing in them
+   capable of arresting the popular mind, but simply because they are
+   totally in the dark, or confused among easier and more prominent
+   objects of attention. This picture, which I have called "St. Rocco in
+   the Hospital," shows him, I suppose, in his general ministrations at
+   such places, and is one of the usual representations of a disgusting
+   subject from which neither Orcagna nor Tintoret seems ever to have
+   shrunk. It is a very noble picture, carefully composed and highly
+   wrought; but to me gives no pleasure, first, on account of its
+   subject, secondly, on account of its dull brown tone all over,--it
+   being impossible, or nearly so, in such a scene, and at all events
+   inconsistent with its feeling, to introduce vivid color of any kind.
+   So it is a brown study of diseased limbs in a close room.
+
+   6. _Cattle Piece._ (Above the picture last described.) I can give no
+   other name to this picture, whose subject I can neither guess nor
+   discover, the picture being in the dark, and the guide-books leaving
+   me in the same position. All I can make out of it is, that there is a
+   noble landscape with cattle and figures. It seems to me the best
+   landscape of Tintoret's in Venice, except the "Flight into Egypt;" and
+   is even still more interesting from its savage character, the
+   principal trees being pines, something like Titian's in his "St.
+   Francis receiving the Stigmata," and chestnuts on the slopes and in
+   the hollows of the hills; the animals also seem first-rate. But it is
+   too high, too much faded, and too much in the dark to be made out. It
+   seems never to have been rich in color, rather cool and grey, and very
+   full of light.
+
+   7. _Finding of Body of San Rocco._ (On the left-hand side of the
+   altar.) An elaborate, but somewhat confused picture, with a flying
+   angel in a blue drapery; but it seemed to me altogether uninteresting,
+   or perhaps requiring more study than I was able to give it.
+
+   8. _San Rocco in Campo d' Armata._ So this picture is called by the
+   sacristan. I could see no San Rocco in it; nothing but a wild group of
+   horses and warriors in the most magnificent confusion of fall and
+   flight ever painted by man. They seem all dashed different ways as if
+   by a whirlwind; and a whirlwind there must be, or a thunderbolt,
+   behind them, for a huge tree is torn up and hurled into the air beyond
+   the central figure, as if it were a shivered lance. Two of the horses
+   meet in the midst, as if in a tournament; but in madness of fear, not
+   in hostility; on the horse to the right is a standard-bearer, who
+   stoops as from some foe behind him, with the lance laid across his
+   saddle-bow, level, and the flag stretched out behind him as he flies,
+   like the sail of a ship drifting from its mast; the central horseman,
+   who meets the shock, of storm, or enemy, whatever it be, is hurled
+   backwards from his seat, like a stone from a sling; and this figure
+   with the shattered tree trunk behind it, is the most noble part of the
+   picture. There is another grand horse on the right, however, also in
+   full action. Two gigantic figures on foot, on the left, meant to be
+   nearer than the others, would, it seems to me, have injured the
+   picture, had they been clearly visible; but time has reduced them to
+   perfect subordination.
+
+
+ ROCCO, SCUOLA DI SAN, bases of, I. 291, 431; soffit ornaments of, I.
+   337. An interesting building of the early Renaissance (1517), passing
+   into Roman Renaissance. The wreaths of leafage about its shafts are
+   wonderfully delicate and fine, though misplaced.
+
+   As regards the pictures which it contains, it is one of the three most
+   precious buildings in Italy; buildings, I mean, consistently decorated
+   with a series of paintings at the time of their erection, and still
+   exhibiting that series in its original order. I suppose there can be
+   little question, but that the three most important edifices of this
+   kind in Italy are the Sistine Chapel, the Campo Santo of Pisa, and the
+   Scuola di San Rocco at Venice: the first is painted by Michael Angelo;
+   the second by Orcagna, Benozzo Gozzoli, Pietro Laurati, and several
+   other men whose works are as rare as they are precious; and the third
+   by Tintoret.
+
+   Whatever the traveller may miss in Venice, he should therefore give
+   unembarrassed attention and unbroken time to the Scuola di San Rocco;
+   and I shall, accordingly, number the pictures, and note in them, one
+   by one, what seemed to me most worthy of observation.
+
+   There are sixty-two in all, but eight of these are merely of children
+   or children's heads, and two of unimportant figures. The number of
+   valuable pictures is fifty-two; arranged on the walls and ceilings of
+   three rooms, so badly lighted, in consequence of the admirable
+   arrangements of the Renaissance architect, that it is only in the
+   early morning that some of the pictures can be seen at all, nor can
+   they ever be seen but imperfectly. They were all painted, however, for
+   their places in the dark, and, as compared with Tintoret's other
+   works, are therefore, for the most part, nothing more than vast
+   sketches, made to produce, under a certain degree of shadow, the
+   effect of finished pictures. Their treatment is thus to be considered
+   as a kind of scene-painting; differing from ordinary scene-painting
+   only in this, that the effect aimed at is not _that of a natural
+   scene_ but _a perfect picture_. They differ in this respect from all
+   other existing works; for there is not, as far as I know, any other
+   instance in which a great master has consented to work for a room
+   plunged into almost total obscurity. It is probable that none but
+   Tintoret would have undertaken the task, and most fortunate that he
+   was forced to it. For in this magnificent scene-painting we have, of
+   course, more wonderful examples, both of his handling, and knowledge
+   of effect, than could ever have been exhibited in finished pictures;
+   while the necessity of doing much with few strokes keeps his mind so
+   completely on the stretch throughout the work (while yet the velocity
+   of production prevented his being wearied), that no other series of
+   his works exhibits powers so exalted. On the other hand, owing to the
+   velocity and coarseness of the painting, it is more liable to injury
+   through drought or damp; and, as the walls have been for years
+   continually running down with rain, and what little sun gets into the
+   place contrives to fall all day right on one or other of the pictures,
+   they are nothing but wrecks of what they were; and the ruins of
+   paintings originally coarse are not likely ever to be attractive to
+   the public mind. Twenty or thirty years ago they were taken down to be
+   retouched; but the man to whom the task was committed providentially
+   died, and only one of them was spoiled. I have found traces of his
+   work upon another, but not to an extent very seriously destructive.
+   The rest of the sixty-two, or, at any rate, all that are in the upper
+   room, appear entirely intact.
+
+   Although, as compared with his other works, they are all very scenic
+   in execution, there are great differences in their degrees of finish;
+   and, curiously enough, some on the ceilings and others in the darkest
+   places in the lower room are very nearly finished pictures, while the
+   "Agony in the Garden," which is in one of the best lights in the upper
+   room, appears to have been painted in a couple of hours with a broom
+   for a brush.
+
+   For the traveller's greater convenience, I shall give a rude plan of
+   the arrangement, and list of the subjects, of each group of pictures
+   before examining them in detail.
+
+   First Group. On the walls of the room on the ground floor.
+
+   [Illustration:
+
+      1. Annunciation.                5. The Magdalen.
+      2. Adoration of Magi.           6. St. Mary of Egypt.
+      3. Flight into Egypt.           7. Circumcision.
+      4. Massacre of Innocents.       8. Assumption of Virgin.
+
+      At the turn of the stairs leading to the upper room:
+      9. Visitation.]
+
+   1. _The Annunciation._ This, which first strikes the eye, is a very
+   just representative of the whole group, the execution being carried to
+   the utmost limits of boldness consistent with completion. It is a
+   well-known picture, and need not therefore be specially described, but
+   one or two points in it require notice. The face of the Virgin is very
+   disagreeable to the spectator from below, giving the idea of a woman
+   about thirty, who had never been handsome. If the face is untouched,
+   it is the only instance I have ever seen of Tintoret's failing in an
+   intended effect, for, when seen near, the face is comely and youthful,
+   and expresses only surprise, instead of the pain and fear of which it
+   bears the aspect in the distance. I could not get near enough to see
+   whether it had been retouched. It looks like Tintoret's work, though
+   rather hard; but, as there are unquestionable marks in the retouching
+   of this picture, it is possible that some slight restoration of lines
+   supposed to be faded, entirely alter the distant expression of the
+   face. One of the evident pieces of repainting is the scarlet of the
+   Madonna's lap, which is heavy and lifeless. A far more injurious one
+   is the strip of sky seen through the doorway by which the angel
+   enters, which has originally been of the deep golden color of the
+   distance on the left, and which the blundering restorer has daubed
+   over with whitish blue, so that it looks like a bit of the wall;
+   luckily he has not touched the outlines of the angel's black wings, on
+   which the whole expression of the picture depends. This angel and the
+   group of small cherubs above form a great swinging chain, of which the
+   dove representing the Holy Spirit forms the bend. The angels in their
+   flight seem to be attached to this as the train of fire is to a
+   rocket; all of them appearing to have swooped down with the swiftness
+   of a falling star.
+
+   2. _Adoration of the Magi._ The most finished picture in the Scuola,
+   except the "Crucifixion," and perhaps the most delightful of the
+   whole. It unites every source of pleasure that a picture can possess:
+   the highest elevation of principal subject, mixed with the lowest
+   detail of picturesque incident; the dignity of the highest ranks of
+   men, opposed to the simplicity of the lowest; the quietness and
+   serenity of an incident in cottage life, contrasted with the
+   turbulence of troops of horsemen and the spiritual power of angels.
+   The placing of the two doves as principal points of light in the front
+   of the picture, in order to remind the spectator of the poverty of the
+   mother whose child is receiving the offerings and adoration of three
+   monarchs, is one of Tintoret's master touches; the whole scene,
+   indeed, is conceived in his happiest manner. Nothing can be at once
+   more humble or more dignified than the bearing of the kings; and there
+   is a sweet reality given to the whole incident by the Madonna's
+   stooping forward and lifting her hand in admiration of the vase of
+   gold which has been set before the Christ, though she does so with
+   such gentleness and quietness that her dignity is not in the least
+   injured by the simplicity of the action. As if to illustrate the means
+   by which the Wise men were brought from the East, the whole picture is
+   nothing but a large star, of which Christ is the centre; all the
+   figures, even the timbers of the roof, radiate from the small bright
+   figure on which the countenances of the flying angels are bent, the
+   star itself, gleaming through the timbers above, being quite
+   subordinate. The composition would almost be too artificial were it
+   not broken by the luminous distance where the troop of horsemen are
+   waiting for the kings. These, with a dog running at full speed, at
+   once interrupt the symmetry of the lines, and form a point of relief
+   from the over concentration of all the rest of the action.
+
+   3. _Flight into Egypt._ One of the principal figures here is the
+   donkey. I have never seen any of the nobler animals--lion, or leopard,
+   or horse, or dragon--made so sublime as this quiet head of the
+   domestic ass, chiefly owing to the grand motion in the nostril and
+   writhing in the ears. The space of the picture is chiefly occupied by
+   lovely landscape, and the Madonna and St. Joseph are pacing their way
+   along a shady path upon the banks of a river at the side of the
+   picture. I had not any conception, until I got near, how much pains
+   had been taken with the Virgin's head; its expression is as sweet and
+   as intense as that of any of Raffaelle's, its reality far greater. The
+   painter seems to have intended that everything should be subordinate
+   to the beauty of this single head; and the work is a wonderful proof
+   of the way in which a vast field of canvas may be made conducive to
+   the interest of a single figure. This is partly accomplished by
+   slightness of painting, so that on close examination, while there is
+   everything to astonish in the masterly handling and purpose, there is
+   not much perfect or very delightful painting; in fact, the two figures
+   are treated like the living figures in a scene at the theatre, and
+   finished to perfection, while the landscape is painted as hastily as
+   the scenes, and with the same kind of opaque size color. It has,
+   however, suffered as much as any of the series, and it is hardly fair
+   to judge of its tones and colors in its present state.
+
+   4. _Massacre of the Innocents._ The following account of this picture,
+   given in "Modern Painters," may be useful to the traveller, and is
+   therefore here repeated. "I have before alluded to the painfulness of
+   Raffaelle's treatment of the Massacre of the Innocents. Fuseli affirms
+   of it, that, 'in dramatic gradation he disclosed all the mother
+   through every image of pity and terror.' If this be so, I think the
+   philosophical spirit has prevailed over the imaginative. The
+   imagination never errs; it sees all that is, and all the relations
+   and bearings of it; but it would not have confused the mortal frenzy
+   of maternal terror, with various development of maternal character.
+   Fear, rage, and agony, at their utmost pitch, sweep away all
+   character: humanity itself would be lost in maternity, the woman would
+   become the mere personification of animal fury or fear. For this
+   reason all the ordinary representations of this subject are, I think,
+   false and cold: the artist has not heard the shrieks, nor mingled with
+   the fugitives; he has sat down in his study to convulse features
+   methodically, and philosophize over insanity. Not so Tintoret.
+   Knowing, or feeling, that the expression of the human face was, in
+   such circumstances, not to be rendered, and that the effort could only
+   end in an ugly falsehood, he denies himself all aid from the features,
+   he feels that if he is to place himself or us in the midst of that
+   maddened multitude, there can be no time allowed for watching
+   expression. Still less does he depend on details of murder or
+   ghastliness of death; there is no blood, no stabbing or cutting, but
+   there is an awful substitute for these in the chiaroscuro. The scene
+   is the outer vestibule of a palace, the slippery marble floor is
+   fearfully barred across by sanguine shadows, so that our eyes seem to
+   become bloodshot and strained with strange horror and deadly vision; a
+   lake of life before them, like the burning seen of the doomed Moabite
+   on the water that came by the way of Edom: a huge flight of stairs,
+   without parapet, descends on the left; down this rush a crowd of women
+   mixed with the murderers; the child in the arms of one has been seized
+   by the limbs, _she hurls herself over the edge, and falls head
+   downmost, dragging the child out of the grasp by her weight_;--she
+   will be dashed dead in a second:--close to us is the great struggle; a
+   heap of the mothers, entangled in one mortal writhe with each other
+   and the swords; one of the murderers dashed down and crushed beneath
+   them, the sword of another caught by the blade and dragged at by a
+   woman's naked hand; the youngest and fairest of the women, her child
+   just torn away from a death grasp, and clasped to her breast with the
+   grip of a steel vice, falls backwards, helpless over the heap, right
+   on the sword points; all knit together and hurled down in one
+   hopeless, frenzied, furious abandonment of body and soul in the
+   effort to save. Far back, at the bottom of the stairs, there is
+   something in the shadow like a heap of clothes. It is a woman, sitting
+   quiet,--quite quiet,--still as any stone; she looks down steadfastly
+   on her dead child, laid along on the floor before her, and her hand is
+   pressed softly upon her brow."
+
+   I have nothing to add to the above description of this picture, except
+   that I believe there may have been some change in the color of the
+   shadow that crosses the pavement. The chequers of the pavements are,
+   in the light, golden white and pale grey; in the shadow, red and dark
+   grey, the white in the sunshine becoming red in the shadow. I formerly
+   supposed that this was meant to give greater horror to the scene, and
+   it is very like Tintoret if it be so; but there is a strangeness and
+   discordance in it which makes me suspect the colors may have changed.
+
+   5. _The Magdalen._ This and the picture opposite to it, "St. Mary of
+   Egypt," have been painted to fill up narrow spaces between the windows
+   which were not large enough to receive compositions, and yet in which
+   single figures would have looked awkwardly thrust into the corner.
+   Tintoret has made these spaces as large as possible by filling them
+   with landscapes, which are rendered interesting by the introduction of
+   single figures of very small size. He has not, however, considered his
+   task, of making a small piece of wainscot look like a large one, worth
+   the stretch of his powers, and has painted these two landscapes just
+   as carelessly and as fast as an upholsterer's journeyman finishing a
+   room at a railroad hotel. The color is for the most part opaque, and
+   dashed or scrawled on in the manner of a scene-painter; and as during
+   the whole morning the sun shines upon the one picture, and during the
+   afternoon upon the other, hues, which were originally thin and
+   imperfect, are now dried in many places into mere dirt upon the
+   canvas. With all these drawbacks the pictures are of very high
+   interest, for although, as I said, hastily and carelessly, they are
+   not languidly painted; on the contrary, he has been in his hottest and
+   grandest temper; and in this first one ("Magdalen") the laurel tree,
+   with its leaves driven hither and thither among flakes of fiery cloud,
+   has been probably one of the greatest achievements that his hand
+   performed in landscape: its roots are entangled in underwood; of which
+   every leaf seems to be articulated, yet all is as wild as if it had
+   grown there instead of having been painted; there has been a mountain
+   distance, too, and a sky of stormy light, of which I infinitely regret
+   the loss, for though its masses of light are still discernible, its
+   variety of hue is all sunk into a withered brown. There is a curious
+   piece of execution in the striking of the light upon a brook which
+   runs under the roots of the laurel in the foreground: these roots are
+   traced in shadow against the bright surface of the water; another
+   painter would have drawn the light first, and drawn the dark roots
+   over it. Tintoret has laid in a brown ground which he has left for the
+   roots, and painted the water through their interstices with a few
+   mighty rolls of his brush laden with white.
+
+   6. _St. Mary of Egypt._ This picture differs but little in the plan,
+   from the one opposite, except that St. Mary has her back towards us,
+   and the Magdalen her face, and that the tree on the other side of the
+   brook is a palm instead of a laurel. The brook (Jordan?) is, however,
+   here much more important; and the water painting is exceedingly fine.
+   Of all painters that I know, in old times, Tintoret is the fondest of
+   running water; there was a sort of sympathy between it and his own
+   impetuous spirit. The rest of the landscape is not of much interest,
+   except so far as it is pleasant to see trunks of trees drawn by single
+   strokes of the brush.
+
+   7. _The Circumcision of Christ._ The custode has some story about this
+   picture having been painted in imitation of Paul Veronese. I much
+   doubt if Tintoret ever imitated any body; but this picture is the
+   expression of his perception of what Veronese delighted in, the
+   nobility that there may be in mere golden tissue and colored drapery.
+   It is, in fact, a picture of the moral power of gold and color; and
+   the chief use of the attendant priest is to support upon his shoulders
+   the crimson robe, with its square tablets of black and gold; and yet
+   nothing is withdrawn from the interest or dignity of the scene.
+   Tintoret has taken immense pains with the head of the high-priest. I
+   know not any existing old man's head so exquisitely tender, or so
+   noble in its lines. He receives the Infant Christ in his arms
+   kneeling, and looking down upon the Child with infinite veneration and
+   love; and the flashing of golden rays from its head is made the centre
+   of light, and all interest. The whole picture is like a golden charger
+   to receive the Child; the priest's dress is held up behind him, that
+   it may occupy larger space; the tables and floor are covered with
+   chequer-work; the shadows of the temple are filled with brazen lamps;
+   and above all are hung masses of curtains, whose crimson folds are
+   strewn over with golden flakes. Next to the "Adoration of the Magi"
+   this picture is the most laboriously finished of the Scuola di San
+   Rocco, and it is unquestionably the highest existing type of the
+   sublimity which may be thrown into the treatment of accessaries of
+   dress and decoration.
+
+   8. _Assumption of the Virgin._ On the tablet or panel of stone which
+   forms the side of the tomb out of which the Madonna rises, is this
+   inscription, in large letters, REST. ANTONIUS FLORIAN, 1834. Exactly
+   in proportion to a man's idiocy, is always the size of the letters in
+   which he writes his name on the picture that he spoils. The old
+   mosaicists in St. Mark's have not, in a single instance, as far as I
+   know, signed their names; but the spectator who wishes to know who
+   destroyed the effect of the nave, may see his name inscribed, twice
+   over, in letters half a foot high, BARTOLOMEO BOZZA. I have never seen
+   Tintoret's name signed, except in the great "Crucifixion;" but this
+   Antony Florian, I have no doubt, repainted the whole side of the tomb
+   that he might put his name on it. The picture is, of course, ruined
+   wherever he touched it; that is to say, half over; the circle of
+   cherubs in the sky is still pure; and the design of the great painter
+   is palpable enough yet in the grand flight of the horizontal angel, on
+   whom the Madonna half leans as she ascends. It has been a noble
+   picture, and is a grievous loss; but, happily, there are so many pure
+   ones, that we need not spend time in gleaning treasures out of the
+   ruins of this.
+
+   9. _Visitation._ A small picture, painted in his very best manner;
+   exquisite in its simplicity, unrivalled in vigor, well preserved, and,
+   as a piece of painting, certainly one of the most precious in Venice.
+   Of course it does not show any of his high inventive powers; nor can a
+   picture of four middle-sized figures be made a proper subject of
+   comparison with large canvases containing forty or fifty; but it is,
+   for this very reason, painted with such perfect ease, and yet with no
+   slackness either of affection or power, that there is no picture that
+   I covet so much. It is, besides, altogether free from the Renaissance
+   taint of dramatic effect. The gestures are as simple and natural as
+   Giotto's, only expressed by grander lines, such as none but Tintoret
+   ever reached. The draperies are dark, relieved against a light sky,
+   the horizon being excessively low, and the outlines of the drapery so
+   severe, that the intervals between the figures look like ravines
+   between great rocks, and have all the sublimity of an Alpine valley at
+   twilight. This precious picture is hung about thirty feet above the
+   eye, but by looking at it in a strong light, it is discoverable that
+   the Saint Elizabeth is dressed in green and crimson, the Virgin in the
+   peculiar red which all great colorists delight in--a sort of glowing
+   brick-color or brownish scarlet, opposed to rich golden brownish
+   black; and both have white kerchiefs, or drapery, thrown over their
+   shoulders. Zacharias leans on his staff behind them in a black dress
+   with white sleeves. The stroke of brilliant white light, which
+   outlines the knee of Saint Elizabeth, is a curious instance of the
+   habit of the painter to relieve his dark forms by a sort of halo of
+   more vivid light, which, until lately, one would have been apt to
+   suppose a somewhat artificial and unjustifiable means of effect. The
+   daguerreotype has shown, what the naked eye never could, that the
+   instinct of the great painter was true, and that there is actually
+   such a sudden and sharp line of light round the edges of dark objects
+   relieved by luminous space.
+
+   Opposite this picture is a most precious Titian, the "Annunciation,"
+   full of grace and beauty. I think the Madonna one of the sweetest
+   figures he ever painted. But if the traveller has entered at all into
+   the spirit of Tintoret, he will immediately feel the comparative
+   feebleness and conventionality of the Titian. Note especially the mean
+   and petty folds of the angel's drapery, and compare them with the
+   draperies of the opposite picture. The larger pictures at the sides of
+   the stairs by Zanchi and Negri, are utterly worthless.
+
+   [Illustration: Second Group. On the walls of the upper room.
+
+      10. Adoration of Shepherds.     17. Resurrection of Lazarus.
+      11. Baptism.                    18. Ascension.
+      12. Resurrection.               19. Pool of Bethesda.
+      13. Agony in Garden.            20. Temptation.
+      14. Last Supper.                21. St. Rocco.
+      15. Altar Piece: St. Rocco.     22. St. Sebastian.
+      16. Miracle of Loaves.]
+
+   10. _The Adoration of the Shepherds._ This picture commences the
+   series of the upper room, which, as already noticed, is painted with
+   far less care than that of the lower. It is one of the painter's
+   inconceivable caprices that the only canvases that are in good light
+   should be covered in this hasty manner, while those in the dungeon
+   below, and on the ceiling above, are all highly labored. It is,
+   however, just possible that the covering of these walls may have been
+   an after-thought, when he had got tired of his work. They are also,
+   for the most part, illustrative of a principle of which I am more and
+   more convinced every day, that historical and figure pieces ought not
+   to be made vehicles for effects of light. The light which is fit for a
+   historical picture is that tempered semi-sunshine of which, in
+   general, the works of Titian are the best examples, and of which the
+   picture we have just passed, "The Visitation," is a perfect example
+   from the hand of one greater than Titian; so also the three
+   "Crucifixions" of San Rocco, San Cassano, and St. John and Paul; the
+   "Adoration of the Magi" here; and, in general, the finest works of
+   the master; but Tintoret was not a man to work in any formal or
+   systematic manner; and, exactly like Turner, we find him recording
+   every effect which Nature herself displays. Still he seems to regard
+   the pictures which deviate from the great general principle of
+   colorists rather as "tours de force" than as sources of pleasure; and
+   I do not think there is any instance of his having worked out one of
+   these tricky pictures with thorough affection, except only in the case
+   of the "Marriage of Cana." By tricky pictures, I mean those which
+   display light entering in different directions, and attract the eye to
+   the effects rather than to the figure which displays them. Of this
+   treatment, we have already had a marvellous instance in the
+   candle-light picture of the "Last Supper" in San Giorgio Maggiore.
+   This "Adoration of the Shepherds" has probably been nearly as
+   wonderful when first painted: the Madonna is seated on a kind of
+   hammock floor made of rope netting, covered with straw; it divides the
+   picture into two stories, of which the uppermost contains the Virgin,
+   with two women who are adoring Christ, and shows light entering from
+   above through the loose timbers of the roof of the stable, as well as
+   through the bars of a square window; the lower division shows this
+   light falling behind the netting upon the stable floor, occupied by a
+   cock and a cow, and against this light are relieved the figures of the
+   shepherds, for the most part in demi-tint, but with flakes of more
+   vigorous sunshine falling here and there upon them from above. The
+   optical illusion has originally been as perfect as one of Hunt's best
+   interiors; but it is most curious that no part of the work seems to
+   have been taken any pleasure in by the painter; it is all by his hand,
+   but it looks as if he had been bent only on getting over the ground.
+   It is literally a piece of scene-painting, and is exactly what we
+   might fancy Tintoret to have done, had he been forced to paint scenes
+   at a small theatre at a shilling a day. I cannot think that the whole
+   canvas, though fourteen feet high and ten wide, or thereabouts, could
+   have taken him more than a couple of days to finish: and it is very
+   noticeable that exactly in proportion to the brilliant effects of
+   light is the coarseness of the execution, for the figures of the
+   Madonna and of the women above, which are not in any strong effect,
+   are painted with some care, while the shepherds and the cow are alike
+   slovenly; and the latter, which is in full sunshine, is recognizable
+   for a cow more by its size and that of its horns, than by any care
+   given to its form. It is interesting to contrast this slovenly and
+   mean sketch with the ass's head in the "Flight into Egypt," on which
+   the painter exerted his full power; as an effect of light, however,
+   the work is, of course, most interesting. One point in the treatment
+   is especially noticeable: there is a peacock in the rack beyond the
+   cow; and under other circumstances, one cannot doubt that Tintoret
+   would have liked a peacock in full color, and would have painted it
+   green and blue with great satisfaction. It is sacrificed to the light,
+   however, and is painted in warm grey, with a dim eye or two in the
+   tail: this process is exactly analogous to Turner's taking the colors
+   out of the flags of his ships in the "Gosport." Another striking point
+   is the litter with which the whole picture is filled in order more to
+   confuse the eye: there is straw sticking from the roof, straw all over
+   the hammock floor, and straw struggling hither and thither all over
+   the floor itself; and, to add to the confusion, the glory around the
+   head of the infant, instead of being united and serene, is broken into
+   little bits, and is like a glory of chopped straw. But the most
+   curious thing, after all, is the want of delight in any of the
+   principal figures, and the comparative meanness and commonplaceness of
+   even the folds of the drapery. It seems as if Tintoret had determined
+   to make the shepherds as uninteresting as possible; but one does not
+   see why their very clothes should be ill painted, and their
+   disposition unpicturesque. I believe, however, though it never struck
+   me until I had examined this picture, that this is one of the
+   painter's fixed principles: he does not, with German sentimentality,
+   make shepherds and peasants graceful or sublime, but he purposely
+   vulgarizes them, not by making their actions or their faces boorish or
+   disagreeable, but rather by painting them ill, and composing their
+   draperies tamely. As far as I recollect at present, the principle is
+   universal with him; exactly in proportion to the dignity of character
+   is the beauty of the painting. He will not put out his strength upon
+   any man belonging to the lower classes; and, in order to know what the
+   painter is, one must see him at work on a king, a senator, or a
+   saint. The curious connexion of this with the aristocratic tendencies
+   of the Venetian nation, when we remember that Tintoret was the
+   greatest man whom that nation produced, may become very interesting,
+   if followed out. I forgot to note that, though the peacock is painted
+   with great regardlessness of color, there is a feature in it which no
+   common painter would have observed,--the peculiar flatness of the
+   back, and undulation of the shoulders: the bird's body is all there,
+   though its feathers are a good deal neglected; and the same thing is
+   noticeable in a cock who is pecking among the straw near the
+   spectator, though in other respects a shabby cock enough. The fact is,
+   I believe, he had made his shepherds so commonplace that he dare not
+   paint his animals well, otherwise one would have looked at nothing in
+   the picture but the peacock, cock, and cow. I cannot tell what the
+   shepherds are offering; they look like milk bowls, but they are
+   awkwardly held up, with such twistings of body as would have certainly
+   spilt the milk. A woman in front has a basket of eggs; but this I
+   imagine to be merely to keep up the rustic character of the scene, and
+   not part of the shepherd's offerings.
+
+   11. _Baptism._ There is more of the true picture quality in this work
+   than in the former one, but still very little appearance of enjoyment
+   or care. The color is for the most part grey and uninteresting, and
+   the figures are thin and meagre in form, and slightly painted; so much
+   so, that of the nineteen figures in the distance, about a dozen are
+   hardly worth calling figures, and the rest are so sketched and
+   flourished in that one can hardly tell which is which. There is one
+   point about it very interesting to a landscape painter: the river is
+   seen far into the distance, with a piece of copse bordering it; the
+   sky beyond is dark, but the water nevertheless receives a brilliant
+   reflection from some unseen rent in the clouds, so brilliant, that
+   when I was first at Venice, not being accustomed to Tintoret's slight
+   execution, or to see pictures so much injured, I took this piece of
+   water for a piece of sky. The effect as Tintoret has arranged it, is
+   indeed somewhat unnatural, but it is valuable as showing his
+   recognition of a principle unknown to half the historical painters of
+   the present day,--that the reflection seen in the water is totally
+   different from the object seen above it, and that it is very possible
+   to have a bright light in reflection where there appears nothing but
+   darkness to be reflected. The clouds in the sky itself are round,
+   heavy, and lightless, and in a great degree spoil what would otherwise
+   be a fine landscape distance. Behind the rocks on the right, a single
+   head is seen, with a collar on the shoulders: it seems to be intended
+   for a portrait of some person connected with the picture.
+
+   12. _Resurrection._ Another of the "effect of light" pictures, and not
+   a very striking one, the best part of it being the two distant figures
+   of the Maries seen in the dawn of the morning. The conception of the
+   Resurrection itself is characteristic of the worst points of Tintoret.
+   His impetuosity is here in the wrong place; Christ bursts out of the
+   rock like a thunderbolt, and the angels themselves seem likely to be
+   crushed under the rent stones of the tomb. Had the figure of Christ
+   been sublime, this conception might have been accepted; but, on the
+   contrary, it is weak, mean, and painful; and the whole picture is
+   languidly or roughly painted, except only the fig-tree at the top of
+   the rock, which, by a curious caprice, is not only drawn in the
+   painter's best manner, but has golden ribs to all its leaves, making
+   it look like one of the beautiful crossed or chequered patterns, of
+   which he is so fond in his dresses; the leaves themselves being a dark
+   olive brown.
+
+   13. _The Agony in the Garden._ I cannot at present understand the
+   order of these subjects; but they may have been misplaced. This, of
+   all the San Rocco pictures, is the most hastily painted, but it is
+   not, like those we have been passing, _clodly_ painted; it seems to
+   have been executed altogether with a hearth-broom, and in a few hours.
+   It is another of the "effects," and a very curious one; the Angel who
+   bears the cup to Christ is surrounded by a red halo; yet the light
+   which falls upon the shoulders of the sleeping disciples, and upon the
+   leaves of the olive-trees, is cool and silvery, while the troop coming
+   up to seize Christ are seen by torch-light. Judas, who is the second
+   figure, points to Christ, but turns his head away as he does so, as
+   unable to look at him. This is a noble touch; the foliage is also
+   exceedingly fine, though what kind of olive-tree bears such leaves I
+   know not, each of them being about the size of a man's hand. If there
+   be any which bear such foliage, their olives must be the size of
+   cocoa-nuts. This, however, is true only of the underwood, which is,
+   perhaps, not meant for olive. There are some taller trees at the top
+   of the picture, whose leaves are of a more natural size. On closely
+   examining the figures of the troops on the left, I find that the
+   distant ones are concealed, all but the limbs, by a sort of arch of
+   dark color, which is now so injured, that I cannot tell whether it was
+   foliage or ground: I suppose it to have been a mass of close foliage,
+   through which the troop is breaking its way; Judas rather showing them
+   the path, than actually pointing to Christ, as it is written, "Judas,
+   who betrayed him, knew the place." St. Peter, as the most zealous of
+   the three disciples, the only one who was to endeavor to defend his
+   Master, is represented as awakening and turning his head toward the
+   troop, while James and John are buried in profound slumber, laid in
+   magnificent languor among the leaves. The picture is singularly
+   impressive, when seen far enough off, as an image of thick forest
+   gloom amidst the rich and tender foliage of the South; the leaves,
+   however, tossing as in disturbed night air, and the flickering of the
+   torches, and of the branches, contrasted with the steady flame which
+   from the Angel's presence is spread over the robes of the disciples.
+   The strangest feature in the whole is that the Christ also is
+   represented as sleeping. The angel seems to appear to him in a dream.
+
+   14. _The Last Supper._ A most unsatisfactory picture; I think about
+   the worst I know of Tintoret's, where there is no appearance of
+   retouching. He always makes the disciples in this scene too vulgar;
+   they are here not only vulgar, but diminutive, and Christ is at the
+   end of the table, the smallest figure of them all. The principal
+   figures are two mendicants sitting on steps in front; a kind of
+   supporters, but I suppose intended to be waiting for the fragments; a
+   dog, in still more earnest expectation, is watching the movements of
+   the disciples, who are talking together, Judas having just gone out.
+   Christ is represented as giving what one at first supposes is the sop
+   to Judas, but as the disciple who received it has a glory, and there
+   are only eleven at table, it is evidently the Sacramental bread. The
+   room in which they are assembled is a sort of large kitchen, and the
+   host is seen employed at a dresser in the background. This picture has
+   not only been originally poor, but is one of those exposed all day to
+   the sun, and is dried into mere dusty canvas: where there was once
+   blue, there is now nothing.
+
+   15. _Saint Rocco in Glory._ One of the worst order of Tintorets, with
+   apparent smoothness and finish, yet languidly painted, as if in
+   illness or fatigue; very dark and heavy in tone also; its figures, for
+   the most part, of an awkward middle size, about five feet high, and
+   very uninteresting. St. Rocco ascends to heaven, looking down upon a
+   crowd of poor and sick persons who are blessing and adoring him. One
+   of these, kneeling at the bottom, is very nearly a repetition, though
+   a careless and indolent one, of that of St. Stephen, in St. Giorgio
+   Maggiore, and of the central figure in the "Paradise" of the Ducal
+   Palace. It is a kind of lay figure, of which he seems to have been
+   fond; its clasped hands are here shockingly painted--I should think
+   unfinished. It forms the only important light at the bottom, relieved
+   on a dark ground; at the top of the picture, the figure of St. Rocco
+   is seen in shadow against the light of the sky, and all the rest is in
+   confused shadow. The commonplaceness of this composition is curiously
+   connected with the languor of thought and touch throughout the work.
+
+   16. _Miracle of the Loaves._ Hardly anything but a fine piece of
+   landscape is here left; it is more exposed to the sun than any other
+   picture in the room, and its draperies having been, in great part,
+   painted in blue, are now mere patches of the color of starch; the
+   scene is also very imperfectly conceived. The twenty-one figures,
+   including Christ and his Disciples, very ill represent a crowd of
+   seven thousand; still less is the marvel of the miracle expressed by
+   perfect ease and rest of the reclining figures in the foreground, who
+   do not so much as look surprised; considered merely as reclining
+   figures, and as pieces of effect in half light, they have once been
+   fine. The landscape, which represents the slope of a woody hill, has a
+   very grand and far-away look. Behind it is a great space of streaky
+   sky, almost prismatic in color, rosy and golden clouds covering up its
+   blue, and some fine vigorous trees thrown against it; painted in about
+   ten minutes each, however, by curly touches of the brush, and looking
+   rather more like seaweed than foliage.
+
+   17. _Resurrection of Lazarus._ Very strangely, and not impressively
+   conceived. Christ is half reclining, half sitting, at the bottom of
+   the picture, while Lazarus is disencumbered of his grave-clothes at
+   the top of it; the scene being the side of a rocky hill, and the mouth
+   of the tomb probably once visible in the shadow on the left; but all
+   that is now discernible is a man having his limbs unbound, as if
+   Christ were merely ordering a prisoner to be loosed. There appears
+   neither awe nor agitation, nor even much astonishment, in any of the
+   figures of the group; but the picture is more vigorous than any of the
+   three last mentioned, and the upper part of it is quite worthy of the
+   master, especially its noble fig-tree and laurel, which he has
+   painted, in one of his usual fits of caprice, as carefully as that in
+   the "Resurrection of Christ," opposite. Perhaps he has some meaning in
+   this; he may have been thinking of the verse, "Behold the fig-tree,
+   and all the trees; when they now shoot forth," &c. In the present
+   instance, the leaves are dark only, and have no golden veins. The
+   uppermost figures also come dark against the sky, and would form a
+   precipitous mass, like a piece of the rock itself, but that they are
+   broken in upon by one of the limbs of Lazarus, bandaged and in full
+   light, which, to my feeling, sadly injures the picture, both as a
+   disagreeable object, and a light in the wrong place. The grass and
+   weeds are, throughout, carefully painted, but the lower figures are of
+   little interest, and the face of the Christ a grievous failure.
+
+   18. _The Ascension._ I have always admired this picture, though it is
+   very slight and thin in execution, and cold in color; but it is
+   remarkable for its thorough effect of open air, and for the sense of
+   motion and clashing in the wings of the Angels which sustain the
+   Christ: they owe this effect a good deal to the manner in which they
+   are set, edge on; all seem like sword-blades cutting the air. It is
+   the most curious in conception of all the pictures in the Scuola, for
+   it represents, beneath the Ascension, a kind of epitome of what took
+   place before the Ascension. In the distance are two Apostles walking,
+   meant, I suppose, for the two going to Emmaus; nearer are a group
+   round a table, to remind us of Christ appearing to them as they sat at
+   meat; and in the foreground is a single reclining figure of, I
+   suppose, St. Peter, because we are told that "he was seen of Cephas,
+   then of the twelve:" but this interpretation is doubtful; for why
+   should not the vision by the Lake of Tiberias be expressed also? And
+   the strange thing of all is the scene, for Christ ascended from the
+   Mount of Olives; but the Disciples are walking, and the table is set,
+   in a little marshy and grassy valley, like some of the bits near
+   Maison Neuve on the Jura, with a brook running through it, so
+   capitally expressed, that I believe it is this which makes me so fond
+   of the picture. The reflections are as scientific in the diminution,
+   in the image, of large masses of bank above, as any of Turner's, and
+   the marshy and reedy ground looks as if one would sink into it; but
+   what all this has to do with the Ascension I cannot see. The figure of
+   Christ is not undignified, but by no means either interesting or
+   sublime.
+
+   19. _Pool of Bethesda._ I have no doubt the principal figures have
+   been repainted; but as the colors are faded, and the subject
+   disgusting, I have not paid this picture sufficient attention to say
+   how far the injury extends; nor need any one spend time upon it,
+   unless after having first examined all the other Tintorets in Venice.
+   All the great Italian painters appear insensible to the feeling of
+   disgust at disease; but this study of the population of an hospital is
+   without any points of contrast, and I wish Tintoret had not
+   condescended to paint it. This and the six preceding paintings have
+   all been uninteresting,--I believe chiefly owing to the observance in
+   them of Sir Joshua's rule for the heroic, "that drapery is to be mere
+   drapery, and not silk, nor satin, nor brocade." However wise such a
+   rule may be when applied to works of the purest religious art, it is
+   anything but wise as respects works of color. Tintoret is never quite
+   himself unless he has fur or velvet, or rich stuff of one sort or the
+   other, or jewels, or armor, or something that he can put play of color
+   into, among his figures, and not dead folds of linsey-woolsey; and I
+   believe that even the best pictures of Raffaelle and Angelico are not
+   a little helped by their hems of robes, jewelled crowns, priests'
+   copes, and so on; and the pictures that have nothing of this kind in
+   them, as for instance the "Transfiguration," are to my mind not a
+   little dull.
+
+   20. _Temptation._ This picture singularly illustrates what has just
+   been observed; it owes great part of its effect to the lustre of the
+   jewels in the armlet of the evil angel, and to the beautiful colors of
+   his wings. These are slight accessaries apparently, but they enhance
+   the value of all the rest, and they have evidently been enjoyed by the
+   painter. The armlet is seen by reflected light, its stones shining by
+   inward lustre; this occult fire being the only hint given of the real
+   character of the Tempter, who is otherways represented in the form of
+   a beautiful angel, though the face is sensual: we can hardly tell how
+   far it was intended to be therefore expressive of evil; for Tintoret's
+   good angels have not always the purest features; but there is a
+   peculiar subtlety in this telling of the story by so slight a
+   circumstance as the glare of the jewels in the darkness. It is curious
+   to compare this imagination with that of the mosaics in St. Mark's, in
+   which Satan is a black monster, with horns, and head, and tail,
+   complete. The whole of the picture is powerfully and carefully
+   painted, though very broadly; it is a strong effect of light, and
+   therefore, as usual, subdued in color. The painting of the stones in
+   the foreground I have always thought, and still think, the best piece
+   of rock drawing before Turner, and the most amazing instance of
+   Tintoret's perceptiveness afforded by any of his pictures.
+
+   21. _St. Rocco._ Three figures occupy the spandrils of the window
+   above this and the following picture, painted merely in light and
+   shade, two larger than life, one rather smaller. I believe these to be
+   by Tintoret; but as they are quite in the dark, so that the execution
+   cannot be seen, and very good designs of the kind have been furnished
+   by other masters, I cannot answer for them. The figure of St. Rocco,
+   as well as its companion, St. Sebastian, is colored; they occupy the
+   narrow intervals between the windows, and are of course invisible
+   under ordinary circumstances. By a great deal of straining of the
+   eyes, and sheltering them with the hand from the light, some little
+   idea of the design may be obtained. The "St. Rocco" is a fine figure,
+   though rather coarse, but, at all events, worth as much light as would
+   enable us to see it.
+
+   22. _St. Sebastian._ This, the companion figure, is one of the finest
+   things in the whole room, and assuredly the most majestic Saint
+   Sebastian in existence; as far as mere humanity can be majestic, for
+   there is no effort at any expression of angelic or saintly
+   resignation; the effort is simply to realize the fact of the
+   martyrdom, and it seems to me that this is done to an extent not even
+   attempted by any other painter. I never saw a man die a violent death,
+   and therefore cannot say whether this figure be true or not, but it
+   gives the grandest and most intense impression of truth. The figure is
+   dead, and well it may be, for there is one arrow through the forehead
+   and another through the heart; but the eyes are open, though glazed,
+   and the body is rigid in the position in which it last stood, the left
+   arm raised and the left limb advanced, something in the attitude of a
+   soldier sustaining an attack under his shield, while the dead eyes are
+   still turned in the direction from which the arrows came: but the most
+   characteristic feature is the way these arrows are fixed. In the
+   common martyrdoms of St. Sebastian they are stuck into him here and
+   there like pins, as if they had been shot from a great distance and
+   had come faltering down, entering the flesh but a little way, and
+   rather bleeding the saint to death than mortally wounding him; but
+   Tintoret had no such ideas about archery. He must have seen bows drawn
+   in battle, like that of Jehu when he smote Jehoram between the
+   harness: all the arrows in the saint's body lie straight in the same
+   direction, broad-feathered and strong-shafted, and sent apparently
+   with the force of thunderbolts; every one of them has gone through him
+   like a lance, two through the limbs, one through the arm, one through
+   the heart, and the last has crashed through the forehead, nailing the
+   head to the tree behind as if it had been dashed in by a
+   sledge-hammer. The face, in spite of its ghastliness, is beautiful,
+   and has been serene; and the light which enters first and glistens on
+   the plumes of the arrows, dies softly away upon the curling hair, and
+   mixes with the glory upon the forehead. There is not a more remarkable
+   picture in Venice, and yet I do not suppose that one in a thousand of
+   the travellers who pass through the Scuola so much as perceives there
+   is a picture in the place which it occupies.
+
+   [Illustration: Third Group. On the roof of the upper room.
+
+      23. Moses striking the Rock.       29. Elijah.
+      24. Plague of Serpents.            30. Jonah.
+      25. Fall of Manna.                 31. Joshua.
+      26. Jacob's Dream.                 32. Sacrifice of Isaac.
+      27. Ezekiel's Vision.              33. Elijah at the Brook.
+      28. Fall of Man.                   34. Paschal Feast.
+                 35. Elisha feeding the People.]
+
+   23. _Moses striking the Rock._ We now come to the series of pictures
+   upon which the painter concentrated the strength he had reserved for
+   the upper room; and in some sort wisely, for, though it is not
+   pleasant to examine pictures on a ceiling, they are at least
+   distinctly visible without straining the eyes against the light. They
+   are carefully conceived and thoroughly well painted in proportion to
+   their distance from the eye. This carefulness of thought is apparent
+   at a glance: the "Moses striking the Rock" embraces the whole of the
+   seventeenth chapter of Exodus, and even something more, for it is not
+   from that chapter, but from parallel passages that we gather the facts
+   of the impatience of Moses and the wrath of God at the waters of
+   Meribah; both which facts are shown by the leaping of the stream out
+   of the rock half-a-dozen ways at once, forming a great arch over the
+   head of Moses, and by the partial veiling of the countenance of the
+   Supreme Being. This latter is the most painful part of the whole
+   picture, at least as it is seen from below; and I believe that in some
+   repairs of the roof this head must have been destroyed and repainted.
+   It is one of Tintoret's usual fine thoughts that the lower part of the
+   figure is veiled, not merely by clouds, but in a kind of watery
+   sphere, showing the Deity coming to the Israelites at that particular
+   moment as the Lord of the Rivers and of the Fountain of the Waters.
+   The whole figure, as well as that of Moses and the greater number of
+   those in the foreground, is at once dark and warm, black and red being
+   the prevailing colors, while the distance is bright gold touched with
+   blue, and seems to open into the picture like a break of blue sky
+   after rain. How exquisite is this expression, by mere color, of the
+   main force of the fact represented! that is to say, joy and
+   refreshment after sorrow and scorching heat. But, when we examine of
+   what this distance consists, we shall find still more cause for
+   admiration. The blue in it is not the blue of sky, it is obtained by
+   blue stripes upon white tents glowing in the sunshine; and in front of
+   these tents is seen that great battle with Amalek of which the account
+   is given in the remainder of the chapter, and for which the Israelites
+   received strength in the streams which ran out of the rock in Horeb.
+   Considered merely as a picture, the opposition of cool light to warm
+   shadow is one of the most remarkable pieces of color in the Scuola,
+   and the great mass of foliage which waves over the rocks on the left
+   appears to have been elaborated with his highest power and his most
+   sublime invention. But this noble passage is much injured, and now
+   hardly visible.
+
+   24. _Plague of Serpents._ The figures in the distance are remarkably
+   important in this picture, Moses himself being among them; in fact,
+   the whole scene is filled chiefly with middle-sized figures, in order
+   to increase the impression of space. It is interesting to observe the
+   difference in the treatment of this subject by the three great
+   painters, Michael Angelo, Rubens, and Tintoret. The first two, equal
+   to the latter in energy, had less love of liberty: they were fond of
+   binding their compositions into knots, Tintoret of scattering his far
+   and wide: they all alike preserve the unity of composition, but the
+   unity in the first two is obtained by binding, and that of the last by
+   springing from one source; and, together with this feeling, comes his
+   love of space, which makes him less regard the rounding and form of
+   objects themselves, than their relations of light and shade and
+   distance. Therefore Rubens and Michael Angelo made the fiery serpents
+   huge boa constrictors, and knotted the sufferers together with them.
+   Tintoret does not like to be so bound; so he makes the serpents little
+   flying and fluttering monsters like lampreys with wings; and the
+   children of Israel, instead of being thrown into convulsed and
+   writhing groups, are scattered, fainting in the fields, far away in
+   the distance. As usual, Tintoret's conception, while thoroughly
+   characteristic of himself, is also truer to the words of Scripture. We
+   are told that "the Lord sent fiery serpents among the people, and they
+   _bit_ the people;" we are not told that they crushed the people to
+   death. And while thus the truest, it is also the most terrific
+   conception. M. Angelo's would be terrific if one could believe in it:
+   but our instinct tells us that boa constrictors do not come in armies;
+   and we look upon the picture with as little emotion as upon the handle
+   of a vase, or any other form worked out of serpents, where there is no
+   probability of serpents actually occurring. But there is a probability
+   in Tintoret's conception. We feel that it is not impossible that there
+   should come up a swarm of these small winged reptiles: and their
+   horror is not diminished by their smallness: not that they have any of
+   the grotesque terribleness of German invention; they might have been
+   made infinitely uglier with small pains, but it is their
+   _veritableness_ which makes them awful. They have triangular heads
+   with sharp beaks or muzzle; and short, rather thick bodies, with bony
+   processes down the back like those of sturgeons; and small wings
+   spotted with orange and black; and round glaring eyes, not very large,
+   but very ghastly, with an intense delight in biting expressed in them.
+   (It is observable, that the Venetian painter has got his main idea of
+   them from the sea-horses and small reptiles of the Lagoons.) These
+   monsters are fluttering and writhing about everywhere, fixing on
+   whatever they come near with their sharp venomous heads; and they are
+   coiling about on the ground, and all the shadows and thickets are full
+   of them, so that there is no escape anywhere: and, in order to give
+   the idea of greater extent to the plague, Tintoret has not been
+   content with one horizon; I have before mentioned the excessive
+   strangeness of this composition, in having a cavern open in the right
+   of the foreground, through which is seen another sky and another
+   horizon. At the top of the picture, the Divine Being is seen borne by
+   angels, apparently passing over the congregation in wrath, involved in
+   masses of dark clouds; while, behind, an Angel of mercy is descending
+   toward Moses, surrounded by a globe of white light. This globe is
+   hardly seen from below; it is not a common glory, but a transparent
+   sphere, like a bubble, which not only envelopes the angel, but crosses
+   the figure of Moses, throwing the upper part of it into a subdued pale
+   color, as if it were crossed by a sunbeam. Tintoret is the only
+   painter who plays these tricks with transparent light, the only man
+   who seems to have perceived the effects of sunbeams, mists, and
+   clouds, in the far away atmosphere; and to have used what he saw on
+   towers, clouds, or mountains, to enhance the sublimity of his figures.
+   The whole upper part of this picture is magnificent, less with respect
+   to individual figures, than for the drift of its clouds, and
+   originality and complication of its light and shade; it is something
+   like Raffaelle's "Vision of Ezekiel," but far finer. It is difficult
+   to understand how any painter, who could represent floating clouds so
+   nobly as he has done here, could ever paint the odd, round, pillowy
+   masses which so often occur in his more carelessly designed sacred
+   subjects. The lower figures are not so interesting, and the whole is
+   painted with a view to effect from below, and gains little by close
+   examination.
+
+   25. _Fall of Manna._ In none of these three large compositions has the
+   painter made the slightest effort at expression in the human
+   countenance; everything is done by gesture, and the faces of the
+   people who are drinking from the rock, dying from the serpent-bites,
+   and eating the manna, are all alike as calm as if nothing was
+   happening; in addition to this, as they are painted for distant
+   effect, the heads are unsatisfactory and coarse when seen near, and
+   perhaps in this last picture the more so, and yet the story is
+   exquisitely told. We have seen in the Church of San Giorgio Maggiore
+   another example of his treatment of it, where, however, the gathering
+   of manna is a subordinate employment, but here it is principal. Now,
+   observe, we are told of the manna, that it was found in the morning;
+   that then there lay round about the camp a small round thing like the
+   hoar-frost, and that "when the sun waxed hot it melted." Tintoret has
+   endeavored, therefore, first of all, to give the idea of coolness; the
+   congregation are reposing in a soft green meadow, surrounded by blue
+   hills, and there are rich trees above them, to the branches of one of
+   which is attached a great grey drapery to catch the manna as it comes
+   down. In any other picture such a mass of drapery would assuredly have
+   had some vivid color, but here it is grey; the fields are cool frosty
+   green, the mountains cold blue, and, to complete the expression and
+   meaning of all this, there is a most important point to be noted in
+   the form of the Deity, seen above, through an opening in the clouds.
+   There are at least ten or twelve other pictures in which the form of
+   the Supreme Being occurs, to be found in the Scuola di San Rocco
+   alone; and in every one of these instances it is richly colored, the
+   garments being generally red and blue, but in this picture of the
+   manna the figure is _snow white_. Thus the painter endeavors to show
+   the Deity as the giver of bread, just as in the "Striking of the Rock"
+   we saw that he represented Him as the Lord of the rivers, the
+   fountains, and the waters. There is one other very sweet incident at
+   the bottom of the picture; four or five sheep, instead of pasturing,
+   turn their heads aside to catch the manna as it comes down, or seem to
+   be licking it off each other's fleeces. The tree above, to which the
+   drapery is tied, is the most delicate and delightful piece of leafage
+   in all the Scuola; it has a large sharp leaf, something like that of a
+   willow, but five times the size.
+
+   26. _Jacob's Dream._ A picture which has good effect from below, but
+   gains little when seen near. It is an embarrassing one for any
+   painter, because angels always look awkward going up and down stairs;
+   one does not see the use of their wings. Tintoret has thrown them into
+   buoyant and various attitudes, but has evidently not treated the
+   subject with delight; and it is seen to all the more disadvantage
+   because just above the painting of the "Ascension," in which the full
+   fresh power of the painter is developed. One would think this latter
+   picture had been done just after a walk among hills, for it is full of
+   the most delicate effects of transparent cloud, more or less veiling
+   the faces and forms of the angels, and covering with white light the
+   silvery sprays of the palms, while the clouds in the "Jacob's Dream"
+   are the ordinary rotundities of the studio.
+
+   27. _Ezekiel's Vision._ I suspect this has been repainted, it is so
+   heavy and dead in color; a fault, however, observable in many of the
+   small pictures on the ceiling, and perhaps the natural result of the
+   fatigue of such a mind as Tintoret's. A painter who threw such intense
+   energy into some of his works can hardly but have been languid in
+   others in a degree never experienced by the more tranquil minds of
+   less powerful workmen; and when this languor overtook him whilst he
+   was at work on pictures where a certain space had to be covered by
+   mere force of arm, this heaviness of color could hardly but have been
+   the consequence: it shows itself chiefly in reds and other hot hues,
+   many of the pictures in the Ducal Palace also displaying it in a
+   painful degree. This "Ezekiel's Vision" is, however, in some measure
+   worthy of the master, in the wild and horrible energy with which the
+   skeletons are leaping up about the prophet; but it might have been
+   less horrible and more sublime, no attempt being made to represent the
+   space of the Valley of Dry Bones, and the whole canvas being occupied
+   only by eight figures, of which five are half skeletons. It it is
+   strange that, in such a subject, the prevailing hues should be red and
+   brown.
+
+   28. _Fall of Man._ The two canvases last named are the most
+   considerable in size upon the roof, after the centre pieces. We now
+   come to the smaller subjects which surround the "Striking the Rock;"
+   of these this "Fall of Man" is the best, and I should think it very
+   fine anywhere but in the Scuola di San Rocco; there is a grand light
+   on the body of Eve, and the vegetation is remarkably rich, but the
+   faces are coarse, and the composition uninteresting. I could not get
+   near enough to see what the grey object is upon which Eve appears to
+   be sitting, nor could I see any serpent. It is made prominent in the
+   picture of the Academy of this same subject, so that I suppose it is
+   hidden in the darkness, together with much detail which it would be
+   necessary to discover in order to judge the work justly.
+
+   29. _Elijah (?)._ A prophet holding down his face, which is covered
+   with his hand. God is talking with him, apparently in rebuke. The
+   clothes on his breast are rent, and the action of the figures might
+   suggest the idea of the scene between the Deity and Elijah at Horeb:
+   but there is no suggestion of the past magnificent scenery,--of the
+   wind, the earthquake, or the fire; so that the conjecture is good for
+   very little. The painting is of small interest; the faces are vulgar,
+   and the draperies have too much vapid historical dignity to be
+   delightful.
+
+   30. _Jonah._ The whale here occupies fully one-half of the canvas;
+   being correspondent in value with a landscape background. His mouth is
+   as large as a cavern, and yet, unless the mass of red color in the
+   foreground be a piece of drapery, his tongue is too large for it. He
+   seems to have lifted Jonah out upon it, and not yet drawn it back, so
+   that it forms a kind of crimson cushion for him to kneel upon in his
+   submission to the Deity. The head to which this vast tongue belongs is
+   sketched in somewhat loosely, and there is little remarkable about it
+   except its size, nor much in the figures, though the submissiveness of
+   Jonah is well given. The great thought of Michael Angelo renders one
+   little charitable to any less imaginative treatment of this subject.
+
+   31. _Joshua (?)._ This is a most interesting picture, and it is a
+   shame that its subject is not made out, for it is not a common one.
+   The figure has a sword in its hand, and looks up to a sky full of
+   fire, out of which the form of the Deity is stooping, represented as
+   white and colorless. On the other side of the picture there is seen
+   among the clouds a pillar apparently falling, and there is a crowd at
+   the feet of the principal figure, carrying spears. Unless this be
+   Joshua at the fall of Jericho, I cannot tell what it means; it is
+   painted with great vigor, and worthy of a better place.
+
+   32. _Sacrifice of Isaac._ In conception, it is one of the least worthy
+   of the master in the whole room, the three figures being thrown into
+   violent attitudes, as inexpressive as they are strained and
+   artificial. It appears to have been vigorously painted, but vulgarly;
+   that is to say, the light is concentrated upon the white beard and
+   upturned countenance of Abraham, as it would have been in one of the
+   dramatic effects of the French school, the result being that the head
+   is very bright and very conspicuous, and perhaps, in some of the late
+   operations upon the roof, recently washed and touched. In consequence,
+   every one who comes into the room, is first invited to observe the
+   "bella testa di Abramo." The only thing characteristic of Tintoret is
+   the way in which the pieces of ragged wood are tossed hither and
+   thither in the pile upon which Isaac is bound, although this
+   scattering of the wood is inconsistent with the Scriptural account of
+   Abraham's deliberate procedure, for we are told of him that "he set
+   the wood in order." But Tintoret had probably not noticed this, and
+   thought the tossing of the timber into the disordered heap more like
+   the act of the father in his agony.
+
+   33. _Elijah at the Brook Cherith (?)._ I cannot tell if I have rightly
+   interpreted the meaning of this picture, which merely represents a
+   noble figure couched upon the ground, and an angel appearing to him;
+   but I think that between the dark tree on the left, and the recumbent
+   figure, there is some appearance of a running stream, at all events
+   there is of a mountainous and stony place. The longer I study this
+   master, the more I feel the strange likeness between him and Turner,
+   in our never knowing what subject it is that will stir him to
+   exertion. We have lately had him treating Jacob's Dream, Ezekiel's
+   Vision, Abraham's Sacrifice, and Jonah's Prayer, (all of them subjects
+   on which the greatest painters have delighted to expend their
+   strength,) with coldness, carelessness, and evident absence of
+   delight; and here, on a sudden, in a subject so indistinct that one
+   cannot be sure of its meaning, and embracing only two figures, a man
+   and an angel, forth he starts in his full strength. I believe he must
+   somewhere or another, the day before, have seen a kingfisher; for this
+   picture seems entirely painted for the sake of the glorious downy
+   wings of the angel,--white clouded with blue, as the bird's head and
+   wings are with green,--the softest and most elaborate in plumage that
+   I have seen in any of his works: but observe also the general
+   sublimity obtained by the mountainous lines of the drapery of the
+   recumbent figure, dependent for its dignity upon these forms alone, as
+   the face is more than half hidden, and what is seen of it
+   expressionless.
+
+   34. _The Paschal Feast._ I name this picture by the title given in the
+   guide-books; it represents merely five persons watching the increase
+   of a small fire lighted on a table or altar in the midst of them. It
+   is only because they have all staves in their hands that one may
+   conjecture this fire to be that kindled to consume the Paschal
+   offering. The effect is of course a fire light; and, like all mere
+   fire lights that I have ever seen, totally devoid of interest.
+
+   35. _Elisha feeding the People._ I again guess at the subject: the
+   picture only represents a figure casting down a number of loaves
+   before a multitude; but, as Elisha has not elsewhere occurred, I
+   suppose that these must be the barley loaves brought from
+   Baalshalisha. In conception and manner of painting, this picture and
+   the last, together with the others above-mentioned, in comparison with
+   the "Elijah at Cherith," may be generally described as "dregs of
+   Tintoret:" they are tired, dead, dragged out upon the canvas
+   apparently in the heavy-hearted state which a man falls into when he
+   is both jaded with toil and sick of the work he is employed upon. They
+   are not hastily painted; on the contrary, finished with considerably
+   more care than several of the works upon the walls; but those, as, for
+   instance, the "Agony in the Garden," are hurried sketches with the
+   man's whole heart in them, while these pictures are exhausted
+   fulfilments of an appointed task. Whether they were really amongst the
+   last painted, or whether the painter had fallen ill at some
+   intermediate time, I cannot say; but we shall find him again in his
+   utmost strength in the room which we last enter.
+
+   [Illustration: Fourth Group. Inner room on the upper floor.
+
+                              On the Roof.
+
+      36 to 39. Children's Heads.          41 to 44. Children.
+      40. St. Rocco in Heaven.             45 to 56. Allegorical Figures.
+
+                             On the Walls.
+
+      57. Figure in Niche.                 60. Ecce Homo.
+      58. Figure in Niche.                 61. Christ bearing his Cross.
+      59. Christ before Pilate.            62. CRUCIFIXION.]
+
+   36 to 39. _Four Children's Heads_, which it is much to be regretted
+   should be thus lost in filling small vacuities of the ceiling.
+
+   40. _St. Rocco in Heaven._ The central picture of the roof, in the
+   inner room. From the well-known anecdote respecting the production of
+   this picture, whether in all its details true or not, we may at least
+   gather that having been painted in competition with Paul Veronese and
+   other powerful painters of the day, it was probably Tintoret's
+   endeavor to make it as popular and showy as possible. It is quite
+   different from his common works; bright in all its tints and tones;
+   the faces carefully drawn, and of an agreeable type; the outlines
+   firm, and the shadows few; the whole resembling Correggio more than
+   any Venetian painter. It is, however, an example of the danger, even
+   to the greatest artist, of leaving his own style; for it lacks all the
+   great virtues of Tintoret, without obtaining the lusciousness of
+   Correggio. One thing, at all events, is remarkable in it,--that,
+   though painted while the competitors were making their sketches, it
+   shows no sign of haste or inattention.
+
+   41 to 44. _Figures of Children_, merely decorative.
+
+   45 to 56. _Allegorical Figures on the Roof._ If these were not in the
+   same room with the "Crucifixion," they would attract more public
+   attention than any works in the Scuola, as there are here no black
+   shadows, nor extravagances of invention, but very beautiful figures
+   richly and delicately colored, a good deal resembling some of the best
+   works of Andrea del Sarto. There is nothing in them, however,
+   requiring detailed examination. The two figures between the windows
+   are very slovenly, if they are his at all; and there are bits of
+   marbling and fruit filling the cornices, which may or may not be his:
+   if they are, they are tired work, and of small importance.
+
+   59. _Christ before Pilate._ A most interesting picture, but, which is
+   unusual, best seen on a dark day, when the white figure of Christ
+   alone draws the eye, looking almost like a spirit; the painting of the
+   rest of the picture being both somewhat thin and imperfect. There is a
+   certain meagreness about all the minor figures, less grandeur and
+   largeness in the limbs and draperies, and less solidity, it seems,
+   even in the color, although its arrangements are richer than in many
+   of the compositions above described. I hardly know whether it is owing
+   to this thinness of color, or on purpose, that the horizontal clouds
+   shine through the crimson flag in the distance; though I should think
+   the latter, for the effect is most beautiful. The passionate action of
+   the Scribe in lifting his hand to dip the pen into the ink-horn is,
+   however, affected and overstrained, and the Pilate is very mean;
+   perhaps intentionally, that no reverence might be withdrawn from the
+   person of Christ. In work of the thirteenth and fourteenth centuries,
+   the figures of Pilate and Herod are always intentionally made
+   contemptible.
+
+   _Ecce Homo._ As usual, Tintoret's own peculiar view of the subject.
+   Christ is laid fainting on the ground, with a soldier standing on one
+   side of him; while Pilate, on the other, withdraws the robe from the
+   scourged and wounded body, and points it out to the Jews. Both this
+   and the picture last mentioned resemble Titian more than Tintoret in
+   the style of their treatment.
+
+   61. _Christ bearing his Cross._ Tintoret is here recognizable again in
+   undiminished strength. He has represented the troops and attendants
+   climbing Calvary by a winding path, of which two turns are seen, the
+   figures on the uppermost ledge, and Christ in the centre of them,
+   being relieved against the sky; but, instead of the usual simple
+   expedient of the bright horizon to relieve the dark masses, there is
+   here introduced, on the left, the head of a white horse, which blends
+   itself with the sky in one broad mass of light. The power of the
+   picture is chiefly in effect, the figure of Christ being too far off
+   to be very interesting, and only the malefactors being seen on the
+   nearer path; but for this very reason it seems to me more impressive,
+   as if one had been truly present at the scene, though not exactly in
+   the right place for seeing it.
+
+   62. _The Crucifixion._ I must leave this picture to work its will on
+   the spectator; for it is beyond all analysis, and above all praise.
+
+
+    S
+
+ SAGREDO, PALAZZO, on the Grand Canal, II. 256. Much defaced, but full
+   of interest. Its sea story is restored; its first floor has a most
+   interesting arcade of the early thirteenth century third order
+   windows; its upper windows are the finest fourth and fifth orders of
+   early fourteenth century; the group of fourth orders in the centre
+   being brought into some resemblance to the late Gothic traceries by
+   the subsequent introduction of the quatrefoils above them.
+
+ SALUTE, CHURCH OF STA. MARIA DELLA, on the Grand Canal, II. 378. One
+   of the earliest buildings of the Grotesque Renaissance, rendered
+   impressive by its position, size, and general proportions. These
+   latter are exceedingly good; the grace of the whole building being
+   chiefly dependent on the inequality of size in its cupolas, and pretty
+   grouping of the two campaniles behind them. It is to be generally
+   observed that the proportions of buildings have nothing whatever to
+   do with the style or general merits of their architecture. An
+   architect trained in the worst schools, and utterly devoid of all
+   meaning or purpose in his work, may yet have such a natural gift of
+   massing and grouping as will render all his structures effective when
+   seen from a distance: such a gift is very general with the late
+   Italian builders, so that many of the most contemptible edifices in
+   the country have good stage effect so long as we do not approach them.
+   The Church of the Salute is farther assisted by the beautiful flight
+   of steps in front of it down to the canal; and its facade is rich and
+   beautiful of its kind, and was chosen by Turner for the principal
+   object in his well-known view of the Grand Canal. The principal faults
+   of the building are the meagre windows in the sides of the cupola, and
+   the ridiculous disguise of the buttresses under the form of colossal
+   scrolls; the buttresses themselves being originally a hypocrisy, for
+   the cupola is stated by Lazari to be of timber, and therefore needs
+   none. The sacristy contains several precious pictures: the three on
+   its roof by Titian, much vaunted, are indeed as feeble as they are
+   monstrous; but the small Titian, "St. Mark, with Sts. Cosmo and
+   Damian," was, when I first saw it, to my judgment, by far the first
+   work of Titian's in Venice. It has since been restored by the Academy,
+   and it seemed to me entirely destroyed, but I had not time to examine
+   it carefully.
+
+   At the end of the larger sacristy is the lunette which once decorated
+   the tomb of the Doge Francesco Dandolo (see above, page 74); and, at
+   the side of it, one of the most highly finished Tintorets in Venice,
+   namely:
+
+   _The Marriage in Cana._ An immense picture, some twenty-five feet long
+   by fifteen high, and said by Lazari to be one of the few which
+   Tintoret signed with his name. I am not surprised at his having done
+   so in this case. Evidently the work has been a favorite with him, and
+   he has taken as much pains as it was ever necessary for his colossal
+   strength to take with anything. The subject is not one which admits of
+   much singularity or energy in composition. It was always a favorite
+   one with Veronese, because it gave dramatic interest to figures in gay
+   costumes and of cheerful countenances; but one is surprised to find
+   Tintoret, whose tone of mind was always grave, and who did not like to
+   make a picture out of brocades and diadems, throwing his whole
+   strength into the conception of a marriage feast; but so it is, and
+   there are assuredly no female heads in any of his pictures in Venice
+   elaborated so far as those which here form the central light. Neither
+   is it often that the works of this mighty master conform themselves to
+   any of the rules acted upon by ordinary painters; but in this instance
+   the popular laws have been observed, and an academy student would be
+   delighted to see with what severity the principal light is arranged in
+   a central mass, which is divided and made more brilliant by a vigorous
+   piece of shadow thrust into the midst of it, and which dies away in
+   lesser fragments and sparkling towards the extremities of the picture.
+   This mass of light is as interesting by its composition as by its
+   intensity. The cicerone who escorts the stranger round the sacristy in
+   the course of five minutes, and allows him some forty seconds for the
+   contemplation of a picture which the study of six months would not
+   entirely fathom, directs his attention very carefully to the "bell'
+   effetto di prospettivo," the whole merit of the picture being, in the
+   eyes of the intelligent public, that there is a long table in it, one
+   end of which looks farther off than the other; but there is more in
+   the "bell' effetto di prospettivo" than the observance of the common
+   laws of optics. The table is set in a spacious chamber, of which the
+   windows at the end let in the light from the horizon, and those in the
+   side wall the intense blue of an Eastern sky. The spectator looks all
+   along the table, at the farther end of which are seated Christ and the
+   Madonna, the marriage guests on each side of it,--on one side men, on
+   the other women; the men are set with their backs to the light, which
+   passing over their heads and glancing slightly on the tablecloth,
+   falls in full length along the line of young Venetian women, who thus
+   fill the whole centre of the picture with one broad sunbeam, made up
+   of fair faces and golden hair. Close to the spectator a woman has
+   risen in amazement, and stretches across the table to show the wine in
+   her cup to those opposite; her dark red dress intercepts and enhances
+   the mass of gathered light. It is rather curious, considering the
+   subject of the picture, that one cannot distinguish either the bride
+   or the bridegroom; but the fourth figure from the Madonna in the line
+   of women, who wears a white head-dress of lace and rich chains of
+   pearls in her hair, may well be accepted for the former, and I think
+   that between her and the woman on the Madonna's left hand the unity of
+   the line of women is intercepted by a male figure; be this as it may,
+   this fourth female face is the most beautiful, as far as I recollect,
+   that occurs in the works of the painter, with the exception only of
+   the Madonna in the "Flight into Egypt." It is an ideal which occurs
+   indeed elsewhere in many of his works, a face at once dark and
+   delicate, the Italian cast of feature moulded with the softness and
+   childishness of English beauty some half a century ago; but I have
+   never seen the ideal so completely worked out by the master. The face
+   may best be described as one of the purest and softest of Stothard's
+   conceptions, executed with all the strength of Tintoret. The other
+   women are all made inferior to this one, but there are beautiful
+   profiles and bendings of breasts and necks along the whole line. The
+   men are all subordinate, though there are interesting portraits among
+   them; perhaps the only fault of the picture being that the faces are a
+   little too conspicuous, seen like balls of light among the crowd of
+   minor figures which fill the background of the picture. The tone of
+   the whole is sober and majestic in the highest degree; the dresses are
+   all broad masses of color, and the only parts of the picture which lay
+   claim to the expression of wealth or splendor are the head-dresses of
+   the women. In this respect the conception of the scene differs widely
+   from that of Veronese, and approaches more nearly to the probable
+   truth. Still the marriage is not an unimportant one; an immense crowd,
+   filling the background, forming superbly rich mosaic of color against
+   the distant sky. Taken as a whole, the picture is perhaps the most
+   perfect example which human art has produced of the utmost possible
+   force and sharpness of shadow united with richness of local color. In
+   all the other works of Tintoret, and much more of other colorists,
+   either the light and shade or the local color is predominant; in the
+   one case the picture has a tendency to look as if painted by
+   candle-light, in the other it becomes daringly conventional, and
+   approaches the conditions of glass-painting. This picture unites
+   color as rich as Titian's with light and shade as forcible as
+   Rembrandt's, and far more decisive.
+
+   There are one or two other interesting pictures of the early Venetian
+   schools in this sacristy, and several important tombs in the adjoining
+   cloister; among which that of Francesco Dandolo, transported here from
+   the Church of the Frari, deserves especial attention. See above, p.
+   74.
+
+ SALVATORE, CHURCH OF ST. Base Renaissance, occupying the place of the
+   ancient church, under the porch of which the Pope Alexander III. is
+   said to have passed the night. M. Lazari states it to have been richly
+   decorated with mosaics; now all is gone.
+
+   In the interior of the church are some of the best examples of
+   Renaissance sculptural monuments in Venice. (See above, Chap. II. Sec.
+   LXXX.) It is said to possess an important pala of silver, of the
+   thirteenth century, one of the objects in Venice which I much regret
+   having forgotten to examine; besides two Titians, a Bonifazio, and a
+   John Bellini. The latter ("The Supper at Emmaus") must, I think, have
+   been entirely repainted: it is not only unworthy of the master, but
+   unlike him; as far, at least, as I could see from below, for it is
+   hung high.
+
+ SANUDO PALAZZO. At the Miracoli. A noble Gothic palace of the fourteenth
+   century, with Byzantine fragments and cornices built into its walls,
+   especially round the interior court, in which the staircase is very
+   noble. Its door, opening on the quay, is the only one in Venice
+   entirely uninjured; retaining its wooden valve richly sculptured, its
+   wicket for examination of the stranger demanding admittance, and its
+   quaint knocker in the form of a fish.
+
+ SCALZI, CHURCH OF THE. It possesses a fine John Bellini, and is renowned
+   through Venice for its precious marbles. I omitted to notice above, in
+   speaking of the buildings of the Grotesque Renaissance, that many of
+   them are remarkable for a kind of dishonesty, even in the use of
+   _true_ marbles, resulting not from motives of economy, but from mere
+   love of juggling and falsehood for their own sake. I hardly know which
+   condition of mind is meanest, that which has pride in plaster made to
+   look like marble, or that which takes delight in marble made to look
+   like silk. Several of the later churches in Venice, more especially
+   those of the Jesuiti, of San Clemente, and this of the Scalzi, rest
+   their chief claims to admiration on their having curtains and cushions
+   cut out of rock. The most ridiculous example is in San Clemente, and
+   the most curious and costly are in the Scalzi; which latter church is
+   a perfect type of the vulgar abuse of marble in every possible way, by
+   men who had no eye for color, and no understanding of any merit in a
+   work of art but that which arises from costliness of material, and
+   such powers of imitation as are devoted in England to the manufacture
+   of peaches and eggs out of Derbyshire spar.
+
+ SEBASTIAN, CHURCH OF ST. The tomb, and of old the monument, of Paul
+   Veronese. It is full of his noblest pictures, or of what once were
+   such; but they seemed to me for the most part destroyed by repainting.
+   I had not time to examine them justly, but I would especially direct
+   the traveller's attention to the small Madonna over the second altar
+   on the right of the nave, still a perfect and priceless treasure.
+
+ SERVI, CHURCH OF THE. Only two of its gates and some ruined walls are
+   left, in one of the foulest districts of the city. It was one of the
+   most interesting monuments of the early fourteenth century Gothic; and
+   there is much beauty in the fragments yet remaining. How long they may
+   stand I know not, the whole building having been offered me for sale,
+   ground and all, or stone by stone, as I chose, by its present
+   proprietor, when I was last in Venice. More real good might at present
+   be effected by any wealthy person who would devote his resources to
+   the preservation of such monuments wherever they exist, by freehold
+   purchase of the entire ruin, and afterwards by taking proper charge of
+   it, and forming a garden round it, than by any other mode of
+   protecting or encouraging art. There is no school, no lecturer, like a
+   ruin of the early ages.
+
+ SEVERO, FONDAMENTA SAN, palace at, II. 264.
+
+ SILVESTRO, CHURCH OF ST. Of no importance in itself, but it contains
+   two very interesting pictures: the first, a "St. Thomas of Canterbury
+   with the Baptist and St. Francis," by Girolamo Santa Croce, a superb
+   example of the Venetian religious school; the second by Tintoret,
+   namely:
+
+   _The Baptism of Christ._ (Over the first altar on the right of the
+   nave.) An upright picture, some ten feet wide by fifteen high; the top
+   of it is arched, representing the Father supported by angels. It
+   requires little knowledge of Tintoret to see that these figures are
+   not by his hand. By returning to the opposite side of the nave, the
+   join in the canvas may be plainly seen, the upper part of the picture
+   having been entirely added on: whether it had this upper part before
+   it was repainted, or whether originally square, cannot now be told,
+   but I believe it had an upper part which has been destroyed. I am not
+   sure if even the dove and the two angels which are at the top of the
+   older part of the picture are quite genuine. The rest of it is
+   magnificent, though both the figures of the Saviour and the Baptist
+   show some concession on the part of the painter to the imperative
+   requirement of his age, that nothing should be done except in an
+   attitude; neither are there any of his usual fantastic imaginations.
+   There is simply the Christ in the water and the St. John on the shore,
+   without attendants, disciples, or witnesses of any kind; but the power
+   of the light and shade, and the splendor of the landscape, which on
+   the whole is well preserved, render it a most interesting example. The
+   Jordan is represented as a mountain brook, receiving a tributary
+   stream in a cascade from the rocks, in which St. John stands: there is
+   a rounded stone in the centre of the current; and the parting of the
+   water at this, as well as its rippling among the roots of some dark
+   trees on the left, are among the most accurate remembrances of nature
+   to be found in any of the works of the great masters. I hardly know
+   whether most to wonder at the power of the man who thus broke through
+   the neglect of nature which was universal at his time; or at the
+   evidences, visible throughout the whole of the conception, that he was
+   still content to paint from slight memories of what he had seen in
+   hill countries, instead of following out to its full depth the
+   fountain which he had opened. There is not a stream among the hills of
+   Priuli which in any quarter of a mile of its course would not have
+   suggested to him finer forms of cascade than those which he has idly
+   painted at Venice.
+
+ SIMEONE, PROFETA, CHURCH OF ST. Very important, though small, possessing
+   the precious statue of St. Simeon, above noticed, II. 309. The rare
+   early Gothic capitals of the nave are only interesting to the
+   architect; but in the little passage by the side of the church,
+   leading out of the Campo, there is a curious Gothic monument built
+   into the wall, very beautiful in the placing of the angels in the
+   spandrils, and rich in the vine-leaf moulding above.
+
+ SIMEONE, PICCOLO, CHURCH OF ST. One of the ugliest churches in Venice or
+   elsewhere. Its black dome, like an unusual species of gasometer, is
+   the admiration of modern Italian architects.
+
+
+ SOSPIRI, PONTE DE'. The well known "Bridge of Sighs," a work of no
+   merit, and of a late period (see Vol. II. p. 304), owing the interest
+   it possesses chiefly to its pretty name, and to the ignorant
+   sentimentalism of Byron.
+
+ SPIRITO SANTO, CHURCH OF THE. Of no importance.
+
+ STEFANO, CHURCH OF ST. An interesting building of central Gothic, the
+   best ecclesiastical example of it in Venice. The west entrance is much
+   later than any of the rest, and is of the richest Renaissance Gothic,
+   a little anterior to the Porta della Carta, and first-rate of its
+   kind. The manner of the introduction of the figure of the angel at the
+   top of the arch is full of beauty. Note the extravagant crockets and
+   cusp finials as signs of decline.
+
+ STEFANO, CHURCH OF ST., at Murano (pugnacity of its abbot), II. 33. The
+   church no longer exists.
+
+ STROPE, CAMPIELLO DELLA, house in, II. 266.
+
+
+    T
+
+
+ TANA, windows at the, II. 260.
+
+ TIEPOLO, PALAZZO, on the Grand Canal. Of no importance.
+
+ TOLENTINI, CHURCH OF THE. One of the basest and coldest works of the
+   late Renaissance. It is said to contain two Bonifazios.
+
+ TOMA, CHURCH OF ST. Of no importance.
+
+ TOMA, PONTE SAN. There is an interesting ancient doorway opening on the
+   canal close to this bridge, probably of the twelfth century, and a
+   good early Gothic door, opening upon the bridge itself.
+
+ TORCELLO, general aspect of, II. 12; Santa Fosca at, I. 117, II. 13;
+   duomo, II. 14; mosaics of, II. 196; measures of, II. 378; date of, II.
+   380.
+
+ TREVISAN, PALAZZO, I. 369, III. 212.
+
+ TRON, PALAZZO. Of no importance.
+
+ TROVASO, CHURCH OF ST. Itself of no importance, but containing two
+   pictures by Tintoret, namely:
+
+   1. _The Temptation of St. Anthony._ (Altar piece in the chapel on the
+   left of the choir.) A small and very carefully finished picture, but
+   marvellously temperate and quiet in treatment, especially considering
+   the subject, which one would have imagined likely to inspire the
+   painter with one of his most fantastic visions. As if on purpose to
+   disappoint us, both the effect, and the conception of the figures, are
+   perfectly quiet, and appear the result much more of careful study than
+   of vigorous imagination. The effect is one of plain daylight; there
+   are a few clouds drifting in the distance, but with no wildness in
+   them, nor is there any energy or heat in the flames which mantle about
+   the waist of one of the figures. But for the noble workmanship, we
+   might almost fancy it the production of a modern academy; yet as we
+   begin to read the picture, the painter's mind becomes felt. St.
+   Anthony is surrounded by four figures, one of which only has the form
+   of a demon, and he is in the background, engaged in no more terrific
+   act of violence toward St. Anthony, than endeavoring to pull off his
+   mantle; he has, however, a scourge over his shoulder, but this is
+   probably intended for St. Anthony's weapon of self-discipline, which
+   the fiend, with a very Protestant turn of mind, is carrying off. A
+   broken staff, with a bell hanging to it, at the saint's feet, also
+   expresses his interrupted devotion. The three other figures beside him
+   are bent on more cunning mischief: the woman on the left is one of
+   Tintoret's best portraits of a young and bright-eyed Venetian beauty.
+   It is curious that he has given so attractive a countenance to a type
+   apparently of the temptation to violate the power of poverty, for this
+   woman places one hand in a vase full of coins, and shakes golden
+   chains with the other. On the opposite side of the saint, another
+   woman, admirably painted, but of a far less attractive countenance, is
+   a type of the lusts of the flesh, yet there is nothing gross or
+   immodest in her dress or gesture. She appears to have been baffled,
+   and for the present to have given up addressing the saint: she lays
+   one hand upon her breast, and might be taken for a very respectable
+   person, but that there are flames playing about her loins. A recumbent
+   figure on the ground is of less intelligible character, but may
+   perhaps be meant for Indolence; at all events, he has torn the saint's
+   book to pieces. I forgot to note, that under the figure representing
+   Avarice, there is a creature like a pig; whether actual pig or not is
+   unascertainable, for the church is dark, the little light that comes
+   on the picture falls on it the wrong way, and one third of the lower
+   part of it is hidden by a white case, containing a modern daub, lately
+   painted by way of an altar piece; the meaning, as well as the merit,
+   of the grand old picture being now far beyond the comprehension both
+   of priests and people.
+
+   2. _The Last Supper._ (On the left-hand side of the Chapel of the
+   Sacrament.) A picture which has been through the hands of the Academy,
+   and is therefore now hardly worth notice. Its conception seems always
+   to have been vulgar, and far below Tintoret's usual standard; there is
+   singular baseness in the circumstance, that one of the near Apostles,
+   while all the others are, as usual, intent upon Christ's words, "One
+   of you shall betray me," is going to help himself to wine out of a
+   bottle which stands behind him. In so doing he stoops towards the
+   table, the flask being on the floor. If intended for the action of
+   Judas at this moment, there is the painter's usual originality in the
+   thought; but it seems to me rather done to obtain variation of
+   posture, in bringing the red dress into strong contrast with the
+   tablecloth. The color has once been fine, and there are fragments of
+   good painting still left; but the light does not permit these to be
+   seen, and there is too much perfect work of the master's in Venice, to
+   permit us to spend time on retouched remnants. The picture is only
+   worth mentioning, because it is ignorantly and ridiculously referred
+   to by Kugler as characteristic of Tintoret.
+
+
+    V
+
+ VITALI, CHURCH OF ST. Said to contain a picture by Vittor Carpaccio,
+   over the high altar: otherwise of no importance.
+
+
+ VOLTO SANTO, CHURCH OF THE. An interesting but desecrated ruin of the
+   fourteenth century; fine in style. Its roof retains some fresco
+   coloring, but, as far as I recollect, of later date than the
+   architecture.
+
+
+    Z
+
+ ZACCARIA, CHURCH OF ST. Early Renaissance, and fine of its kind; a
+   Gothic chapel attached to it is of great beauty. It contains the best
+   John Bellini in Venice, after that of San G. Grisostomo, "The Virgin,
+   with Four Saints;" and is said to contain another John Bellini and a
+   Tintoret, neither of which I have seen.
+
+ ZITELLE, CHURCH OF THE. Of no importance.
+
+ ZOBENIGO, CHURCH OF SANTA MARIA, III. 124. It contains one valuable
+   Tintoret, namely:
+
+   _Christ with Sta. Justina and St. Augustin._ (Over the third altar on
+   the south side of the nave.) A picture of small size, and upright,
+   about ten feet by eight. Christ appears to be descending out of the
+   clouds between the two saints, who are both kneeling on the sea shore.
+   It is a Venetian sea, breaking on a flat beach, like the Lido, with a
+   scarlet galley in the middle distance, of which the chief use is to
+   unite the two figures by a point of color. Both the saints are
+   respectable Venetians of the lower class, in homely dresses and with
+   homely faces. The whole picture is quietly painted, and somewhat
+   slightly; free from all extravagance, and displaying little power
+   except in the general truth or harmony of colors so easily laid on. It
+   is better preserved than usual, and worth dwelling upon as an instance
+   of the style of the master when _at rest_.
+
+
+FOOTNOTES:
+
+  [71]  "Am I in Italy? Is this the Mincius?
+         Are those the distant turrets of Verona?
+         And shall I sup where Juliet at the Masque
+         Saw her loved Montague, and now sleeps by him?
+         Such questions hourly do I ask myself;
+         And not a stone in a crossway inscribed
+         'To Mantua,' 'To Ferrara,' but excites
+         Surprise, and doubt, and self-congratulation."
+
+    Alas, after a few short months, spent even in the scenes dearest to
+    history, we can feel thus no more.
+
+  [72] I have always called this church, in the text, simply "St. John
+    and Paul," not Sts. John and Paul, just as the Venetians say San
+    Giovanni e Paolo, and not Santi G., &c.
+
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+CORRECTIONS MADE TO THE ORIGINAL TEXT.
+
+Page 69: 'Italian sarcophagi are kept massive, smoth and gloomy' smoth
+            corrected to smooth.
+
+Page 74: 'fallen back peacefully uppon his pillow' uppon corrected to
+            upon.
+
+Page 100: 'men's modes of life, and tones of throught' throught changed
+             to thought.
+
+Page 121: 'breathed upon her beaaty, until it melted away' beaaty
+             corrected to beauty.
+
+Page 157: 'morbid action by terror, accompained by the belief'
+             accompained changed to accompanied.
+
+Page 207: 'finds him by a fountaiu side' fountaiu corrected to fountain.
+
+Page 222: 'Pietro di Castello, for the feast of St. Mary' Mary changed
+             to Mark.
+
+Page 233: Number 2. misplaced. Moved to 'a. Lower arcade, Fondaco de'
+            Turchi.'
+
+Page 233: Missing 4. added before 'a. Fondaco de' Turchi, central shaft,
+            upper arcade.'
+
+Page 237: 'fourth order windows in Campo Sta. Ma Mater Domini' Ma
+             changed to M^a.
+
+Page 293: 'the usual inportant purposes of the modern Italians.'
+             inportant changed to important.
+
+Page 294: 'not the slightest touch os it but is delicious.' os corrected
+             to of.
+
+Page 318: 'examine the two large tintorets' tintorets changed to
+             Tintorets.
+
+Page 319: 'Mlaipiero, Palazzo, on the Campo St. M. Formosa.' Mlaipiero
+             corrected to Malipiero.
+
+Page 358: 'drift of its clouds, and originalty and complication.'
+             originalty corrected to originality.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK THE STONES OF VENICE, VOLUME III (OF
+3)***
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