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.



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.



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.



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.



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.