Chapter XIV: Appendix: 1. Architect of the Ducal Palace (3)

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.

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.

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 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