. The stones of Venice; introductory chapters and local indices (printed separately) for the use of travellers while staying in Venice and Verona . Plate II.—Gotiiiu Caiitals. EARLY RENAISSANCE, 11 peculiarly interesting when considered in relation to thepoints at present under consideration. The four leaves inthe upper row are Byzantine ; the two middle rows are tran-sitional, all but fig. 11, which is of the formed Gothic ; is perfect Gothic of the finest time (Ducal Palace, oldestpart), fig 13 is Gothic beginning to decHne, fig. 14 is Kenais-sance Gothic in complete corruption. Now o
. The stones of Venice; introductory chapters and local indices (printed separately) for the use of travellers while staying in Venice and Verona . Plate II.—Gotiiiu Caiitals. EARLY RENAISSANCE, 11 peculiarly interesting when considered in relation to thepoints at present under consideration. The four leaves inthe upper row are Byzantine ; the two middle rows are tran-sitional, all but fig. 11, which is of the formed Gothic ; is perfect Gothic of the finest time (Ducal Palace, oldestpart), fig 13 is Gothic beginning to decHne, fig. 14 is Kenais-sance Gothic in complete corruption. Now observe, first, the Gothic naturalism advancing gradu-ally from the Byzantine severity ; how from the sharp, hard,formalized conventionality of the upper series the leavesgradually expand into more free and flexible animation, untilin fig. 12 we have the perfect living leaf as if fresh gatheredout of the dew. And then, in the last two examples andpartly in fig. 11, observe how the forms which can advanceno longer in animation, advance, or rather decline, into lux-ury and effeminacy as the strength of the school expires. § XII. In the secon
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Keywords: ., bookauthorruskinjo, bookcentury1800, bookdecade1890, bookyear1890
