. Brick and marble in the middle ages: notes of tours in the north of Italy . andthe six arches of the Piazzetta (columns 1 to 24 on theplan) were first built, that the extension to the north(columns 25 to 36 on plan) was then immediately undertakenby the same artists, and finally that the whole uj)per storywas built and the sculpture of its capitals completed before1423. The caj)itals of the lower arcade were probablysculptured by degrees, and certainly not by one hand,between the years 1310 and 1361. There is a confirmation to some extent of this view ina MS. in the Bodleian Library of the f
. Brick and marble in the middle ages: notes of tours in the north of Italy . andthe six arches of the Piazzetta (columns 1 to 24 on theplan) were first built, that the extension to the north(columns 25 to 36 on plan) was then immediately undertakenby the same artists, and finally that the whole uj)per storywas built and the sculpture of its capitals completed before1423. The caj)itals of the lower arcade were probablysculptured by degrees, and certainly not by one hand,between the years 1310 and 1361. There is a confirmation to some extent of this view ina MS. in the Bodleian Library of the fourteenth century(the Eomance of Alexander), which contains a curiouscontemporary view of Venice. This drawing has been en-graved at p. 26 of the second volume of the Domestic Archi-tecture of the Middle Ages; ^ here it will be seen, with theusual amount of licence which characterizes most mediaeval The similar marble facing at Vicenza was executed between 1400 ami1444. See p. 130. 2 Published by Mr. Parker, of Oxford, to whose courtesy I owe tlie use ofthis 28.—VENICE IN THE FOORTEENTH the Romance of Alexander. Chap. VIII.] THE DUCAL PALACE. ^Of) iei)i-esentatioiis of places or towns, that it has neverthe-less been intended as an absolute representation of what it?draughtsman had seen. The columns with S. Theodore andthe lion of S. Mark on their capitals, the bronze horses andthe domes of S. Marks, the position by the waterside, andthe representation of the Ponte di Paglia, are all proofs oftliis; but the important point for my present purpose is, thathe drew the Ducal Palace as a huilding of tico stories inheight—the first a simple arcade, the second an arcade withtracery. In the distance behind this, his drawing shews apicturesque assemblage of buildings, whilst figures are re-presented behind the upper arcade as though it were only akind of immense balcony. There can be no doubt whateverthat this old drawing tells in favour of the view that t
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