. The stones of Venice; introductory chapters and local indices (printed separately) for the use of travellers while staying in Venice and Verona . at of Fig. XXVI. Vol. 11., ofwhich archivolt fig. 5, here, is the actual profile. The follow-ing are the references to the whole : 1. Rio-Foscari House. 2. Terraced House, entrance door. 3. Small Porticos of St. Marks, external arches. 4. Arch on the canal at Ponte St. Toma. 5. Arch of Corte del Remer. 6. Great outermost archivolt of central door, St. VTII. 7. Inner archivolt of southern porch, St. MarksVol. ni. Facade. 8. Inner archivo
. The stones of Venice; introductory chapters and local indices (printed separately) for the use of travellers while staying in Venice and Verona . at of Fig. XXVI. Vol. 11., ofwhich archivolt fig. 5, here, is the actual profile. The follow-ing are the references to the whole : 1. Rio-Foscari House. 2. Terraced House, entrance door. 3. Small Porticos of St. Marks, external arches. 4. Arch on the canal at Ponte St. Toma. 5. Arch of Corte del Remer. 6. Great outermost archivolt of central door, St. VTII. 7. Inner archivolt of southern porch, St. MarksVol. ni. Facade. 8. Inner archivolt of central entrance, St. Marks. 9. Fondaco de Turchi, main arcade. 10. Byzantine restored house on Grand Canal, lower arcade. 11. Terraced House, upper arcade. 12. Inner archivolt of northern porch of fayade, St. and 14. Transitional forms. There is little to be noted respecting these forms, exceptthat, in fig. 1, the two lower rolls, with the angular projec-tions between, represent the fall of the mouldings of twoproximate arches on the abacus of the bearing shaft ; theirtwo cornices meeting each other, and being gi*adually nar-. SJ CO APPENDIX. 247 rowed into the little angular intermediate piece, their sculpt-ures being slurred into the contracted space, a curious proofof the earliness of the work. The real archivolt mouldingis the same as fig. 4 c c, including only the midmost of thethree rolls in fig. 1. It will be noticed that 2, 5, 6, and 8 are sculptured on thesofiits as well as the faces ; 9 is the common profile of archesdecorated only with colored marble, the f acestone being colored,the soffit white. The effect of such a moulding is seen in thesmall windows at the right hand of Fig. XXVI. Vol. 11. The reader will now see that there is but little difficulty inidentifying Byzantine woik, the archivolt mouldings being sosimilar among themselves, and so unlike any others. We havenext to examine the Gothic forms. Figs. 13 and 14 in Plate VTH. represent the fi
Size: 1245px × 2006px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookauthorruskinjo, bookcentury1800, bookdecade1890, bookyear1890
