. The Civil engineer and architect's journal, scientific and railway gazette. Architecture; Civil engineering; Science. THE CIVIL ENGINEER AND ARCHITECPS JOURNAL. 231 It is eajy to recognise a correspondence in the principles and effects both in the painting and architecture of Venice. Pig. That variety of tints, of forms, of colours, and of the manner of break- ing and blending them into one another, which is seen, with one or two exceptions, in the Venetian painters, was in itself extremely attractive; but its merit of beauty and picturesqueness was fatal to all grandeur and digni
. The Civil engineer and architect's journal, scientific and railway gazette. Architecture; Civil engineering; Science. THE CIVIL ENGINEER AND ARCHITECPS JOURNAL. 231 It is eajy to recognise a correspondence in the principles and effects both in the painting and architecture of Venice. Pig. That variety of tints, of forms, of colours, and of the manner of break- ing and blending them into one another, which is seen, with one or two exceptions, in the Venetian painters, was in itself extremely attractive; but its merit of beauty and picturesqueness was fatal to all grandeur and dignity. So in the architecture, there were such a richness, such an intri- «acy, so many curves of contrary flexure (archi proteiformi), and, as it would sometimes seem, such a positive avoidance of anything lil^e uni- formity or along continuatiuo of lines, that, picturesque though it be, and interesting for reasons already given, it was yet far removed from simpli- city and grandeur of effect. All these highly ornamental qaalities were rejected by the Roman and Florentine schools, which excelled in the grand and imposing style; and those palaces of Rome and Florence, which have (be national features most strongly marked on them, as the Farnese, Strozzi, and Pitti, contrasted with those in Venice most remarkable for their peculiarities, present the opposite characteristics of grandeur and mere picturesque beauty as much as objects totally diOering from each other possibly can do, III. Although the marked characteristics of these styles arose out of pecu- liar times and circumstances ; yet it must be allowed that the details of these edilices are attributable partly to tie amount of the labour bestowed on them and, in a great measure, to the degree of artistic skill and know- ledge of picterial effect possessed by the Italians. At a period happy for art they united the painter with the architect. Dominichiuo, Raphael, Michael Angelo, were the better able (as were also our Christop
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