ヴェネツィアの石 — John Ruskin
You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Stones of Venice, Volume II (of 3) Author: John Ruskin Release Date: December 31, 2009 [eBook #30755] Language: English Character set encoding: ISO-646-US (US-ASCII) ***START OF pgdp.net) Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 30755-h.htm or 30755-h.zip: (http://www.gutenberg.org/files/30755/30755-h/30755-h.htm) or (http://www.gutenberg.org/files/30755/30755-h.zip) Volumes I and III are available in the Project Gutenberg Library: Volume I--see http://www.gutenberg.org/etext/30754 Volume III--see http://www.gutenberg.org/etext/30756 Volume III contains the index for all three volumes. The index in the html version of Volume III has links to the the other two volumes. Transcriber's note: A few typographical errors have been corrected. They are listed at the end of the text. Characters following a caret were printed as superscript in the original. For example, St^a; here the "a" is a superscript. Library Edition The Complete Works of John Ruskin STONES OF VENICE VOLUMES I-II National Library Association New York Chicago The Complete Works of John Ruskin Volume VIII STONES OF VENICE VOLUME II THE STONES OF VENICE VOLUME II. The Sea Stories ADVERTISEMENT. It was originally intended that this Work should consist of two volumes only; the subject has extended to three. The second volume, however, will conclude the account of the ancient architecture of Venice. The third will embrace the Early, the Roman, and the Grotesque Renaissance; and an Index, which, as it gives, in alphabetical order, a brief account of all the buildings in Venice, or references to the places where they are mentioned in the text, will be found a convenient guide for the traveller. In order to make it more serviceable, I have introduced some notices of the pictures which I think most interesting in the various churches, and in the Scuola di San Rocco. CONTENTS. FIRST, OR BYZANTINE, PERIOD. CHAPTER I. PAGE The Throne, 1 CHAPTER II. Torcello, 11 CHAPTER III. Murano, 27 CHAPTER IV. St. Mark's, 57 CHAPTER V. Byzantine Palaces, 118 SECOND, OR GOTHIC, PERIOD. CHAPTER VI. The Nature of Gothic, 151 CHAPTER VII. Gothic Palaces, 231 CHAPTER VIII. The Ducal Palace, 281 APPENDIX. 1. The Gondolier's Cry, 375 2. Our Lady of Salvation, 378 3. Tides of Venice and Measures at Torcello, 378 4. Date of the Duomo of Torcello, 380 5. Modern Pulpits, 380 6. Apse of Murano, 382 7. Early Venetian Dress, 383 8. Inscriptions at Murano, 384 9. Shafts of St. Mark's, 384 10. Proper Sense of the Word Idolatry, 388 11. Situations of Byzantine Palaces, 391 12. Modern Paintings on Glass, 394 LIST OF PLATES. Facing Page Plate 1. Plans of Torcello and Murano, 14 " 2. The Acanthus of Torcello, 15 " 3. Inlaid Bands of Murano, 40 " 4. Sculptures of Murano, 42 " 5. Archivolt in the Duomo of Murano, 45 " 6. The Vine, Free and in Service, 96 " 7. Byzantine Capitals--Convex Group, 131 " 8. Byzantine Capitals--Concave Group, 132 " 9. Lily Capital of St. Mark's, 136 " 10. The Four Venetian Flower Order, 137 " 11. Byzantine Sculptures, 138 " 12. Linear and Surface Gothic, 224 " 13. Balconies, 247 " 14. The Orders of Venetian Arches, 248 " 15. Windows of the Second Order, 254 " 16. Windows of the Fourth Order, 257 " 17. Windows of the Early Gothic Palaces, 259 " 18. Windows of the Fifth Order, 266 " 19. Leafage of the Vine Angle, 308 " 20. Leafage of the Venetian Capitals, 368 THE STONES OF VENICE. FIRST, OR BYZANTINE, PERIOD. CHAPTER I. THE THRONE. Sec. I. In the olden days of travelling, now to return no more, in which distance could not be vanquished without toil, but in which that toil was rewarded, partly by the power of deliberate survey of the countries through which the journey lay, and partly by the happiness of the evening hours, when, from the top of the last hill he had surmounted, the traveller beheld the quiet village where he was to rest, scattered among the meadows beside its valley stream; or, from the long-hoped-for turn in the dusty perspective of the causeway, saw, for the first time, the towers of some famed city, faint in the rays of sunset--hours of peaceful and thoughtful pleasure, for which the rush of the arrival in the railway station is perhaps not always, or to all men, an equivalent,--in those days, I say, when there was something more to be anticipated and remembered in the first aspect of each successive halting-place, than a new arrangement of glass roofing and iron girder, there were few moments of which the recollection was more fondly cherished by the traveller than that which, as I endeavored to describe in the close of the last chapter, brought him within sight of Venice, as his gondola shot into the open lagoon from the canal of Mestre. Not but that the aspect of the city itself was generally the source of some slight disappointment, for, seen in this direction, its buildings are far less characteristic than those of the other great towns of Italy; but this inferiority was partly disguised by distance, and more than atoned for by the strange rising of its walls and towers out of the midst, as it seemed, of the deep sea, for it was impossible that the mind or the eye could at once comprehend the shallowness of the vast sheet of water which stretched away in leagues of rippling lustre to the north and south, or trace the narrow line of islets bounding it to the east. The salt breeze, the white moaning sea-birds, the masses of black weed separating and disappearing gradually, in knots of heaving shoal, under the advance of the steady tide, all proclaimed it to be indeed the ocean on whose bosom the great city rested so calmly; not such blue, soft, lake-like ocean as bathes the Neapolitan promontories, or sleeps beneath the marble rocks of Genoa, but a sea with the bleak power of our own northern waves, yet su