Read Ebook: A Text-book of Tanning A treatise on the conversion of skins into leather both practical and theoretical. by Procter H R Henry Richardson

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PAGE Preface, iii

LIST OF PLATES.

Facing Page

Plate 1. Wall Veil Decoration, Ca' Trevisan and Ca' Dario, 13

" 2. Plans of Piers, 100

" 3. Arch Masonry, 134

" 4. Arch Masonry, 137

" 5. Arch Masonry, Bruletto of Como, 141

" 6. Types of Towers, 207

" 7. Abstracts Lines, 222

" 8. Decorations by Disks, Ca' Badoari, 241

" 9. Edge Decoration, 268

" 10. Profiles of Bases, 283

" 11. Plans of Bases, 288

" 12. Decorations of Bases, 289

" 13. Wall Veil Decorations, 295

" 14. Spandril Decorations, Ducal Palace, 298

" 15. Cornice Profiles, 306

" 16. Cornice Decorations, 311

" 17. Capitals--Concave, 323

" 18. Capitals--Convex, 327

" 19. Archivolt Decoration, Verona, 333

" 20. Wall Veil Decoration, Ca' Trevisan, 369

" 21. Wall Veil Decoration, San Michele, Lucca, 378

THE STONES OF VENICE.

THE QUARRY.

The exaltation, the sin, and the punishment of Tyre have been recorded for us, in perhaps the most touching words ever uttered by the Prophets of Israel against the cities of the stranger. But we read them as a lovely song; and close our ears to the sternness of their warning: for the very depth of the Fall of Tyre has blinded us to its reality, and we forget, as we watch the bleaching of the rocks between the sunshine and the sea, that they were once "as in Eden, the garden of God."

Her successor, like her in perfection of beauty, though less in endurance of dominion, is still left for our beholding in the final period of her decline: a ghost upon the sands of the sea, so weak--so quiet,--so bereft of all but her loveliness, that we might well doubt, as we watched her faint reflection in the mirage of the lagoon, which was the City, and which the Shadow.

I would endeavor to trace the lines of this image before it be for ever lost, and to record, as far as I may, the warning which seems to me to be uttered by every one of the fast-gaining waves, that beat, like passing bells, against the STONES OF VENICE.

The state of Venice existed Thirteen Hundred and Seventy-six years, from the first establishment of a consular government on the island of the Rialto, to the moment when the General-in-chief of the French army of Italy pronounced the Venetian republic a thing of the past. Of this period, Two Hundred and Seventy-six years were passed in a nominal subjection to the cities of old Venetia, especially to Padua, and in an agitated form of democracy, of which the executive appears to have been entrusted to tribunes, chosen, one by the inhabitants of each of the principal islands. For six hundred years, during which the power of Venice was continually on the increase, her government was an elective monarchy, her King or doge possessing, in early times at least, as much independent authority as any other European sovereign, but an authority gradually subjected to limitation, and shortened almost daily of its prerogatives, while it increased in a spectral and incapable magnificence. The final government of the nobles, under the image of a king, lasted for five hundred years, during which Venice reaped the fruits of her former energies, consumed them,--and expired.

Then the first period, of nine hundred years, presents us with the most interesting spectacle of a people struggling out of anarchy into order and power; and then governed, for the most part, by the worthiest and noblest man whom they could find among them, called their Doge or Leader, with an aristocracy gradually and resolutely forming itself around him, out of which, and at last by which, he was chosen; an aristocracy owing its origin to the accidental numbers, influence, and wealth of some among the families of the fugitives from the older Venetia, and gradually organizing itself, by its unity and heroism, into a separate body.

This first period includes the rise of Venice, her noblest achievements, and the circumstances which determined her character and position among European powers; and within its range, as might have been anticipated, we find the names of all her hero princes,--of Pietro Urseolo, Ordalafo Falier, Domenico Michieli, Sebastiano Ziani, and Enrico Dandolo.

I say domestic and individual; for--and this is the second point which I wish the reader to keep in mind--the most curious phenomenon in all Venetian history is the vitality of religion in private life, and its deadness in public policy. Amidst the enthusiasm, chivalry, or fanaticism of the other states of Europe, Venice stands, from first to last, like a masked statue; her coldness impenetrable, her exertion only aroused by the touch of a secret spring. That spring was her commercial interest,--this the one motive of all her important political acts, or enduring national animosities. She could forgive insults to her honor, but never rivalship in her commerce; she calculated the glory of her conquests by their value, and estimated their justice by their facility. The fame of success remains, when the motives of attempt are forgotten; and the casual reader of her history may perhaps be surprised to be reminded, that the expedition which was commanded by the noblest of her princes, and whose results added most to her military glory, was one in which while all Europe around her was wasted by the fire of its devotion, she first calculated the highest price she could exact from its piety for the armament she furnished, and then, for the advancement of her own private interests, at once broke her faith and betrayed her religion.

To this exclusion of Papal influence from her councils, the Romanist will attribute their irreligion, and the Protestant their success. The first may be silenced by a reference to the character of the policy of the Vatican itself; and the second by his own shame, when he reflects that the English legislature sacrificed their principles to expose themselves to the very danger which the Venetian senate sacrificed theirs to avoid.

It will be remembered that I put the commencement of the Fall of Venice as far back as 1418.

Now, John Bellini was born in 1423, and Titian in 1480. John Bellini, and his brother Gentile, two years older than he, close the line of the sacred painters of Venice. But the most solemn spirit of religious faith animates their works to the last. There is no religion in any work of Titian's: there is not even the smallest evidence of religious temper or sympathies either in himself, or in those for whom he painted. His larger sacred subjects are merely themes for the exhibition of pictorial rhetoric,--composition and color. His minor works are generally made subordinate to purposes of portraiture. The Madonna in the church of the Frari is a mere lay figure, introduced to form a link of connexion between the portraits of various members of the Pesaro family who surround her.

Now this is not merely because John Bellini was a religious man and Titian was not. Titian and Bellini are each true representatives of the school of painters contemporary with them; and the difference in their artistic feeling is a consequence not so much of difference in their own natural characters as in their early education: Bellini was brought up in faith; Titian in formalism. Between the years of their births the vital religion of Venice had expired.

The mind of Tintoret, incomparably more deep and serious than that of Titian, casts the solemnity of its own tone over the sacred subjects which it approaches, and sometimes forgets itself into devotion; but the principle of treatment is altogether the same as Titian's: absolute subordination of the religious subject to purposes of decoration or portraiture.

The evidence might be accumulated a thousandfold from the works of Veronese, and of every succeeding painter,--that the fifteenth century had taken away the religious heart of Venice.

Philippe de Commynes, writing of his entry into Venice in 1495, says,--

"Chascun me feit seoir au meillieu de ces deux ambassadeurs qui est l'honneur d'Italie que d'estre au meillieu; et me menerent au long de la grant rue, qu'ilz appellent le Canal Grant, et est bien large. Les gallees y passent ? travers et y ay ven navire de quatre cens tonneaux ou plus pres des maisons: et est la plus belle rue que je croy qui soit en tout le monde, et la mieulx maisonnee, et va le long de la ville. Les maisons sont fort grandes et haultes, et de bonne pierre, et les anciennes toutes painctes; les aultres faictes depuis cent ans: toutes ont le devant de marbre blanc, qui leur vient d'Istrie, ? cent mils de l?, et encores maincte grant piece de porphire et de sarpentine sur le devant.... C'est la plus triumphante cit? que j'aye jamais vene et qui plus faict d'honneur ? ambassadeurs et estrangiers, et qui plus saigement se gouverne, et o? le service de Dieu est le plus sollempnellement faict: et encores qu'il y peust bien avoir d'aultres faultes, si je croy que Dieu les a en ayde pour la reverence qu'ilz portent au service de l'Eglise."

On the opposite page I have given two of the ornaments of the palaces which so struck the French ambassador. He was right in his notice of the distinction. There had indeed come a change over Venetian architecture in the fifteenth century; and a change of some importance to us moderns: we English owe to it our St. Paul's Cathedral, and Europe in general owes to it the utter degradation or destruction of her schools of architecture, never since revived. But that the reader may understand this, it is necessary that he should have some general idea of the connexion of the architecture of Venice with that of the rest of Europe, from its origin forwards.

The Ducal palace of Venice contains the three elements in exactly equal proportions--the Roman, Lombard, and Arab. It is the central building of the world.

The Arab school is at first the same in its principal features, the Byzantine workmen being employed by the caliphs; but the Arab rapidly introduces characters half Persepolitan, half Egyptian, into the shafts and capitals: in his intense love of excitement he points the arch and writhes it into extravagant foliations; he banishes the animal imagery, and invents an ornamentation of his own to replace it: this not being adapted for covering large surfaces, he concentrates it on features of interest, and bars his surfaces with horizontal lines of color, the expression of the level of the Desert. He retains the dome, and adds the minaret. All is done with exquisite refinement.

These high dead walls were, in Roman work, built of stone; but in the wooden work of the North, they must necessarily have been made of horizontal boards or timbers attached to uprights on the top of the nave pillars, which were themselves also of wood. Now, these uprights were necessarily thicker than the rest of the timbers, and formed vertical square pilasters above the nave piers. As Christianity extended and civilisation increased, these wooden structures were changed into stone; but they were literally petrified, retaining the form which had been made necessary by their being of wood. The upright pilaster above the nave pier remains in the stone edifice, and is the first form of the great distinctive feature of Northern architecture--the vaulting shaft. In that form the Lombards brought it into Italy, in the seventh century, and it remains to this day in St. Ambrogio of Milan, and St. Michele of Pavia.

To this first manner of Venetian architecture, together with vestiges as remain of the Christian Roman, I shall devote the first division of the following inquiry. The examples remaining of it consist of three noble churches , and about ten or twelve fragments of palaces.

I have not succeeded in fixing limiting dates for this style. It appears in part contemporary with the Byzantine manner, but outlives it. Its position is, however, fixed by the central date, 1180, that of the elevation of the granite shafts of the Piazetta, whose capitals are the two most important pieces of detail in this transitional style in Venice. Examples of its application to domestic buildings exist in almost every street of the city, and will form the subject of the second division of the following essay.

The Rationalist kept the arts and cast aside the religion. This rationalistic art is the art commonly called Renaissance, marked by a return to pagan systems, not to adopt them and hallow them for Christianity, but to rank itself under them as an imitator and pupil. In Painting it is headed by Giulio Romano and Nicolo Poussin; in Architecture by Sansovino and Palladio.

Now Venice, as she was once the most religious, was in her fall the most corrupt, of European states; and as she was in her strength the centre of the pure currents of Christian architecture, so she is in her decline the source of the Renaissance. It was the originality and splendor of the palaces of Vicenza and Venice which gave this school its eminence in the eyes of Europe; and the dying city, magnificent in her dissipation, and graceful in her follies, obtained wider worship in her decrepitude than in her youth, and sank from the midst of her admirers into the grave.

? XL. I must again refer to the importance which I have above attached to the death of Carlo Zeno and the doge Tomaso Mocenigo. The tomb of that doge is, as I said, wrought by a Florentine; but it is of the same general type and feeling as all the Venetian tombs of the period, and it is one of the last which retains it. The classical element enters largely into its details, but the feeling of the whole is as yet unaffected. Like all the lovely tombs of Venice and Verona, it is a sarcophagus with a recumbent figure above, and this figure is a faithful but tender portrait, wrought as far as it can be without painfulness, of the doge as he lay in death. He wears his ducal robe and bonnet--his head is laid slightly aside upon his pillow--his hands are simply crossed as they fall. The face is emaciated, the features large, but so pure and lordly in their natural chiselling, that they must have looked like marble even in their animation. They are deeply worn away by thought and death; the veins on the temples branched and starting; the skin gathered in sharp folds; the brow high-arched and shaggy; the eye-ball magnificently large; the curve of the lips just veiled by the light mustache at the side; the beard short, double, and sharp-pointed: all noble and quiet; the white sepulchral dust marking like light the stern angles of the cheek and brow.

This tomb was sculptured in 1424, and is thus described by one of the most intelligent of the recent writers who represent the popular feeling respecting Venetian art.

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