: The Stones of Venice Volume 1 (of 3) by Ruskin John - Architecture Italy Venice Italy

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he crossing of the nave and transepts of Beauvais, are both carried by square piers; but the piers of St. Mark's are set square to the walls of the church, and those of Beauvais obliquely to them: and this difference is even a more essential one than that between the smooth surface of the one and the reedy complication of the other. The two squares here in the margin are exactly of the same size, but their expression is altogether different, and in that difference lies one of the most subtle distinctions between the Gothic and Greek spirit,--from the shaft, which bears the building, to the smallest decoration. The Greek square is by preference set evenly, the Gothic square obliquely; and that so constantly, that wherever we find the level or even square occurring as a prevailing form, either in plan or decoration, in early northern work, there we may at least suspect the presence of a southern or Greek influence; and, on the other hand, wherever the oblique square is prominent in the south, we may confidently look for farther evidence of the influence of the Gothic architects. The rule must not of course be pressed far when, in either school, there has been determined search for every possible variety of decorative figures; and accidental circumstances may reverse the usual system in special cases; but the evidence drawn from this character is collaterally of the highest value, and the tracing it out is a pursuit of singular interest. Thus, the Pisan Romanesque might in an instant be pronounced to have been formed under some measure of Lombardic influence, from the oblique squares set under its arches; and in it we have the spirit of northern Gothic affecting details of the southern;--obliquity of square, in magnificently shafted Romanesque. At Monza, on the other hand, the levelled square is the characteristic figure of the entire decoration of the fa?ade of the Duomo, eminently giving it southern character; but the details are derived almost entirely from the northern Gothic. Here then we have southern spirit and northern detail. Of the cruciform outline of the load of the shaft, a still more positive test of northern work, we shall have more to say in the 28th Chapter; we must at present note certain farther changes in the form of the grouped shaft, which open the way to every branch of its endless combinations, southern or northern.

Thus far we have traced the probable conditions of shaft structure in pure theory; I shall now lay before the reader a brief statement of the facts of the thing in time past and present.

FOOTNOTES:

In saying this, it is assumed that the interval is one which is to be traversed by men; and that a certain relation of the shafts and intervals to the size of the human figure is therefore necessary. When shafts are used in the upper stories of buildings, or on a scale which ignores all relation to the human figure, no such relative limits exist either to slenderness or solidity.

Vide the interesting discussion of this point in Mr. Fergusson's account of the Temple of Karnak, "Principles of Beauty in Art," p. 219.

I have assumed that the strength of similar shafts of equal height is as the squares of their diameters; which, though not actually a correct expression, is sufficiently so for all our present purposes.

How far this condition limits the system of shaft grouping we shall see presently. The reader must remember, that we at present reason respecting shafts in the abstract only.

The capitals being formed by the flowers, or by a representation of the bulging out of the reeds at the top, under the weight of the architrave.

I have not been at the pains to draw the complicated piers in this plate with absolute exactitude to the scale of each: they are accurate enough for their purpose: those of them respecting which we shall have farther question will be given on a much larger scale.

The largest I remember support a monument in St. Zeno of Verona; they are of red marble, some ten or twelve feet high.

The entire development of this cross system in connexion with the vaulting ribs, has been most clearly explained by Professor Willis ; and I strongly recommend every reader who is inclined to take pains in the matter, to read that chapter. I have been contented, in my own text, to pursue the abstract idea of shaft form.

THE CAPITAL.

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