III. MURANO 49

the numbers are not easily comprehended in the form of feet and inches, but if we reduce the first four of them into inches, and then subtract some constant number, suppose 75, from them all, the remainders 4, 16, 14, 19, will exhibit the ratio of proportion in a clearer, though exaggerated form.

§ 17. The pairs of circular spots at b, c, d, etc., on the ground plan, fig. 6, represent the bearing shafts, which are all of solid marble as well as their capitals. Their measures and various other particulars respecting them are given in Appendix 6 [p. 446], “Apse of Murano;” here I only wish the reader to note the colouring of their capitals. Those of the two single shafts in the angles (a, h) are both of deep purple marble; the two next pairs, b and g, are of white marble; the pairs c and f are of purple, and d and e are of white: thus alternating with each other on each side; two white meeting in the centre. Now observe, the purple capitals are all left plain; the white are all sculptured. For the old builders knew that by carving the purple capitals they would have injured them in two ways: first, they would have mixed a certain quantity of grey shadow with the surface hue, and so adulterated the purity of the colour; secondly, they would have drawn away the thoughts from the colour, and prevented the mind from fixing upon it or enjoying it, by the degree of attention which the sculpture would have required. So they left their purple capitals full broad masses of colour; and sculptured the white ones, which would otherwise have been devoid of interest.¹

§ 18. But the feature which is most to be noted in this apse is a band of ornament, which runs round it like a silver

¹ [In one draft of this chapter Ruskin adds:-

“Could any proof be more complete of the admirable science of the builder? I need not tell the reader that of all those great principles modern architects are more ignorant than children. Even a child, if you give it pieces of white and coloured paper, will presently begin to draw upon the white, and to cut the coloured into pretty figures. But if you give a modern builder the most beautiful stones in the world, he does not know what to do with them. He never has been taught anything about colour, and his youth has been so enclosed by false laws that he has not a single natural instinct left to help him.”]

X. D

[Version 0.04: March 2008]