270 10. FINAL APPENDIX III. CAPITALS

The next plate, 7, will show the principal characters of the Gothic jambs, and the total difference between them and the Byzantine ones. Two more Byzantine forms, 1 and 2, are given here for the sake of comparison; then 3, 4, and 5 are the common profiles of simple jambs of doors in the Gothic period; 6 is one of the jambs of the Frari windows, continuous into the archivolt, and meeting the traceries, where the line is set upon it at the extremity of its main slope; 7 and 8 are jambs of the Ducal Palace windows, in which the great semicircle is the half shaft which sustains the traceries, and the rest of the profile is continuous in the archivolt: 17, 18, and 19 are the principal piers of the Ducal Palace; and 20, from St. Fermo of Verona, is put with them in order to show the step of transition from the Byzantine form 2 to the Gothic chamfer, which is hardly represented at Venice. The other profiles on the plate are all late Gothic, given to show the gradual increase of complexity without any gain of power. The open lines in 12, 14, 16, etc., are the parts of the profile cut into flowers or cable mouldings; and so much incised as to show the constant outline of the cavetto or curve beneath them. The following are the references:

1. Door in house of Marco Polo.

2. Old door in a restored church of St. Cassan.

3, 4, 5. Common jambs of Gothic doors.

6. Frari windows.

7, 8. Ducal Palace windows.

9. Casa Priuli, great entrance.

PLATE 7,10. San Stefano, great door.

Vol. III.11. San Gregorio, door opening to the water.

12. Lateral door, Frari.

13. Door of Campo San Zaccaria.

14. Madonna dell’ Orto.

15. San Gregorio, door in the façade.

16. Great lateral door, Frari.

17. Pilaster at Vine angle, Ducal Palace.

18. Pier, inner cortile, Ducal Palace.

19. Pier under the medallion of Venice, on the Piazzetta facade of the Ducal Palace.

(iii.) CAPITALS¹

I shall here notice the various facts I have omitted in the text of the work.

First, with respect to the Byzantine capitals represented in Plate 7, Vol. II. (facing P. 158), I omitted to notice that figs. 6 and 7 represent two sides of the same capital at Murano (though one is necessarily drawn on a smaller scale than the other). Fig. 7 is the side turned to the light, and fig. 6 to the shade, the inner part, which is quite concealed, not being touched at all.

We have here a conclusive proof that these capitals were cut for their place in the apse; therefore I have always considered them as tests of Venetian workmanship, and, on the strength of that proof, have occasionally

¹ [For previous references to this section of the appendix, see in the preceding volume, pp. 297, 303.]

[Version 0.04: March 2008]