III. CAPITALS 10. FINAL APPENDIX 273

lateral ones first. 1. Capital of pulpit of St. Mark’s (representative of the simplest concave forms of the Byzantine period). Look back to Plate 8, Vol. II., and observe that while all the forms in that plate are contemporaneous, we are now going to follow a series consecutive in time, which begins from figure 1, either in that plate or in this; that is to say, with the simplest possible condition to be found at the time; and which proceeds to develop itself into gradually increasing richness, while the already rich capitals of the old school die at its side. In the forms 14 and 15 (Plate 8) the Byzantine school expired; but from the Byzantine simple capital (1, Plate 2 above) which was co-existent with them, sprang another hardy race of capitals, whose succession we have now to trace.

The form 1, Plate 2, is evidently the simplest conceivable condition of the truncated capital, long ago represented generally at p. 139, Vol. I., being only rounded a little on its side to fit it to the shaft. The next step was to place a leaf beneath each of the truncations (fig. 4, Plate 2, San Giacomo de Lorio), the end of the leaf curling over at the top in a somewhat formal spiral, partly connected with the traditional volute of the Corinthian capital. The sides are then enriched by the addition of some ornament, as a shield (fig. 7) or rose (fig. 10), and we have the formed capital of the early Gothic. Fig. 10, being from the palace of Marco Querini, is certainly not later than the middle of the thirteenth century (see Vol. II., p. 298), and fig. 7 is, I believe, of the same date; it is one of the bearing capitals of the lower story of the palace at the Apostoli, and is remarkably fine in the treatment of its angle leaves, which are not deeply under-cut, but show their magnificent sweeping under surface all the way down, not as a leaf surface, but treated like the forget of a helmet, with a curved line across it like that where the gorget meets the mail. I never saw anything finer in simple design. Fig. 10 is given chiefly as a certification of date, and to show the treatment of the capitals of this school on a small scale. Observe the more expansive head in proportion to the diameter of the shaft, the leaves being drawn from the angles, as if gathered in the hand, till their edges meet; and compare the rule given in Vol. I., Chap. IX., § 14. The capitals of the remarkable house, of which a portion is represented in Fig. 31, p. 298, Vol. II., are most curious and pure examples of this condition; with experimental trefoils, roses, and leaves introduced between their volutes. When compared with those of the Querini Palace, they form one of the most important evidences of the date of the building.

Fig. 13. One of the bearing capitals, already drawn on a small scale in the windows represented in Plate 16, Vol. II.

Now, observe, the capital of the form of fig. 10 appeared sufficient to the Venetians for all ordinary purposes; and they used it in common windows to the latest Gothic periods, but yet with certain differences which at once show the lateness of work. In the first place the rose, which at first was flat and quatrefoiled, becomes, after some experiments, a round ball dividing into three leaves, closely resembling our English ball-flower, and probably derived from it; and, in other cases, forming a bold projecting bud in various degrees of contraction or expansion. In the second place, the extremities of the angle leaves are wrought into rich flowing lobes, and bent back so as to lap against their own breasts; showing lateness of date in exact proportion to the looseness of curvature. Fig. 3 represents the general aspect of these later capitals, which may be conveniently called the rose capitals of Venice;

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