75											50
                                                                      
                                                                      
                                                                      				FONDACE DE TURCHI
                                                                      			wall face is covered with irregular slabs of marble;
                                                                      	(		and the spaces between the dentils carefully fitted with
                                                                      	(		long apparent voussoirs.
                                                                      	(		Fig 3 is the section of the base, which at the level d e
                                                                      	(		runs continuously along the arches pilasters, and shafts:
                                                                      	(		The line f2 is the true section;  the space at the
                                                                      	(		angle is singularly rude and blunt - just a shade more de
                                                                      	(		veloped than the space of St Ambrozio Milan, its section
                                                                      	(		through the centre is indicated at fig 4, but it is quite
                                                                      	(		blunt in execution, and projects oddly, as if pushed out
                                                                      	(		of the middle of the roll, having no traces of lines
                                                                      	(		above it, it is a process, not an overlaid leaf.
                                                                      Pisan Gothic (continued from p 48 1.)  or radiant lines of arch - this
                                                                      a general though not constant character:  Leaf
                                                                      capitals of great elegance, and the simplest outline -
                                                                      approciamting to early English in circular shafts in
                                                                      groups or single;  sometimes as in Como- bound together
                                                                      with serpent and thus connecting themselves with Lucca on
                                                                      one side - Venice on the other.  Compare balustrade of
                                                                      St Marks carefully:  Into this group will fall the beauti-
                                                                      ful circular gates of Verona: the cloisters of
                                                                      Duomo, Verona - its facial arcades and hosts of churches
                                                                      at Florence - Pisa - Pistoya - The chief vestige of
                                                                      this style that I have found in Venice is the little
                                                                      church of San Nicolo de Tolentini, whose capitals are
                                                                      San Nicolo		nothing else
                                                                      de Tolentini,
                                                                      Venice.

[Version 0.05: May 2008]