Stones of Venice, Volume 2 — 03 - Chapter 03, Murano, part 1

MURANO.

§ I.

The decay of the city of Venice is, in many respects, like that of an outwearied and aged human frame; the cause of its decrepitude is indeed at the heart, but the outward appearances of it are first at the extremities.

In the centre of the city there are still places where some evidence of vitality remains, and where, with kind closing of the eyes to signs, too manifest even there, of distress and declining fortune, the stranger may succeed in imagining, for a little while, what must have been the aspect of Venice in her prime.

But this lingering pulsation has not force enough any more to penetrate into the suburbs and outskirts of the city; the frost of death has there seized upon it irrevocably, and the grasp of mortal disease is marked daily by the increasing breadth of its belt of ruin.

Nowhere is this seen more grievously than along the great north-eastern boundary, once occupied by the smaller palaces of the Venetians, built for pleasure or repose; the nobler piles along the grand canal being reserved for the pomp and business of daily life.

To such smaller palaces some garden ground was commonly attached, opening to the water-side; and, in front of these villas and gardens, the lagoon was wont to be covered in the evening by gondolas: the space of it between this part of the city and the island group of Murano being to Venice, in her time of power, what its parks are to London; only gondolas were used instead of carriages, and the crowd of the population did not come out till towards sunset, and prolonged their pleasures far into the night, company answering to company with alternate singing.

§ II.

If, knowing this custom of the Venetians, and with a vision in his mind of summer palaces lining the shore, and myrtle gardens sloping to the sea, the traveller now seeks this suburb of Venice, he will be strangely and sadly surprised to find a new but perfectly desolate quay, about a mile in length, extending from the arsenal to the Sacca della Misericordia, in front of a line of miserable houses built in the course of the last sixty or eighty years, yet already tottering to their ruin;

and not less to find that the principal object in the view which these houses (built partly in front and partly on the ruins of the ancient palaces) now command is a dead brick wall, about a quarter of a mile across the water, interrupted only by a kind of white lodge, the cheerfulness of which prospect is not enhanced by his finding that this wall encloses the principal public cemetery of Venice.

He may, perhaps, marvel for a few moments at the singular taste of the old Venetians in taking their pleasure under a churchyard wall: but, on further inquiry, he will find that the building on the island, like those on the shore, is recent, that it stands on the ruins of the Church of St. Cristoforo della Pace; and that with a singular, because unintended, moral, the modern Venetians have replaced the Peace of the Christ-bearer by the Peace of Death, and where they once went, as the sun set daily, to their pleasure, now go, as the sun sets to each of them for ever, to their graves.

§ III.

Yet the power of Nature cannot be shortened by the folly, nor her beauty altogether saddened by the misery, of man.

The broad tides still ebb and flow brightly about the island of the dead, and the linked conclave of the Alps know no decline from their old pre-eminence, nor stoop from their golden thrones in the circle of the horizon.

So lovely is the scene still, in spite of all its injuries, that we shall find ourselves drawn there again and again at evening out of the narrow canals and streets of the city, to watch the wreaths of the sea-mists weaving themselves like mourning veils around the mountains far away, and listen to the green waves as they fret and sigh along the cemetery shore.

§ IV.

But it is morning now: we have a hard day's work to do at Murano, and our boat shoots swiftly from beneath the last bridge of Venice, and brings us out into the open sea and sky.

The pure cumuli of cloud lie crowded and leaning against one another, rank beyond rank, far over the shining water, each cut away at its foundation by a level line, trenchant and clear, till they sink to the horizon like a flight of marble steps, except where the mountains meet them, and are lost in them, barred across by the grey terraces of those cloud foundations, and reduced into one crestless bank of blue, spotted here and there with strange flakes of wan, aerial, greenish light, strewed upon them like snow.

And underneath is the long dark line of the mainland, fringed with low trees; and then the wide-waving surface of the burnished lagoon trembling slowly, and shaking out into forked bands of lengthening light the images of the towers of cloud above.

To the north, there is first the great cemetery wall, then the long stray buildings of Murano, and the island villages beyond, glittering in intense crystalline vermilion, like so much jewellery scattered on a mirror, their towers poised apparently in the air a little above the horizon, and their reflections, as sharp and vivid and substantial as themselves, thrown on the vacancy between them and the sea.

And thus the villages seem standing on the air; and, to the east, there is a cluster of ships that seem sailing on the land; for the sandy line of the Lido stretches itself between us and them, and we can see the tall white sails moving beyond it, but not the sea, only there is a sense of the great sea being indeed there, and a solemn strength of gleaming light in sky above.

§ V.

The most discordant feature in the whole scene is the cloud which hovers above the glass furnaces of Murano; but this we may not regret, as it is one of the last signs left of human exertion among the ruinous villages which surround us.

The silent gliding of the gondola brings it nearer to us every moment; we pass the cemetery, and a deep sea-channel which separates it from Murano, and finally enter a narrow water-street, with a paved footpath on each side, raised three or four feet above the canal, and forming a kind of quay between the water and the doors of the houses.

These latter are, for the most part, low, but built with massy doors and windows of marble or Istrian stone, square-set and barred with iron; buildings evidently once of no mean order, though now inhabited only by the poor.

Here and there an ogee window of the fourteenth century, or a doorway deeply enriched with cable mouldings, shows itself in the midst of more ordinary features; and several houses, consisting of one story only carried on square pillars, forming a short arcade along the quay, have windows sustained on shafts of red Verona marble, of singular grace and delicacy.

All now in vain: little care is there for their delicacy or grace among the rough fishermen sauntering on the quay with their jackets hanging loose from their shoulders, jacket and cap and hair all of the same dark-greenish sea-grey.

But there is some life in the scene, more than is usual in Venice: the women are sitting at their doors knitting busily, and various workmen of the glass-houses sifting glass dust upon the pavement, and strange cries coming from one side of the canal to the other, and ringing far along the crowded water, from venders of figs and grapes, and gourds and shell-fish; cries partly descriptive of the eatables in question, but interspersed with others of a character unintelligible in proportion to their violence, and fortunately so if we may judge by a sentence which is stencilled in black, within a garland, on the whitewashed walls of nearly every other house in the street, but which, how often soever written, no one seems to regard: "Bestemme non più.

Lodate Gesù."

§ VI.

We push our way on between large barges laden with fresh water from Fusina, in round white tubs seven feet across, and complicated boats full of all manner of nets that look as if they could never be disentangled, hanging from their masts and over their sides; and presently pass under a bridge with the lion of St. Mark on its archivolt, and another on a pillar at the end of the parapet, a small red lion with much of the puppy in his face, looking vacantly up into the air (in passing we may note that, instead of feathers, his wings are covered with hair, and in several other points the manner of his sculpture is not uninteresting).

Presently the canal turns a little to the left, and thereupon becomes more quiet, the main bustle of the water-street being usually confined to the first straight reach of it, some quarter of a mile long, the Cheapside of Murano.

We pass a considerable church on the left, St. Pietro, and a little square opposite to it with a few acacia trees, and then find our boat suddenly seized by a strong green eddy, and whirled into the tide-way of one of the main channels of the lagoon, which divides the town of Murano into two parts by a deep stream some fifty yards over, crossed only by one wooden bridge.

We let ourselves drift some way down the current, looking at the low line of cottages on the other side of it, hardly knowing if there be more cheerfulness or melancholy in the way the sunshine glows on their ruinous but whitewashed walls, and sparkles on the rushing of the green water by the grass-grown quay.

It needs a strong stroke of the oar to bring us into the mouth of another quiet canal on the farther side of the tide-way, and we are still somewhat giddy when we run the head of the gondola into the sand on the left-hand side of this more sluggish stream, and land under the east end of the Church of San Donato, the "Matrice" or "Mother" Church of Murano.

§ VII.

It stands, it and the heavy campanile detached from it a few yards, in a small triangular field of somewhat fresher grass than is usual near Venice, traversed by a paved walk with green mosaic of short grass between the rude squares of its stones, bounded on one side by ruinous garden walls, on another by a line of low cottages, on the third, the base of the triangle, by the shallow canal from which we have just landed.

Near the point of the triangular space is a simple well, bearing date 1502; in its widest part, between the canal and campanile, is a four-square hollow pillar, each side formed by a separate slab of stone, to which the iron hasps are still attached that once secured the Venetian standard.

The cathedral itself occupies the northern angle of the field, encumbered with modern buildings, small outhouse-like chapels, and wastes of white wall with blank square windows, and itself utterly defaced in the whole body of it, nothing but the apse having been spared; the original plan is only discoverable by careful examination, and even then but partially.

The whole impression and effect of the building are irretrievably lost, but the fragments of it are still most precious.

We must first briefly state what is known of its history.

§ VIII.

The legends of the Romish Church, though generally more insipid and less varied than those of Paganism, deserve audience from us on this ground, if on no other, that they have once been sincerely believed by good men, and have had no ineffective agency in the foundation of the existent European mind.

The reader must not therefore accuse me of trifling, when I record for him the first piece of information I have been able to collect respecting the cathedral of Murano: namely, that the emperor Otho the Great, being overtaken by a storm on the Adriatic, vowed, if he were preserved, to build and dedicate a church to the Virgin, in whatever place might be most pleasing to her; that the storm thereupon abated; and the Virgin appearing to Otho in a dream showed him, covered with red lilies, that very triangular field on which we were but now standing, amidst the ragged weeds and shattered pavement.

The emperor obeyed the vision; and the church was consecrated on the 15th of August, 957. § IX.

Whatever degree of credence we may feel disposed to attach to this piece of history, there is no question that a church was built on this spot before the close of the tenth century: since in the year 999 we find the incumbent of the Basilica (note this word, it is of some importance) di Santa Maria Plebania di Murano taking an oath of obedience to the Bishop of the Altinat church, and engaging at the same time to give the said bishop his dinner on the Domenica in Albis, when the prelate held a confirmation in the mother church, as it was then commonly called, of Murano.

From this period, for more than a century, I can find no records of any alterations made in the fabric of the church, but there exist very full details of the quarrels which arose between its incumbents and those of San Stefano, San Cipriano, San Salvatore, and the other churches of Murano, touching the due obedience which their less numerous or less ancient brotherhoods owed to St. Mary's. These differences seem to have been renewed at the election of every new abbot by each of the fraternities, and must have been growing serious when the patriarch of Grado, Henry Dandolo, interfered in 1102, and, in order to seal a peace between the two principal opponents, ordered that the abbot of St. Stephen's should be present at the service in St. Mary's on the night of the Epiphany, and that the abbot of St. Mary's should visit him of St. Stephen's on St. Stephen's day; and that then the two abbots "should eat apples and drink good wine together, in peace and charity."

[10] § X.

But even this kindly effort seems to have been without result: the irritated pride of the antagonists remained unsoothed by the love-feast of St. Stephen's day; and the breach continued to widen until the abbot of St. Mary's obtained a timely accession to his authority in the year 1125. The Doge Domenico Michele, having in the second crusade secured such substantial advantages for the Venetians as might well counterbalance the loss of part of their trade with the East, crowned his successes by obtaining possession in Cephalonia of the body of St. Donato, bishop of Euroea; which treasure he having presented on his return to the Murano basilica, that church was thenceforward called the church of Sts.

Mary and Donato.

Nor was the body of the saint its only acquisition: St. Donato's principal achievement had been the destruction of a terrible dragon in Epirus; Michele brought home the bones of the dragon as well as of the saint; the latter were put in a marble sarcophagus, and the former hung up over the high altar.

§ XI.

But the clergy of St. Stefano were indomitable.

At the very moment when their adversaries had received this formidable accession of strength, they had the audacity "ad onta de' replicati giuramenti, e dell'inveterata consuetudine,"[11] to refuse to continue in the obedience which they had vowed to their mother church.

The matter was tried in a provincial council; the votaries of St. Stephen were condemned, and remained quiet for about twenty years, in wholesome dread of the authority conferred on the abbot of St. Donate, by the Pope's legate, to suspend any o the clergy of the island from their office if they refused submission.

In 1172, however, they appealed to Pope Alexander III, and were condemned again: and we find the struggle renewed at every promising opportunity, during the course of the 12th and 13th centuries; until at last, finding St. Donate and the dragon together too strong for him, the abbot of St. Stefano "discovered" in his church the bodies of two hundred martyrs at once!

--a discovery, it is to be remembered, in some sort equivalent in those days to that of California in ours.

The inscription, however, on the façade of the church, recorded it with quiet dignity:--"MCCCLXXIV.

a di XIV.

di

Aprile.

Furono trovati nella presente chiesa del protomartire San Stefano, duecento e più corpi de' Santi Martiri, dal Ven.

Prete Matteo Fradello, piovano della chiesa."

[12] Corner, who gives this inscription, which no longer exists, goes on to explain with infinite gravity, that the bodies in question, "being of infantile form and stature, are reported by tradition to have belonged to those fortunate innocents who suffered martyrdom under King Herod; but that when, or by whom, the church was enriched with so vast a treasure, is not manifested by any document."

[13] § XII.

The issue of the struggle is not to our present purpose.

We have already arrived at the fourteenth century without finding record of any effort made by the clergy of St. Mary's to maintain their influence by restoring or beautifying their basilica; which is the only point at present of importance to us.

That great alterations were made in it at the time of the acquisition of the body of St. Donato is however highly probable, the mosaic pavement of the interior, which bears its date inscribed, 1140, being probably the last of the additions.

I believe that no part of the ancient church can be shown to be of more recent date than this; and I shall not occupy the reader's time by any inquiry respecting the epochs or authors of the destructive modern restorations;

the wreck of the old fabric, breaking out beneath them here and there, is generally distinguishable from them at a glance; and it is enough for the reader to know that none of these truly ancient fragments can be assigned to a more recent date than 1140, and that some of them may with probability be looked upon as remains of the shell of the first church, erected in the course of the latter half of the tenth century.

We shall perhaps obtain some further reason for this belief as we examine these remains themselves.

§ XIII.

Of the body of the church, unhappily, they are few and obscure;

but the general form and extent of the building, as shown in the plan, Plate I. fig. 2, are determined, first, by the breadth of the uninjured east end D E; secondly, by some remains of the original brickwork of the clerestory, and in all probability of the side walls also, though these have been refaced; and finally by the series of nave shafts, which are still perfect.

The doors A and B may or may not be in their original positions; there must of course have been always, as now, a principal entrance at the west end.

The ground plan is composed, like that of Torcello, of nave and aisles only, but the clerestory has transepts extending as far as the outer wall of the aisles.

The semicircular apse, thrown out in the centre of the east end, is now the chief feature of interest in the church, though the nave shafts and the eastern extremities of the aisles, outside, are also portions of the original building; the latter having been modernized in the interior, it cannot now be ascertained whether, as is probable, the aisles had once round ends as well as the choir.

The spaces F G form small chapels, of which G has a straight terminal wall behind its altar, and F a curved one, marked by the dotted line; the partitions which divide these chapels from the presbytery are also indicated by dotted lines, being modern work.

§ XIV.

The plan is drawn carefully to scale, but the relation in which its proportions are disposed can hardly be appreciated by the eye.

The width of the nave from shaft to opposite shaft is 32 feet 8 inches: of the aisles, from the shaft to the wall, 16 feet 2 inches, or allowing 2 inches for the thickness of the modern wainscot, 16 feet 4 inches, half the breadth of the nave exactly.

The intervals between the shafts are exactly one fourth of the width of the nave, or 8 feet 2 inches, and the distance between the great piers which form the pseudo-transept is 24 feet 6 inches, exactly three times the interval of the shafts.

So the four distances are accurately in arithmetical proportion; i. e. Ft. In.

Interval of shafts 8 2 Width of aisle 16 4 Width of transept 24 6 Width of nave 32 8 The shafts average 5 feet 4 inches in circumference, as near the base as they can be got at, being covered with wood; and the broadest sides of the main piers are 4 feet 7 inches wide, their narrowest sides 3 feet 6 inches.

The distance _a c_ from the outmost angle of these piers to the beginning of the curve of the apse is 25 feet, and from that point the apse is nearly semicircular, but it is so encumbered with renaissance fittings that its form cannot be ascertained with perfect accuracy.

It is roofed by a concha, or semi-dome; and the external arrangement of its walls provides for the security of this dome by what is, in fact, a system of buttresses as effective and definite as that of any of the northern churches, although the buttresses are obtained entirely by adaptations of the Roman shaft and arch, the lower story being formed by a thick mass of wall lightened by ordinary semicircular round-headed niches, like those used so extensively afterwards in renaissance architecture, each niche flanked by a pair of shafts standing clear of the wall, and bearing deeply moulded arches thrown over the niche.

The wall with its pillars thus forms a series of massy buttresses (as seen in the ground plan), on the top of which is an open gallery, backed by a thinner wall, and roofed by arches whose shafts are set above the pairs of shafts below.

On the heads of these arches rests the roof.

We have, therefore, externally a heptagonal apse, chiefly of rough and common brick, only with marble shafts and a few marble ornaments; but for that very reason all the more interesting, because it shows us what may be done, and what was done, with materials such as are now at our own command; and because in its proportions, and in the use of the few ornaments it possesses, it displays a delicacy of feeling rendered doubly notable by the roughness of the work in which laws so subtle are observed, and with which so thoughtful ornamentation is associated.

§ XV.

First, for its proportions: I shall have occasion in Chapter V. to dwell at some length on the peculiar subtlety of the early Venetian perception for ratios of magnitude; the relations of the sides of this heptagonal apse supply one of the first and most curious instances of it.

The proportions above given of the nave and aisles might have been dictated by a mere love of mathematical precision; but those of the apse could only have resulted from a true love of harmony.

In fig. 6, Plate I. the plan of this part of the church is given on a large scale, showing that its seven external sides are arranged on a line less than a semicircle, so that if the figure were completed, it would have sixteen sides; and it will be observed also, that the seven sides are arranged in four magnitudes, the widest being the central one.

The brickwork is so much worn away, that the measures of the arches are not easily ascertainable, but those of the plinth on which they stand, which is nearly uninjured, may be obtained accurately.

This plinth is indicated by the open line in the ground plan, and its sides measure respectively: Ft. In.

1st.

_a b_ in plan 6 7 2nd.

_b c_ 7 7 3rd.

_c d_ 7 5 4th.

_d e_ (central) 7 10 5th.

_e f_ 7 5 6th _f g_ 7 8 7th.

_g h_ 6 10 § XVI.

Now observe what subtle feeling is indicated by this delicacy of proportion.

How fine must the perceptions of grace have been in those builders who could not be content without _some_ change between the second and third, the fifth and sixth terms of proportion, such as should oppose the general direction of its cadence, and yet _were_ content with a diminution of two inches on a breadth of seven feet and a half!

For I do not suppose that the reader will think the curious lessening of the third and fifth arch a matter of accident, and even if he did so, I shall be able to prove to him hereafter that it was not, but that the early builders were always desirous of obtaining some alternate proportion of this kind.

The relations of 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.

§ XVII.

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. "Apse of Murano;"

here I only wish the reader to note the coloring 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 color; secondly, they would have drawn away the thoughts from the color, 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 color; and sculptured the white ones, which would otherwise have been devoid of interest.

§ XVIII.

But the feature which is most to be noted in this apse is a band of ornament, which runs round it like a silver girdle, composed of sharp wedges of marble, preciously inlaid, and set like jewels into the brickwork; above it there is another band of triangular recesses in the bricks, of nearly similar shape, and it seems equally strange that all the marbles should have fallen from it, or that it should have been originally destitute of them.

The reader may choose his hypothesis; but there is quite enough left to interest us in the lower band, which is fortunately left in its original state, as is sufficiently proved by the curious niceties in the arrangement of its colors, which are assuredly to be attributed to the care of the first builder.

A word or two, in the first place, respecting the means of color at his disposal.

§ XIX.

I stated that the building was, for the most part, composed of yellow brick.

This yellow is very nearly pure, much more positive and somewhat darker than that of our English light brick, and the material of the brick is very good and hard, looking, in places, almost vitrified, and so compact as to resemble stone.

Together with this brick occurs another of a deep full red, and more porous substance, which is used for decoration chiefly, while all the parts requiring strength are composed of the yellow brick.

Both these materials are _cast into any shape and size_ the builder required, either into curved pieces for the arches, or flat tiles for filling the triangles; and, what is still more curious, the thickness of the yellow bricks used for the walls varies considerably, from two inches to four; and their length also, some of the larger pieces used in important positions being a foot and a half long.

With these two kinds of brick, the builder employed five or six kinds of marble: pure white, and white veined with purple; a brecciated marble of white and black; a brecciated marble of white and deep green; another, deep red, or nearly of the color of Egyptian porphyry; and a grey and black marble, in fine layers.

§ XX.

The method of employing these materials will be understood at once by a reference to the opposite plate (Plate III.

), which represents two portions of the lower band.

I could not succeed in expressing the variation and chequering of color in marble, by real tints in the print;

and have been content, therefore, to give them in line engraving.

The different triangles are, altogether, of ten kinds: a. Pure white marble with sculptured surface (as the third and fifth in the upper series of Plate III.

).

b. Cast triangle of red brick with a sculptured round-headed piece of white marble inlaid (as the first and seventh of the upper series, Plate III.

).

c.

A plain triangle of greenish black marble, now perhaps considerably paler in color than when first employed (as the second and sixth of the upper series of Plate III.

).

d.

Cast red brick triangle, with a diamond inlaid of the above-mentioned black marble (as the fourth in the upper series of Plate III.

).

e. Cast white brick, with an inlaid round-headed piece of marble, variegated with black and yellow, or white and violet (not seen in the plate).

f. Occurs only once, a green-veined marble, forming the upper part of the triangle, with a white piece below.

g. Occurs only once.

A brecciated marble of intense black and pure white, the centre of the lower range in Plate III.

h. Sculptured white marble with a triangle of veined purple marble inserted (as the first, third, fifth, and seventh of the lower range in Plate III.

).

i.

Yellow or white marble veined with purple (as the second and sixth of the lower range in Plate III.

).

k. Pure purple marble, not seen in this plate.

[Illustration: Plate III.

INLAID BANDS OF MURANO.

] § XXI.

The band, then, composed of these triangles, set close to each other in varied but not irregular relations, is thrown, like a necklace of precious stones, round the apse and along the ends of the aisles;

each side of the apse taking, of course, as many triangles as its width permits.

If the reader will look back to the measures of the sides of the apse, given before, p. 42, he will see that the first and seventh of the series, being much narrower than the rest, cannot take so many triangles in their band.

Accordingly, they have only six each, while the other five sides have seven.

Of these groups of seven triangles each, that used for the third and fifth sides of the apse is the uppermost in Plate III.

; and that used for the centre of the apse, and of the whole series, is the lowermost in the same plate; _the piece of black and white marble being used to emphasize the centre of the chain_, exactly as a painter would use a dark touch for a similar purpose.

§ XXII.

And now, with a little trouble, we can set before the reader, at a glance, the arrangement of the groups along the entire extremity of the church.

There are thirteen recesses, indicative of thirteen arches, seen in the ground plan, fig. 2, Plate I. Of these, the second and twelfth arches rise higher than the rest; so high as to break the decorated band; and the groups of triangles we have to enumerate are, therefore, only eleven in number; one above each of the eleven low arches.

And of these eleven, the first and second, tenth and eleventh, are at the ends of the aisles;

while the third to the ninth, inclusive, go round the apse.

Thus, in the following table, the numerals indicate the place of each entire group (counting from the south to the north side of the church, or from left to right), and the letters indicate the species of triangle of which it is composed, as described in the list given above.

6. h. i.

h. g. h. i.

h. 5. b. c.

a. d.

a. c.

b. 7. b. c.

a. d.

a. c.

b. 4. b. a. b. c.

a. e. a. 8. a. e. a. c.

b. a. b. 3. b. a. b. e. b. a. 9. a. b. e. b. a. b. 2. a. b. c.

10. a. b. c.

b. 1. a. b. c.

b. a. 11. b. a. c.

f. a. a. The central group is put first, that it may be seen how the series on the two sides of the apse answer each other.

It was a very curious freak to insert the triangle e, in the outermost place _but one_ of both the fourth and eighth sides of the apse, and in the outermost _but two_ in the third and ninth; in neither case having any balance to it in its own group, and the real balance being only effected on the other side of the apse, which it is impossible that any one should see at the same time.

This is one of the curious pieces of system which so often occur in mediæval work, of which the key is now lost.

The groups at the ends of the transepts correspond neither in number nor arrangement; we shall presently see why, but must first examine more closely the treatment of the triangles themselves, and the nature of the floral sculpture employed upon them.

[Illustration: Plate IV.

SCULPTURES OF MURANO.

] § XXIII.

As the scale of Plate III.

is necessarily small, I have given three of the sculptured triangles on a larger scale in Plate IV.

opposite.

Fig. 3 is one of the four in the lower series of Plate IV.

, and figs.

4 and 5 from another group.

The forms of the trefoils are here seen more clearly; they, and all the other portions of the design, are thrown out in low and flat relief, the intermediate spaces being cut out to the depth of about a quarter of an inch.

I believe these vacant spaces were originally filled with a black composition, which is used in similar sculptures at St. Mark's, and of which I found some remains in an archivolt moulding here, though not in the triangles.

The surface of the whole would then be perfectly smooth, and the ornamental form relieved by a ground of dark grey; but, even though this ground is lost, the simplicity of the method insures the visibility of all its parts at the necessary distance (17 or 18 feet), and the quaint trefoils have a crispness and freshness of effect which I found it almost impossible to render in a drawing.

Nor let us fail to note in passing how strangely delightful to the human mind the trefoil always is.

We have it here repeated five or six hundred times in the space of a few yards, and yet are never weary of it.

In fact, there are two mystical feelings at the root of our enjoyment of this decoration: the one is the love of trinity in unity, the other that of the sense of fulness with order; of every place being instantly filled, and yet filled with propriety and ease; the leaves do not push each other, nor put themselves out of their own way, and yet whenever there is a vacant space, a leaf is always ready to step in and occupy it.

§ XXIV.

I said the trefoil was five or six hundred times repeated.

It is so, but observe, it is hardly ever twice of the same size; and this law is studiously and resolutely observed.

In the carvings _a_ and _b_ of the upper series, Plate III.

, the diminution of the leaves might indeed seem merely representative of the growth of the plant.

But look at the lower: the triangles of inlaid purple marble are made much more nearly equilateral than those of white marble, into whose centres they are set, so that the leaves may continually diminish in size as the ornament descends at the sides.

The reader may perhaps doubt the accuracy of the drawing on the smaller scale, but in that given larger, fig. 3, Plate IV.

, the angles are all measured, and the _purposeful_ variation of width in the border therefore admits of no dispute.

[14] Remember how absolutely this principle is that of nature; the same leaf continually repeated, but never twice of the same size.

Look at the clover under your feet, and then you will see what this Murano builder meant, and that he was not altogether a barbarian.