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[M.50L] [M.50] Fondaco de Turchi. 50
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
& blunt - just a shade more developed than the space of St
Ambrogio 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 l:) or radiant lines of arch.
- this a general though not constant character: Leaf capitals
of great elegance - and the simplest outline - approximaing
to early English in circular shafts in groups or single: sometimes
as in Como- bound together with serpent. & thus connecting
themselves with Lucca on one side. Venice on the other.
Compare balustrade of St Marks carefully: Into this group
will fall the beautiful circular gates of Verona: the cloisters
of Duomo, Verona - its facial arcades: & 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 San Nicolo de' Tolentini, whose capitals are nothing else
de Tolentini
Venice.
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[Version 0.05: May 2008]