Stones of

Stones of Venice [introductions]

Name: Stones of Venice [introductions]
Author: Ruskin, John, 1819-1900

作者：Ruskin, John, 1819-1900
体例：章　章数：90
字数：344,818　来源：Project Gutenberg

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来源版本: 本站收录 1 个来源：Project Gutenberg（344,818 字）。
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原文溯源: cache/epub/9804/pg9804.txt（Project Gutenberg）

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章节目录

共 90 章

SECTION XVIII. But the palace was not long permitted to remain in this
SECTION XXIX. The repairs necessarily undertaken at this time were
SECTION XXX. Now, therefore, we are at liberty to examine some of the
SECTION XXXI. First, then, looking back to the woodcut at the beginning
SECTION XXXII. The Ducal Palace, however, accepts the principle in its
SECTION XXXIII. It was before noticed that one of the corners of the
SECTION XXXIV. I shall describe the bearing capitals hereafter, in their
SECTION XXXV. Now the first two angles, of the Vine and Fig-tree, belong
SECTION XXXVI. I have called the sculpture on the Fig-tree angle the
SECTION XXXVII. In both the subjects, of the Fall and the Drunkenness,
SECTION XXXVIII. As must always be the case in early sculpture, the
SECTION XXXIX. The head of the Noah on the Ducal Palace, evidently
SECTION XL. It may be observed, as a farther evidence of the date of the
SECTION XLI. The figures of Adam and Eve, sculptured on each side of the
SECTION XLII. Above these three sculptures are set, in the upper arcade,
SECTION XLIII. Such are the subjects of the main sculptures decorating
SECTION XLIV. We will now take the pillars of the Ducal Palace in their
SECTION XLV. All their capitals, except that of the first, are
SECTION XLVI. FIRST CAPITAL: i.e. of the pilaster at the Vine angle.
SECTION XLVII. SECOND CAPITAL. Only three sides of the original work are
SECTION XLVIII. SEVENTH CAPITAL. This is the first of the series which
SECTION XLIX. _Second side_. Constancy; not very characteristic. An
SECTION L. _Third side_. Discord; holding up her finger, but
SECTION LI. _Fourth side_. Patience. A female figure, very
SECTION LII. _Fifth side_. Despair. A female figure thrusting a
SECTION LIII. _Sixth side_. Obedience: with her arms folded; meek,
SECTION LIV. _Seventh side_. Infidelity. A man in a turban, with a
SECTION LV. _Eighth side_. Modesty; bearing a pitcher. (In the
SECTION LVI. EIGHTH CAPITAL. It has no inscriptions, and its subjects
SECTION LVII. NINTH CAPITAL. _First side_. Faith. She has her left
SECTION LVIII. _Second side_. Fortitude. A long-bearded man [Samson?]
SECTION LIX. _Third side_. Temperance; bearing a pitcher of water
SECTION LX. _Fourth side_. Humility; with a veil upon her head,
SECTION LXI. _Fifth side_. Charity. A woman with her lap full of
SECTION LXII. _Sixth side_. Justice. Crowned, and with sword.
SECTION LXIV. _Eighth side_. Hope. A figure full of devotional
SECTION LXV. TENTH CAPITAL. _First side_. Luxury (the opposite of
SECTION LXVI. _Second side_. Gluttony. A woman in a turban, with a
SECTION LXVII. _Third side_. Pride. A knight, with a heavy and
SECTION LXVIII. _Fourth side_. Anger. A woman tearing her dress open at
SECTION LXIX. _Fifth side_. Avarice. An old woman with a veil over
SECTION LXX. _Sixth side_. Idleness. Accidia. A figure much broken
SECTION LXXI. _Seventh side_. Vanity. She is smiling complacently
SECTION LXXII. _Eighth side_. Envy. One of the noblest pieces of
SECTION LXXIII. ELEVENTH CAPITAL. Its decoration is composed of eight
SECTION LXXIV. TWELFTH CAPITAL. This has been very interesting, but is
SECTION LXXV. _Second side_. Cheerfulness. A woman with long flowing
SECTION LXXVI. _Third side_. Destroyed; but, from the copy, we find
SECTION LXXVIII. _Fifth side_. Only a scroll is left; but, from the
SECTION LXXIX. _Sixth side_. Falsehood. An old woman leaning on a
SECTION LXXX. _Seventh side_. Injustice. An armed figure holding a
SECTION LXXXI. THIRTEENTH CAPITAL. It has lions' heads all round,
SECTION LXXXII. FIFTEENTH CAPITAL. The pillar to which it belongs is
SECTION LXXXIII. SIXTEENTH CAPITAL. It is decorated with eight large
SECTION LXXXIV. SEVENTEENTH CAPITAL. This has been so destroyed by the
SECTION LXXXV. We have now arrived at the EIGHTEENTH CAPITAL, the most
SECTION LXXXVI. It should be premised that, in modern astrology, the
SECTION LXXXVII. _The first side_, then, or that towards the Sea,
SECTION LXXXVIII. _Second side_. Jupiter, in his houses Sagittarius
SECTION LXXXIX. _Third side_. Mars, in his houses Aries and Scorpio.
SECTION XC. _Fourth side_. The Sun, in his house Leo. Represented
SECTION XCI. _Fifth side_. Venus, in her houses Taurus and Libra.
SECTION XCII. _Sixth side_. Mercury, represented as wearing a pendent
SECTION XCIII. _Seventh side_. The Moon, in her house Cancer. This
SECTION XCIV. _Eighth side_. God creating Man. Represented as a
SECTION XCV. NINETEENTH CAPITAL. This is, of course, the second counting
SECTION XCVI. _First side_. "ST. SIMPLICIUS": so inscribed. A
SECTION XCVII. TWENTIETH CAPITAL. It is adorned with heads of animals,
SECTION XCVIII. _First side_. A lion with a stag's haunch in his
SECTION XCIX. TWENTY-FIRST CAPITAL. Represents the principal inferior
SECTION C. TWENTY-SECOND CAPITAL. The Ages of Man; and the influence of
SECTION CI. Shakespeare's Seven Ages are of course merely the expression
SECTION CII. TWENTY-FOURTH CAPITAL. This belongs to the large shaft
SECTION CIII. TWENTY-FIFTH CAPITAL. We have here the employments of the
SECTION CIV. TWENTY-SIXTH CAPITAL. Copied from the fifteenth, merely
SECTION CV. TWENTY-EIGHTH CAPITAL. Copied from the seventh.
SECTION CVI. THIRTY-SIXTH CAPITAL. This is the last of the Piazzetta
SECTION CVII. The reader will observe that this capital is of peculiar
SECTION CVIII. We have now examined the portions of the palace which
SECTION CIX. The reader who is not able to examine the building on the
SECTION CX. It is very possible that the reader may at first like fig.
SECTION CXI. This early sculpture of the Ducal Palace, then, represents
SECTION CXII. And as, under the shadow of these nodding leaves, we bid
SECTION CXIII. Not so in the interior. All vestige of the earlier modes
SECTION CXIV. The reader will forgive my quitting our more immediate
SECTION CXV. This being so, the pictures that are most valued are for
SECTION CXVI. On the other hand, the most precious works of any noble
SECTION CXVII. Works thus executed are of course despised, on account of
SECTION CXVIII. Many of the pictures on the ceilings and walls of the
SECTION CXIX. I leave these facts to the consideration of the European