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The Stones of Venice

Edição BooksWhale em inglês por John Ruskin

A major work of art and architectural criticism on Venice, Gothic design, craft, and culture.

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The Stones of Venice

The Stones of Venice combines architectural history, art criticism, moral reflection, and close observation of Venetian buildings. Ruskin’s work shaped nineteenth-century thinking about art and craft.

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John Ruskin died in 1900, and The Stones of Venice was published in the 1850s; these dates support the public-domain basis for this English edition.

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The Stones of Venice

John Ruskin

Capítulo de préviaVolume I: The FoundationsPrévia

Volume I: The Foundations

Capítulo de préviaPrefacePrévia

In the course of arranging the following essay, I put many things aside in my thoughts to be said in the Preface, things which I shall now put aside altogether, and pass by; for when a book has been advertised a year and a half, it seems best to present it with as little preface as possible.

Thus much, however, it is necessary for the reader to know, that, when I planned the work, I had materials by me, collected at different times of sojourn in Venice during the last seventeen years, which it seemed to me might be arranged with little difficulty, and which I believe to be of value as illustrating the history of Southern Gothic. Requiring, however, some clearer assurance respecting certain points of chronology, I went to Venice finally in the autumn of 1849, not doubting but that the dates of the principal edifices of the ancient city were either ascertained, or ascertainable without extraordinary research. To my consternation, I found that the Venetian antiquaries were not agreed within a century as to the date of the building of the façades of the Ducal Palace, and that nothing was known of any other civil edifice of the early city, except that at some time or other it had been fitted up for somebody's reception, and been thereupon fresh painted. Every date in question was determinable only by internal evidence, and it became necessary for me to examine not only every one of the older palaces, stone by stone, but every fragment throughout the city which afforded any clue to the formation of its styles. This I did as well as I could, and I believe there will be found, in the following pages, the only existing account of the details of early Venetian architecture on which dependence can be placed, as far as it goes. I do not care to point out the deficiencies of other works on this subject; the reader will find, if he examines them, either that the buildings to which I shall specially direct his attention have been hitherto undescribed, or else that there are great discrepancies between previous descriptions and mine: for which discrepancies I may be permitted to give this single and sufficient reason, that my account of every building is based on personal examination and measurement of it, and that my taking the pains so to examine what I had to describe, was a subject of grave surprise to my Italian friends. The work of the Marchese Selvatico is, however, to be distinguished with respect; it is clear in arrangement, and full of useful, though vague, information; and I have found cause to adopt, in great measure, its views of the chronological succession of the edifices of Venice. I shall have cause hereafter to quarrel with it on other grounds, but not without expression of gratitude for the assistance it has given me. Fontana's "Fabbriche di Venezia" is also historically valuable, but does not attempt to give architectural detail. Cicognara, as is now generally known, is so inaccurate as hardly to deserve mention.

Indeed, it is not easy to be accurate in an account of anything, however simple. Zoologists often disagree in their descriptions of the curve of a shell, or the plumage of a bird, though they may lay their specimen on the table, and examine it at their leisure; how much greater becomes the likelihood of error in the description of things which must be in many parts observed from a distance, or under unfavorable circumstances of light and shade; and of which many of the distinctive features have been worn away by time. I believe few people have any idea of the cost of truth in these things; of the expenditure of time necessary to make sure of the simplest facts, and of the strange way in which separate observations will sometimes falsify each other, incapable of reconcilement, owing to some imperceptible inadvertency. I am ashamed of the number of times in which I have had to say, in the following pages, "I am not sure," and I claim for them no authority, as if they were thoroughly sifted from error, even in what they more confidently state. Only, as far as my time, and strength, and mind served me, I have endeavored down to the smallest matters, to ascertain and speak the truth.

Sumário

Nesta edição

  1. 01Full text
  2. 02Volume I: The Foundations
  3. 03Preface
  4. 04CHAPTER I: THE QUARRY
  5. 05Footnotes
  6. 06CHAPTER II: THE VIRTUES OF ARCHITECTURE
  7. 071. That it act well, and do the things it was intended to do in the best way
  8. 082. That it speak well, and say the things it was intended to say in the best words
  9. 09Footnotes
  10. 10CHAPTER III: THE SIX DIVISIONS OF ARCHITECTURE
  11. 11CHAPTER IV: THE WALL BASE
  12. 12Footnotes
  13. 13CHAPTER V: THE WALL VEIL
  14. 14Footnotes
  15. 15CHAPTER VI: THE WALL CORNICE
  16. 16CHAPTER VII: THE PIER BASE
  17. 17Footnotes
  18. 18CHAPTER VIII: THE SHAFT
  19. 19Footnotes
  20. 20CHAPTER IX: THE CAPITAL
  21. 21Footnotes
  22. 22CHAPTER X: THE ARCH LINE
  23. 23CHAPTER XI: THE ARCH MASONRY
  24. 24Footnotes
  25. 25CHAPTER XII: THE ARCH LOAD
  26. 26CHAPTER XIII: THE ROOF
  27. 27Footnotes
  28. 28CHAPTER XIV: THE ROOF CORNICE
  29. 29Footnotes
  30. 30CHAPTER XV: THE BUTTRESS
  31. 31CHAPTER XVI: FORM OF APERTURE
  32. 321. The form of the aperture, i.e., its outline, its size, and the forms of its sides
  33. 332. The filling of the aperture, i.e., valves and glass, and their holdings
  34. 34Footnotes
  35. 35CHAPTER XVII: FILLING OF APERTURE
  36. 36Footnotes
  37. 37CHAPTER XVIII: PROTECTION OF APERTURE
  38. 38CHAPTER XIX: SUPERIMPOSITION
  39. 39Footnotes
  40. 40CHAPTER XX: THE MATERIAL OF ORNAMENT
  41. 411. Instruments, armor, and dress
  42. 42Footnotes
  43. 43CHAPTER XXI: TREATMENT OF ORNAMENT
  44. 441. How ornament is to be expressed with reference to the mind
  45. 452. How ornament is to be arranged with reference to the sight
  46. 463. How ornament is to be arranged with reference to both
  47. 47Footnotes
  48. 48CHAPTER XXII: THE ANGLE
  49. 491. The Angle. 2. The Edge and Fillet. 3. The Roll and Recess
  50. 50Footnotes
  51. 51CHAPTER XXIII: THE EDGE AND FILLET
  52. 52Footnotes
  53. 53CHAPTER XXIV: THE ROLL AND RECESS
  54. 54CHAPTER XXV: THE BASE
  55. 55Footnotes
  56. 56CHAPTER XXVI: THE WALL VEIL AND SHAFT
  57. 57Footnotes
  58. 58CHAPTER XXVII: THE CORNICE AND CAPITAL
  59. 59Footnotes
  60. 60CHAPTER XXVIII: THE ARCHIVOLT AND APERTURE
  61. 61Footnotes
  62. 62CHAPTER XXIX: THE ROOF
  63. 63CHAPTER XXX: THE VESTIBULE
  64. 64Footnotes
  65. 65Appendix
  66. 661. FOUNDATION OF VENICE
  67. 672. POWER OF THE DOGES
  68. 683. SERRAR DEL CONSIGLIO
  69. 694. S. PIETRO DI CASTELLO
  70. 705. PAPAL POWER IN VENICE
  71. 716. RENAISSANCE ORNAMENTS
  72. 727. VARIETIES OF THE ORDERS
  73. 738. THE NORTHERN ENERGY
  74. 741. Elephant and castle; less graphic than the St. Zeno one
  75. 753. A boar hunt; the boar under a tree, very spirited
  76. 764. A bird putting its head between its legs to bite its own tail, which ends in a head
  77. 775. A dragon with a human head set on the wrong way
  78. 787. St. Peter led out by the angel
  79. 798. The miraculous draught of fishes; fish and all, in the small space
  80. 8011. Martyrdom of St. Sebastian; his body very full of arrows
  81. 8112. Beasts coming to ark; Noah opening a kind of wicker cage
  82. 8213. Noah building the ark on shores
  83. 8314. A vine leaf with a dragon's head and tail, the one biting the other
  84. 8415. A man riding a goat, catching a flying devil
  85. 8516. An eel or muraena growing into a bunch of flowers, which turns into two wings
  86. 869. WOODEN CHURCHES OF THE NORTH
  87. 8710. CHURCH OF ALEXANDRIA
  88. 8811. RENAISSANCE LANDSCAPE
  89. 8912. ROMANIST MODERN ART
  90. 9013. MR. FERGUSSON'S SYSTEM
  91. 9114. DIVISIONS OF HUMANITY
  92. 9215. INSTINCTIVE JUDGMENTS
  93. 9316. STRENGTH OF SHAFTS
  94. 9417. ANSWER TO MR. GARBETT
  95. 9518. EARLY ENGLISH CAPITALS
  96. 9619. TOMBS NEAR ST. ANASTASIA
  97. 9720. SHAFTS OF DUCAL PALACE
  98. 9821. ANCIENT REPRESENTATIONS OF WATER
  99. 9922. ARABIAN ORNAMENTATION
  100. 10023. VARIETIES OF CHAMFER
  101. 10124. RENAISSANCE BASES
  102. 10225. ROMANIST DECORATION OF BASES
  103. 103Footnotes
  104. 104Volume II: The Sea-Stories
  105. 105First, Or Byzantine, Period
  106. 106CHAPTER I: THE THRONE
  107. 107Footnotes
  108. 108CHAPTER II: Torcello
  109. 109The Sea Is His, And He Made It: And His Hands Prepared The Dry Land
  110. 110Footnotes
  111. 111CHAPTER III: MURANO
  112. 112Footnotes
  113. 113CHAPTER IV: ST. MARK'S
  114. 114Footnotes
  115. 115CHAPTER V: BYZANTINE PALACES
  116. 116Footnotes
  117. 117Second, Or Gothic, Period
  118. 118CHAPTER VI: THE NATURE OF GOTHIC
  119. 1191. Savageness. 2. Changefulness. 3. Naturalism. 4. Grotesqueness. 5. Rigidity. 6. Redundance
  120. 1202. Never demand an exact finish for its own sake, but only for some practical or noble end
  121. 1213. Never encourage imitation or copying of any kind, except for the sake of preserving record of great works
  122. 122Footnotes
  123. 123CHAPTER VII: GOTHIC PALACES
  124. 124Second Period
  125. 125Footnotes
  126. 126CHAPTER VIII: THE DUCAL PALACE
  127. 127Efice Q Sofre Tur Afa El Reve Rende Quietu
  128. 128Cary
  129. 129St. Mark'S. Orcagna. Giotto. Ducal Palace
  130. 130Footnotes
  131. 131Appendix
  132. 1321. THE GONDOLIER'S CRY
  133. 1332. OUR LADY OF SALVATION
  134. 1343. TIDES OF VENICE, AND MEASURES AT TORCELLO
  135. 1354. DATE OF THE DUOMO OF TORCELLO
  136. 1365. MODERN PULPITS
  137. 1376. APSE OF MURANO
  138. 1387. EARLY VENETIAN DRESS
  139. 1398. INSCRIPTIONS AT MURANO
  140. 1409. SHAFTS OF ST. MARK
  141. 14110. PROPER SENSE OF THE WORD IDOLATRY
  142. 14211. SITUATIONS OF BYZANTINE PALACES
  143. 14312. MODERN PAINTING ON GLASS
  144. 144Footnotes
  145. 145Volume III: The Fall
  146. 146Third, Or Renaissance, Period
  147. 147CHAPTER I: EARLY RENAISSANCE
  148. 148Footnotes
  149. 149CHAPTER II: ROMAN RENAISSANCE
  150. 150Vixit Annos Lxx. Devixit Anno Mdclix. "Hic Revixit Anno Mdclxix."
  151. 151Footnotes
  152. 152CHAPTER III: GROTESQUE RENAISSANCE
  153. 153Footnotes
  154. 154CHAPTER IV: CONCLUSION
  155. 155Footnotes
  156. 156Appendix
  157. 1571. ARCHITECT OF THE DUCAL PALACE
  158. 1582. THEOLOGY OF SPENSER
  159. 1593. AUSTRIAN GOVERNMENT IN ITALY
  160. 1604. DATE OF THE PALACES OF THE BYZANTINE RENAISSANCE
  161. 1615. RENAISSANCE SIDE OF DUCAL PALACE
  162. 1626. CHARACTER OF THE DOGE MICHELE MOROSINI
  163. 1637. MODERN EDUCATION
  164. 1648. EARLY VENETIAN MARRIAGES
  165. 1659. CHARACTER OF THE VENETIAN ARISTOCRACY
  166. 16610. FINAL APPENDIX
  167. 167Footnotes

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The Stones of Venice

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