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Chapter CXXXVIII: Section XXXI: First, then, looking back to the woodcut at the beginning

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of this chapter, the reader will observe that, as the building was very nearly square on the ground plan, a peculiar prominence and importance were given to its angles, which rendered it necessary that they should be enriched and softened by sculpture. I do not suppose that the fitness of this arrangement will be questioned; but if the reader will take the pains to glance over any series of engravings of church towers or other four-square buildings in which great refinement of form has been attained, he will at once observe how their effect depends on some modification of the sharpness of the angle, either by groups of buttresses, or by turrets and niches rich in sculpture. It is to be noted also that this principle of breaking the angle is peculiarly Gothic, arising partly out of the necessity of strengthening the flanks of enormous buildings, where composed of imperfect materials, by buttresses or pinnacles; partly out of the conditions of Gothic warfare, which generally required a tower at the angle; partly out of the natural dislike of the meagreness of effect in buildings which admitted large surfaces of wall, if the angle were entirely unrelieved. The Ducal Palace, in its acknowledgment of this principle, makes a more definite concession to the Gothic spirit than any of the previous architecture of Venice. No angle, up to the time of its erection, had been otherwise decorated than by a narrow fluted pilaster of red marble, and the sculpture was reserved always, as in Greek and Roman work, for the plane surfaces of the building, with, as far as I recollect, two exceptions only, both in St. Mark's; namely, the bold and grotesque gargoyle on its north-west angle, and the angels which project from the four inner angles under the main cupola; both of these arrangements being plainly made under Lombardic influence. And if any other instances occur, which I may have at present forgotten, I am very sure the Northern influence will always be distinctly traceable in them.

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Stones of Venice [introductions]Chapter CXXXVIII: Section XXXI: First, then, looking back to the woodcut at the beginning

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