Chapter XXIV: Section XXXIII: The Venetians were always ready to receive lessons in

art from their enemies (else had there been no Arab work in Venice). But their especial dread and hatred of the Lombards appears to have long prevented them from receiving the influence of the art which that people had introduced on the mainland of Italy. Nevertheless, during the practice of the two styles above distinguished, a peculiar and very primitive condition of pointed Gothic had arisen in ecclesiastical architecture. It appears to be a feeble reflection of the Lombard-Arab forms, which were attaining perfection upon the continent, and would probably, if left to itself, have been soon merged in the Venetian-Arab school, with which it had from the first so close a fellowship, that it will be found difficult to distinguish the Arabian ogives from those which seem to have been built under this early Gothic influence. The churches of San Giacopo dell' Orio, San Giovanni in Bragora, the Carmine, and one or two more, furnish the only important examples of it. But, in the thirteenth century, the Franciscans and Dominicans introduced from the continent their morality and their architecture, already a distinct Gothic, curiously developed from Lombardic and Northern (German?) forms; and the influence of the principles exhibited in the vast churches of St. Paul and the Frari began rapidly to affect the Venetian-Arab school. Still the two systems never became united; the Venetian policy repressed the power of the church, and the Venetian artists resisted its example; and thenceforward the architecture of the city becomes divided into ecclesiastical and civil: the one an ungraceful yet powerful form of the Western Gothic, common to the whole peninsula, and only showing Venetian sympathies in the adoption of certain characteristic mouldings; the other a rich, luxuriant, and entirely original Gothic, formed from the Venetian-Arab by the influence of the Dominican and Franciscan architecture, and especially by the engrafting upon the Arab forms of the most novel feature of the Franciscan work, its traceries. These various forms of Gothic, the _distinctive_ architecture of Venice, chiefly represented by the churches of St. John and Paul, the Frari, and San Stefano, on the ecclesiastical side, and by the Ducal palace, and the other principal Gothic palaces, on the secular side, will be the subject of the third division of the essay.

SECTION XXXIV. Now observe. The transitional (or especially Arabic) style of the Venetian work is centralized by the date 1180, and is transformed gradually into the Gothic, which extends in its purity from the middle of the thirteenth to the beginning of the fifteenth century; that is to say, over the precise period which I have described as the central epoch of the life of Venice. I dated her decline from the year 1418; Foscari became doge five years later, and in his reign the first marked signs appear in architecture of that mighty change which Philippe de Commynes notices as above, the change to which London owes St. Paul's, Rome St. Peter's, Venice and Vicenza the edifices commonly supposed to be their noblest, and Europe in general the degradation of every art she has since practised.

SECTION XXXV. This change appears first in a loss of truth and vitality in existing architecture all over the world. (Compare "Seven Lamps," chap. ii.)

All the Gothics in existence, southern or northern, were corrupted at once: the German and French lost themselves in every species of extravagance; the English Gothic was confined, in its insanity, by a strait-waistcoat of perpendicular lines; the Italian effloresced on the main land into the meaningless ornamentation of the Certosa of Pavia and the Cathedral of Como, (a style sometimes ignorantly called Italian Gothic), and at Venice into the insipid confusion of the Porta della Carta and wild crockets of St. Mark's. This corruption of all architecture, especially ecclesiastical, corresponded with, and marked the state of religion over all Europe,--the peculiar degradation of the Romanist superstition, and of public morality in consequence, which brought about the Reformation.

SECTION XXXVI. Against the corrupted papacy arose two great divisions of adversaries, Protestants in Germany and England, Rationalists in France and Italy; the one requiring the purification of religion, the other its destruction. The Protestant kept the religion, but cast aside the heresies of Rome, and with them her arts, by which last rejection he injured his own character, cramped his intellect in refusing to it one of its noblest exercises, and materially diminished his influence. It may be a serious question how far the Pausing of the Reformation has been a consequence of this error.

The Rationalist kept the arts and cast aside the religion. This rationalistic art is the art commonly called Renaissance, marked by a return to pagan systems, not to adopt them and hallow them for Christianity, but to rank itself under them as an imitator and pupil. In Painting it is headed by Giulio Romano and Nicolo Poussin; in Architecture by Sansovino and Palladio.