 |
|
 |
 |
In the notebooks Ruskin focuses on the history of Torcello Cathedral (Basilica of Santa Maria Assunta), and the extent to which the Duomo is to be considered Byzantine. There is no reference to the pulpit or to the mosaics of the Duomo.
At Verona Book pp.29 and following there is a discussion of the relationship between the Byzantine forms at Torcello and the Lombard forms of San Michele Pavia and Sant’Ambrogio, Milan.
Other references in the note books include:
Notebook M p.79 historical notes on the founding of Torcello as a refugee settlement. Compare Works, 10.444f.
Notebook M pp.192-195L considers the evidence for defining the Duomo as Byzantine in style. The capitals are compared with those of Fondaco dei Turchi, but there is no true basketwork, and there are aspects which might be seen as Aquileian. Compare Works, 9.41f.
Notebook M p.198 bases of Torcello compared with St. Mark’s.
Notebook M2 p.20 draws on Lindsay in examining the relationship between Roman and Byzantine forms, and relates that to Torcello Duomo, which is seen by Lindsay as Latin, rather than Byzantine in form. Compare Works, 9.41f.
Notebook M2 p.20L refers to Psalm 9.6 in the context of Torcello
Notebook M2 p.32 on Torcello, Altino, and medallions as decoration of buildings
Notebook M2 p.163 leaf at Torcello at Bit Book p.3 referred to in relation to Vienne Cathedral.
Notebook M2 p.167 Torcello dentil in relation to Vienne Cathedral
Bit Book p.2 peacocks of the screen
Bit Book p.3 capitals; on the capitals compare Works, 10.24 and the facing plate and Works, 11.322 and the facing plate.
 |
 |
 |
[Version 0.05: May 2008]