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See Volume III, Stones of Venice, Early Renaissance where Ruskin examines ‘the first corruptions introduced into the Gothic schools’. Works, 11.4.
Ruskin distinguishes three different kinds of ‘translation’ into the Reanaissance: the Classical renaissance of Palladio, the Gothic Renaissance, and the Byzantine renaissance - and the Byzantine here is defined as a category of Romanesque.
The mistaken classicism of Palladio typified by San Giorgio Maggiore and called ‘double darkness’ at Works, 9.425, is distinguished in Verona Book from two different kinds of ‘translation’ into Renaissance style, translation from Byzantine and translation from Gothic. In both cases Ruskin makes the point that ecclesiastical and secular architecture made use of similar forms, as had been the case during earlier periods in Venice, but not during the Gothic period in Venice when the two were separate.
The Ca’ Dario (at Dorsoduro 352, Nadali & Vianello (1999) Tav. 51), and ‘Trevisan’ (Palazzo Cappello Trevisan in Canonica at San Marco 4328) and the Church of the Miracoli are cited in Verona Book as examples of the translation from the Byzantine (called Romanesque at the bottom of Verona Book p.39 and Byzantine at Verona Book p.22) to the Renaissance, with a strong feeling for colour: on the use of colour in both see Plate 1 at Works, 9.33.
The work of Palladio is also distinguished at Verona Book p.23 and Verona Book p.40 from those buildings which are the result of a translation from Gothic to Renaissance, what Ruskin at Verona Book p.40 calls the Veronese form. Notebook M2 p.121 is the reference for the cinquecento in Ruskin’s own index to M2. Ruskin there contrasts the delicacy and power of decoration of doors in Verona with that of Venice: work in Verona is leading to worse things than the cinquecento in Venice, but incomparably finer in composition and architectural application. A similar point is made briefly at Notebook M2 p.123 where Veronese power of composition in every style is noted. Other buildings put in that category by Ruskin are the Scuola di San Rocco and the Palazzo Vendramin Calergi, both in Venice, ‘Como’ and ‘Monza’, in each case presumably the Duomo.
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[Version 0.05: May 2008]