298 THE STONES OF VENICE DECORATION

disposal, by beautiful arrangement of the prominent features, and by choice of different subjects for different places, choosing the broadest forms for the farthest distance, it is possible to give the impression, not only of perfection, but of an exquisite delicacy, to the most distant ornament. And this is the true sign of the right having been done, and the utmost possible power attained:-The spectator should be satisfied to stay in his place, feeling the decoration, wherever it may be, equally rich, full, and lovely: not desiring to climb the steeples in order to examine it, but sure that he has it all, where he is. Perhaps the capitals of the cathedral of Genoa are the best instances of absolute perfection in this kind: seen from below they appear as rich as the frosted silver of the Strada degli Orefici;¹ and the nearer you approach them, the less delicate they seem.²

§ 23. This is, however, not the only mode, though the best, in which ornament is adapted for distance. The other is emphasis,-the unnatural insisting upon explanatory lines, where the subject would otherwise become unintelligible. It

¹ [The allusion is of course to the filigree work of frosted silver which is a speciality of the Genoese jewellers, whose shops are in the street named after them which runs through the heart of the old city.]

² [The Cathedral of Genoa was constructed in the 14th century, some details belonging to the previous building of the 11th century being preserved. Ruskin studied it in 1850 on his way home from Venice. The following notes are from his diary:-

“Most singular, as having the utmost delicacy of detail engrafted on a mingling of our Norman and early French with Romanesque. The three main doors are almost pure Norman in their plan; only their shafts are set in front of a sloping wall instead of in nooks; but above, the rolls are carried or touched by zigzag mouldings, or long teeth, of the severest Norman cast. The capitals are for the most part of the peculiar early French knob-leaved springing bell; but instead of the heavy contours of Dijon, their leaves are cut through and through into a transparent chasing, which I can compare to nothing but the wrought silver of the Strada degli Orefici. These capitals are the most exquisite I have ever seen for delicacy of effect on the eye from below; perfect filigree, while yet their simplicity of general form is never sacrificed. I think they lose somewhat in dignity and power; but it is a new form of management of this capital, worth the most attentive study.

“These capitals are set on shafts-some slender and like rods; some, at least two, of the most graceful wave of white alabaster, like a rolling wave, properly a spherical spiral like that of Raffaelle’s Beautiful Gate [see p. 357]; others with stems twined round them and throwing off knots at intervals with great boldness and yet formality-all finished with consummate delicacy; and the wall behind and arch mouldings striped first and then inlaid with lovely patterns in dark green, russet green or brown, red and white marble. ..”]

[Version 0.04: March 2008]