III Topical Index
A
Abacus, defined, i. 107; law of its proportion, i. 111-115; its connection with cornices, i. 116; its various profiles, i. 319-323; iii. 243-248.
Acanthus, leaf of, its use in architecture, i. 233; how treated at Torcello, ii. 15.
Alabaster, use of, in incrustation, ii. 86.
Anachronism, necessity of, in the best art, ii. 198.
Anatomy, a disadvantageous study for artists, iii. 47.
Angels, use of their images in Venetian heraldry, ii. 278; statues of, on the Ducal Palace, ii. 311.
Anger, how symbolically represented, ii. 344.
Angles, decoration of, i. 260; ii. 305; of Gothic Palaces, ii. 238; of Ducal Palace, ii. 307.
Animal character in northern and southern climates, ii. 156; in grotesque art, iii. 149.
Apertures, analysis of their structure, i. 50; general forms of, i. 174.
Apse, forms of, in southern and northern churches compared, i. 170.
Arabesques of Raffaelle, their baseness, iii. 136.
Arabian architecture, i. 18, 234, 235, 429; ii. 135.
Arches, general structure of, i. 122; moral characters of, i. 126; lancet, round, and depressed, i. 129; four-centred, i. 130; ogee, i. 131; non-concentric, i. 133, 341; masonry of, i. 133, ii. 218; load of, i. 144; are not derived from vegetation, ii. 201.
Architects, modern, their unfortunate position, i. 404, 407.
Architecture, general view of its divisions, i. 47-51; how to judge of it, ii. 173; adaptation of, to requirements of human mind, iii. 192; richness of early domestic, ii. 100, iii. 2; manner of its debasement in general, iii. 3.
Archivolts, decoration of, i. 334; general families of, i. 335; of Murano, ii. 49; of St. Mark’s, ii. 95; in London, ii. 97; Byzantine, ii. 138; profiles of, iii. 244.
Arts, relative dignity of, i. 395; how represented in Venetian sculpture, ii. 355; what relation exists between them and their materials, ii. 394; art divided into the art of facts, of design, and of both, ii. 183; into purist, naturalist, and sensualist, ii. 187; art opposed to inspiration, iii. 151; defined, iii. 170; distinguished from science, iii. 35; how to enjoy that of the ancients, iii. 188.
Aspiration, not the primal motive of Gothic work, i. 151.
Astrology, judicial, representation of its doctrines in Venetian sculpture, ii. 352.
Austrian government in Italy, iii. 209.
Avarice, how represented figuratively, ii. 344.
B
Backgrounds, diapered, iii. 20.
Balconies, of Venice, ii. 243; general treatment of, iii. 254; of iron, ii. 247.
Ballflower, its use in ornamentation, i. 279.
Balustrades. See “Balconies.”
Bases, general account of, iii. 225; of walls, i. 55; of piers, i. 73; of shafts, i. 84; decoration of, i. 281; faults of Gothic profiles of, i. 285; spurs of, i. 286; beauty of, in St. Mark’s, i. 290; Lombardie, i. 292; ought not to be richly decorated, i. 292; general effect of, ii. 387.
Battlements, i. 162; abuse of, in ornamentation, i. 219.
Beauty and ornament, relation of the terms, i. 404.
Bellstones of capitals defined, i. 108.
Birds, use of in ornamentation, i. 234, ii. 140.
Bishops, their ancient authority, ii. 25.
Body, its relation to the soul, i. 41, 395.
Brackets, division of, i. 161; ridiculous forms of, i. 161.
Breadth in Byzantine design, ii. 133.
Brickwork, ornamental, i. 296; in general, ii. 241, 260, 261.
Brides of Venice, legend of the, iii. 113, 116.
Buttresses, general structure of, i. 166; flying, i. 192; supposed sanctity of, i. 173.
Bull, symbolical use of, in representing rivers, i. 418, 421, 424.
Byzantine style, analysis of, ii. 75; ecclesiastical fitness of, ii. 97; centralization in, ii. 236; palaces built in, ii. 118; sculptures in, ii. 137, 140.
C
Candlemas, ancient symbols of, ii. 272.
Capitals, general structure of, i. 105; bells of, i. 107; just proportions of, i. 114; various families of, i. 13, 65, 324, ii. 129, iii. 231; are necessary to shafts in good architecture, i. 119; Byzantine, ii. 131, iii. 231; Lily, of St. Mark’s, ii. 137; of Solomon’s temple, ii. 137.
Care, how symbolized, ii. 348. See “Sorrow.”
Caryatides, i. 302.
Castles, English, entrances of, i. 177.
Cathedrals, English, effect of, ii. 63.
Ceilings, old Venetian, ii. 280.
Centralization in design, ii. 237.
Chalet of Switzerland, its character, i. 203.
Chamfer defined, i. 263; varieties of, i. 262, 429.
Changefulness, an element of Gothic, ii. 172.
Charity, how symbolized, ii. 327, 339.
Chartreuse, Grande, morbid life in, iii. 190.
Chastity, how symbolized, ii. 328.
Cheerfulness, how symbolized, ii. 326, 348; virtue of, ii. 326.
Cherries, cultivation of, at Venice, ii. 361.
Christianity, how mingled with worldliness, iii. 109; how imperfectly understood, iii. 168; influence of, in liberating workmen, ii. 159, i. 243; influence of, on forms, i. 99.
Churches, wooden, of the North, i. 381; considered as ships, ii. 25; decoration of, how far allowable, ii. 102.
Civilization, progress of, iii. 168; twofold danger of, iii. 169.
Classical literature, its effect on the modern mind, iii. 12.
Climate, its influence on architecture, i. 151, ii. 155, 203.
Color, its importance in early work, ii. 38, 40, 78, 91; its spirituality, ii. 145, 396; its relation to music, iii. 186; quartering of, iii. 20; how excusing realization, iii. 186.
Commerce, how regarded by Venetians, i. 6.
Composition, definition of the term, ii. 182.
Constancy, how symbolized, ii. 333.
Construction, architectural, how admirable, i. 36.
Convenience, how consulted by Gothic architecture, ii. 179.
Cornices, general divisions of, i. 63, iii. 248; of walls, i. 60; of roofs, i. 149; ornamentation of, i. 305; curvatures of, i. 310; military, i. 160; Greek, i. 157.
Courses in walls, i. 60.
Crockets, their use in ornamentation, i. 346; their abuse at Venice, iii. 109.
Crosses, Byzantine, ii. 139.
Crusaders, character of the, ii. 263.
Crystals, architectural appliance of, i. 225.
Cupid, representation of, in early and later art, ii. 342.
Curvature, on what its beauty depends, i. 222, iii. 5.
Cusps, definition of, i. 135; groups of, i. 138; relation of, to vegetation, ii. 219; general treatment of, iii. 255; earliest occurrence of, ii. 220.
D
Daguerreotype, probable results of, iii. 169.
Darkness, a character of early churches, ii. 18; not an abstract evil, iii. 220.
Death, fear of, in Renaissance times, iii. 65, 90, 92; how anciently regarded, iii. 139, 156.
Decoration, true nature of, i. 405; how to judge of, i. 44, 45. See “Ornament.”
Demons, nature of, how illustrated by Milton and Dante, iii. 147.
Dentil, Venetian, defined, i. 273, 275.
Design, definition of the term, ii. 183; its relations to naturalism, ii. 184.
Despair, how symbolized, ii. 334.
Diaper patterns in brick, i. 296; in color, iii. 21, 22.
Discord, how symbolized, ii. 333.
Discs, decoration by means of, i. 240, 416; ii. 147, 264.
Division of labor, evils of, ii. 165.
Doge of Venice, his power, i. 3, 360.
Dogtooth moulding defined, i. 269.
Dolphins, moral disposition of, i. 230; use of, in symbolic representation of sea, i. 422, 423.
Domestic architecture, richness of, in middle ages, ii. 99.
Doors, general structure of, i. 174, 176; smallness of in English cathedrals, i. 176; ancient Venetian, ii. 277, iii. 227.
Doric architecture, i. 157, 301, 307; Christian Doric, i. 308, 315.
Dragon, conquered by St. Donatus, ii. 33; use of, in ornamentation, ii. 219.
Dreams, how resembled by the highest arts, iii. 153; prophetic, in relation to the Grotesque, iii. 156.
Dress, its use in ornamentation, i. 212; early Venetian, ii. 383; dignity of, iii. 191; changes in modern dress, iii. 192.
Duties of buildings, i. 47.
E
Earthquake of 1511, ii. 242.
Eastern races, their power over color, ii. 147.
Eaves, construction of, i. 156.
Ecclesiastical architecture in Venice, i. 20; no architecture exclusively ecclesiastical, ii. 99.
Edge decoration, i. 268.
Education, University, i. 391; iii. 110; evils of, with respect to architectural workmen, ii. 107; how to be successfully undertaken, ii. 165, 214; modern education in general, how mistaken, iii. 110, 234; system of, in Plato, ii. 318; of Persian kings, ii. 318; not to be mistaken for erudition, iii. 219; ought to be universal, iii. 220.
Egg and arrow mouldings, i. 314.
Egyptian architecture, i. 99, 239; ii. 203.
Elgin marbles, ii. 171.
Encrusted architecture, i. 271, 272; general analysis of, ii. 76.
Energy of Northern Gothic, i. 371; ii. 16, 204.
English (early) capitals, faults of, i. 100, 411; English mind, its mistaken demands of perfection, ii. 160.
Envy, how set forth, ii. 346.
Evangelists, types of, how explicable, iii. 155.
F
Faërie Queen, Spenser’s, value of, theologically, ii. 328.
Faith, influence of on art, ii. 104, 105; Titian’s picture of, i. 11; how symbolized, ii. 337.
Falsehood, how symbolized, ii. 349.
Fatalism, how expressed in Eastern architecture, ii. 205.
Fear, effect of, on human life, iii. 137; on Grotesque art, iii. 142.
Feudalism, healthy effects of, i. 184.
Fillet, use of, in ornamentation, i. 267.
Finials, their use in ornamentation, i. 346; a sign of decline in Venetian architecture, iii. 109.
Finish in workmanship, when to be required, ii. 165; dangers of, iii. 170, ii. 162.
Fir, spruce, influence of, on architecture, i. 152.
Fire, forms of, in ornamentation, i. 228.
Fish, use of, in ornamentation, i. 229.
Flamboyant Gothic, i. 278, ii. 225.
Flattery, common in Renaissance times, iii. 64.
Flowers, representation of, how desirable, i. 340; how represented in mosaic, iii. 179.
Fluting of columns, a mistake, i. 301.
Foils, definition of, ii. 221.
Foliage, how carved in declining periods, iii. 8, 17. See “Vegetation.”
Foliation defined, ii. 219; essential to Gothic architecture, ii. 222.
Folly, how symbolized, ii. 325, 348.
Form of Gothic, defined, ii. 209.
Fortitude, how symbolized, ii. 337.
Fountains, symbolic representations of, i. 427.
French architecture, compared with Italian, ii. 226.
Frivolity, how exhibited in Grotesque art, iii. 143.
Fruit, its use in ornamentation, i. 232.
G
Gable, general structure of, i. 124; essential to Gothic, ii. 210, 217.
Gardens, Italian, iii. 136.
Generalization, abuses of, iii. 176.
Geology of Lombardy, ii. 5.
Glass, its capacities in architecture, i. 409; manufacture of, ii. 166; true principles of working in, ii. 168, 395.
Gluttony, how symbolized, ii. 343.
Goldsmiths’ work, a high form of art, ii. 166.
Gondola, management of, ii. 375.
Gothic architecture, analysis of, ii. 151; not derived from vegetable structure, i. 121; convenience of, ii. 178; divisions of, ii. 215; surface and linear, ii. 226; Italian and French, ii. 226; flamboyant, i. 278, ii. 225; perpendicular, i. 192, ii. 223, 227; early English, i. 109; how to judge of it, ii. 228; how fitted for domestic purposes, ii. 269, iii. 195; how first corrupted, iii. 3; how to be at present built, iii. 196; early Venetian, ii. 248; ecclesiastical Venetian, i. 21; central Venetian, ii. 231; how adorned by color in Venice, iii. 23.
Government of Venice, i. 2, ii. 366.
Grammar, results of too great study of it, iii. 55, 106.
Greek architecture, general character of, i. 240, ii. 215, iii. 159.
Grief. See “Sorrow.”
Griffins, Lombardic, i. 292, 387.
Grotesque, analysis of, iii. 132; in changes of form, i. 317; in Venetian painting, iii. 162; symbolical, iii. 155; its character in Renaissance work, iii. 113, 121, 136, 143.
Gutters of roofs, i. 151.
H
Heathenism, typified in ornament, i. 317. See “Paganism.”
Heaven and Hell, proofs of their existence in natural phenomena, iii. 138.
History, how to be written and read, iii. 224.
Hobbima, iii. 184.
Honesty, how symbolized, ii. 349.
Hope, how symbolized, ii. 341.
Horseshoe arches, i. 129, ii. 249, 250.
Humanity, spiritual nature of, i. 41; divisions of, with respect to art, i. 394.
Humility, how symbolized, ii. 339.
I
Idleness, how symbolized, ii. 345.
Idolatry, proper sense of the term, ii. 388; is no encourager of art, ii. 110. See “Popery.”
Imagination, its relation to art, iii. 182.
Imitation of precious stones, &c., how reprehensible, iii. 26, 30.
Imposts, continuous, i. 120.
Infidelity, how symbolized, ii. 335; an element of the Renaissance spirit, iii. 100.
Injustice, how symbolized, ii. 349.
Inlaid ornamentation, i. 369; perfection of, in early Renaissance, iii. 26.
Inscriptions at Murano, ii. 47, 54; use of, in early times, ii. 111.
Insects, use of, in ornamentation, i. 230.
Inspiration, how opposed to art, iii. 151, 171.
Instinct, its dignity, iii. 171.
Intellect, how variable in dignity, iii. 173.
Involution, delightfulness of, in ornament, ii. 136.
Iron, its use in architecture, i. 184, 410.
Italians, modern character of, iii. 209.
Italy, how ravaged by recent war, iii. 209.
J
Jambs, Gothic, iii. 137.
Jesting, evils of, iii. 129.
Jesuits, their restricted power in Venice, i. 366.
Jewels, their cutting, a bad employment, ii. 166.
Judgments, instinctive, i. 399.
Job, book of, its purpose, iii. 53.
K
Keystones, how mismanaged in Renaissance work. See Venetian Index, under head “Libreria.”
Knowledge, its evil consequences, iii. 40; how to be received, iii. 50, &c. See “Education.”
L
Labor, manual, ornamental value of, i. 407; evils of its division, ii. 165; is not a degradation, ii. 168.
Labyrinth, in Venetian streets, its clue, ii. 254.
Lagoons, Venetian, nature of, ii. 7, 8.
Landscape, lower schools of, i. 24; Venetian, ii. 149; modern love of, ii. 175, iii. 123.
Laws of right in architecture, i. 32; laws in general, how permissibly violated, i. 255, ii. 210; their position with respect to art, iii. 96; and to religion, iii. 205.
Leaves, use of, in ornamentation, i. 232 (see “Vegetation”); proportion of, ii. 128.
Liberality, how symbolized, ii. 333.
Life in Byzantine architecture, ii. 133.
Lilies, beautiful proportions of, ii. 128; used for parapet ornaments, ii. 242; lily capitals, ii. 137.
Limitation of ornament, i. 254.
Lines, abstract use of, in ornament, i. 221.
Lintel, its structure, i. 124, 126.
Lion, on piazzetta shafts, iii. 238.
Load, of arches, i. 133.
Logic, a contemptible science, iii. 105.
Lombardic architecture, i. 17.
Lotus leaf, its use in architecture, i. 233.
Love, its power over human life, iii. 137.
Lusts, their power over human nature, how symbolized by Spenser, ii. 328.
Luxury, how symbolized, ii. 342; how traceable in ornament, iii. 4; of Renaissance schools, iii. 61.
M
Madonna, Byzantine representations of, ii. 53.
Magnitude, vulgar admiration of, iii. 64.
Malmsey, use of, in Feast of the Maries, iii. 117.
Marble, its uses, iii. 27.
Maries, Feast of the, iii. 117.
Mariolatry, ancient and modern, ii. 55.
Marriages of Venetians, iii. 116.
Masonry, Mont-Cenisian, i. 132; of walls, i. 61; of arches, i. 133.
Materials, invention of new, how injurious to art, iii. 42.
Misery, how symbolized, ii. 347.
Modesty, how symbolized, ii. 335.
Monotony, its place in art, ii. 176.
Months, personifications of, in ancient art, ii. 272.
Moroseness, its guilt, iii. 130.
Mosaics at Torcello, ii. 18, 19; at St. Mark’s, ii. 70, 112; early character of, ii. 110, iii. 175, 178.
Music, its relation to color, iii. 186.
Mythology of Venetian painters, ii. 150; ancient, how injurious to the Christian mind, iii. 107.
N
Natural history, how necessary a study, iii. 54.
Naturalism, general analysis of it with respect to art, ii. 181, 190; its advance in Gothic art, iii. 6; not to be found in the encrusted style, ii. 89; its presence in the noble Grotesque, iii. 144.
Nature (in the sense of material universe) not improvable by art, i. 350; its relation to architecture, i. 351.
Niches, use of, in Northern Gothic, i. 278; in Venetian, ii. 240; in French and Veronese, ii. 227.
Norman hatchet-work, i. 297; zigzag, i. 339.
Novelty, its necessity to the human mind, ii. 176.
O
Oak-tree, how represented in symbolical art, iii. 185.
Obedience, how symbolized, ii. 334.
Oligarchical government, its effect on the Venetians, i. 5.
Olive-tree, neglect of, by artists, iii. 175; general expression of, iii. 176, 177; representations of, in mosaic, iii. 178.
Order, uses and disadvantages of, ii. 172.
Orders, Doric and Corinthian, i. 13; ridiculous divisions of, i. 157, 370; ii. 173, 249; iii. 99.
Ornament, material of, i. 211; the best, expresses man’s delight in God’s work, i. 220; not in his own, i. 211; general treatment of, i. 236; is necessarily imperfect, i. 237, 240; divided into servile, subordinate, and insubordinate, i. 242, ii. 158; distant effect of, i. 248; arborescent, i. 252; restrained within limits, i. 255; cannot be overcharged if good, i. 406.
Oxford, system of education at, i. 391.
P
Paganism, revival of its power in modern times, iii. 105, 107, 122.
Painters, their power of perception, iii. 37; influence of society on, iii. 41; what they should know, iii. 41; what is their business, iii. 187.
Palace, the Crystal, merits of, i. 409.
Palaces, Byzantine, ii. 118, 391; Gothic, ii. 231.
Papacy. See “Popery.”
Parapets, i. 162, ii. 240.
Parthenon, curves of, ii. 127.
Patience, how symbolized, ii. 334.
Pavements, ii. 52.
Peacocks, sculpture of, i. 240.
Pedestals of shafts, i. 82; and see Venetian Index under head “Giorgio Maggiore.”
Perception opposed to knowledge, iii. 37.
Perfection, inordinate desire of, destructive of art, i. 237; ii. 133, 158, 169.
Perpendicular style, i. 190, 253; ii. 223, 227.
Personification, evils of, ii. 322.
Perspective, aerial, ridiculous exaggerations of, iii. 45; ancient pride in, iii. 57; absence of, in many great works, see in Venetian Index the notice of Tintoret’s picture of the Pool of Bethesda, under head “Rocco.”
Phariseeism and Liberalism, how opposed, iii. 97.
Philology, a base science, iii. 54.
Piazzetta at Venice, plan of, ii. 283; shafts of, ii. 233.
Pictures, judgment of, how formed, ii. 371; neglect of, in Venice, ii. 372; how far an aid to religion, ii. 104, 110.
Picturesque, definition of term, iii. 134.
Piers, general structure of, i. 71, 98, 118.
Pilgrim’s Progress. See “Bunyan.”
Pine of Italy, its effect on architecture, i. 152; of Alps, effect in distance, i. 245. See “Fir.”
Pinnacles are of little practical service, i. 170; their effect on common roofs, i. 347.
Play, its relation to Grotesque art, iii. 126.
Pleasure, its kinds and true uses, iii. 189.
Popery, how degraded in contest with Protestantism, i. 34, iii. 103; its influence on art, i. 23, 34, 35, 384, 432, ii. 51; typified in ornament, i. 316; power of Pope in Venice, i. 362; arts used in support of Popery, ii. 74.
Porches, i. 195.
Portraiture, power of, in Venice, iii. 164.
Posture-making in Renaissance art, iii. 90.
Prayers, ancient and modern, difference between, ii. 315, 390.
Pre-Raphaelitism, iii. 90; present position of, iii. 168, 174, 188.
Pride, how symbolized, ii. 343, iii. 207; of knowledge, iii. 35; of state, iii. 59; of system, iii. 95.
Priests, restricted power of, in Venice, i. 366.
Proportions, subtlety of, in early work, ii. 38, 121, 127.
Protestantism, its influence on art, i. 23; typified in ornament, i. 316; influence of, on prosperity of nations, i. 368; expenditure in favor of, i. 434; is incapable of judging of art, ii. 105; how expressed in art, ii. 205; its errors in opposing Romanism, iii, 102, 103, 104; its shame of religious confession, ii. 278.
Prudence, how symbolized, ii. 340.
Pulpits, proper structure of, ii. 22, 380.
Purism in art, its nature and definition, ii. 189.
Purity, how symbolized, iii. 20.
Q
Quadrupeds, use of in ornamentation, i. 234.
Quantity of ornament, its regulation, i. 23.
R
Rationalism, its influence on art, i. 23.
Realization, how far allowable in noble art, iii. 182, 186.
Recesses, decoration of, i. 278.
Recumbent statues, iii. 72.
Redundance, an element of Gothic, ii. 206.
Religion, its influence on Venetian policy, i. 6; how far aided by pictorial art, ii. 104, 109; contempt of, in Renaissance times, iii. 122.
Renaissance architecture, nature of, iii. 33; early, iii. 1; Byzantine, iii. 15; Roman, iii. 32; Grotesque, iii. 112; inconsistencies of, iii. 42, etc.
Reptiles, how used in ornamentation, i. 230.
Resistance, line of, in arches, i. 126.
Restraint, ornamental, value of, i. 255.
Reverence, how ennobling to humanity, ii. 163.
Rhetoric, a base study, iii. 106.
Rigidity, an element of Gothic, ii. 203.
Rivers, symbolical representation of, i. 419, 420.
Rocks, use of, in ornamentation, i. 224; organization of, i. 246; curvatures of, i. 58, 224.
Roll-mouldings, decoration of, i. 276.
Romance, modern errors of, ii. 4; how connected with dress, iii. 192.
Romanesque style, i. 15, 19, 145; ii. 215. See “Byzantine,” and “Renaissance.”
Romanism. See “Popery.”
Roofs, analysis of, i. 46, 148; ii. 212, 216; domed, i. 149; Swiss, i. 149, 345; steepness of, conducive to Gothic character, i. 151, ii. 209; decoration of, i. 343.
Rustication, is ugly and foolish, i. 65; natural objects of which it produces a resemblance, i. 296.
S
Salvia, its leaf applied to architecture, i. 287, 306.
Sarcophagi, Renaissance treatment of, iii. 90; ancient, iii. 69, 93.
Satellitic shafts, i. 95.
Satire in Grotesque art, iii. 126, 145.
Savageness, the first element of Gothic, ii. 155; in Grotesque art, iii. 159.
Science opposed to art, iii. 36.
Sculpture, proper treatment of, i. 216, &c.
Sea, symbolical representations of, i. 352, 421; natural waves of, i. 351.
Sensualism in art, its nature and definition, ii. 189; how redeemed by color, ii. 145.
Serapeum at Memphis, cusps of, ii. 220.
Sermons, proper manner of regarding them, ii. 22; mode of their delivery in Scotch church, ii. 381.
Serrar del Consiglio, ii. 291.
Shafts, analysis of, i. 84; vaulting shafts, i. 145; ornamentation of, i. 300; twisted, by what laws regulated, i. 303; strength of, i. 402; laws by which they are regulated in encrusted style, ii. 82.
Shields, use of, on tombs, ii. 224, iii. 87.
Shipping, use of, in ornamentation, i. 215.
Shops in Venice, ii. 65.
Sight, how opposed to thought, iii. 39.
Simplicity of life in thirteenth century, ii. 263.
Sin, how symbolized in Grotesque art, iii. 141.
Slavery of Greeks and Egyptians, ii. 158; of English workmen, ii. 162, 163.
Society, unhealthy state of, in modern times, ii. 163.
Sorrow, how sinful, ii. 325; how symbolized, ii. 347.
Soul, its development in art, iii. 173, 188; its connection with the body, i. 41, 395.
Spandrils, structure of, i. 146; decoration of, i. 297.
Spirals, architectural value of, i. 222, ii. 16.
Spurs of bases, i. 79.
Staircases, i. 208; of Gothic palaces, ii. 280.
Stucco, when admissible, iii. 21.
Subordination of ornament, i. 240.
Superimposition of buildings, i. 200; ii. 386.
Surface-Gothic, explanation of term, ii. 225, 227.
Symbolism, i. 417; how opposed to personification, ii. 322.
System, pride of, how hurtful, iii. 95, 99.
T
Temperance, how symbolized, ii. 338; temperance in color and curvature, iii. 420.
Theology, opposed to religion, iii. 216; of Spencer, iii. 205.
Thirteenth century, its high position with respect to art, ii. 263.
Thought, opposed to sight, iii. 39.
Tombs at Verona, i. 142, 412; at Venice, ii. 69; early Christian, iii. 67; Gothic, iii. 71; Renaissance treatment of, iii. 84.
Towers, proper character of, i. 204; of St. Mark’s, i. 207.
Traceries, structure of, i. 184, 185; flamboyant, i. 189; stump, i. 189; English perpendicular, i 190, ii. 222; general character of, ii. 220; strength of, in Venetian Gothic, ii. 234, iii. 253; general forms of tracery bars, iii. 250.
Treason, how detested by Dante, ii. 327.
Trees, use of, in ornamentation, i. 231.
Trefoil, use of, in ornamentation, ii. 42.
Triangles, used for ornaments at Murano, ii. 43.
Tribune at Torcello, ii. 24.
Triglyphs, ugliness of, i, 43.
Trunkmakers, their share in recovery of Brides of Venice, iii. 117, 118.
Truth, relation of, to religion, in Spenser’s “Faërie Queen,” iii, 205; typified by stones, iii. 31.
Tympanum, decoration of, i. 299.
U
Unity of Venetian nobility, i. 10.
V
Vain glory, speedy punishment of, iii. 122.
Vanity, how symbolized, ii. 346.
Variety in ornamental design, importance of, ii. 43, 133, 142, 172.
Vegetation, use of, in ornamentation, i. 232; peculiar meaning of, in Gothic, ii. 199; how connected with cusps, ii. 219.
Veil (wall veil), construction of, i. 58; decoration of, i. 294.
Vine, Lombardic sculpture of, i. 375; at Torcello, ii. 15; use of, in ornamentation, ii. 141; in symbolism, ii. 143; sculpture of, on Ducal Palace, ii. 308.
Virtues, how symbolized in sepulchral monuments, iii. 82, 86; systems of, in Pagan and Christian philosophy, ii. 312; cardinal, ii. 317, 318, 320; of architecture, i. 36, 44.
Voussoirs defined, i. 125; contest between them and architraves, i. 336.
W
Walls, general analysis of their structure, i. 48; bases of, i. 52, 53; cornices of, i. 63; rustication of, i. 61, 338; decoration of, i. 294; courses in, i. 61, 295.
Water, its use in ornamentation, i. 226; ancient representations of, i. 417.
Weaving, importance of associations connected with, ii. 136.
Wells, old Venetian, ii. 279.
Windows, general forms of, i. 179; Arabian, i. 180, ii. 135; square-headed, ii. 211, 269; development of, in Venice, ii. 235; orders of, in Venice, ii. 248; advisable form of, in modern buildings, ii. 269.
Winds, how symbolized at Venice, ii. 367.
Wooden architecture, i. 381.
Womanhood, virtues of, as given by Spenser, ii. 326.
Z
Zigzag, Norman, i. 339.