nly instance of good
_complicated_ tracery to be found in Venice. The fact that it is
moulded only on the face is considered evidence of its early date.

In this view, as, in fact, in all of the examples which we have
selected, the moulding formed of alternating blocks or dentils,
projecting first on one side and then the other, which is peculiar to
Venice, can be seen. It was commonly used as a frame about a window or
group of windows, and is very effective, especially when used, as it
frequently was, relieved against a flat wall surface.

VI. and VII.

TWO PORTIONS OF THE FACADE OF THE CA D'ORO, VENICE.

This, next to the Ducal Palace, is the most elaborate and it might be
said the most beautiful of the Gothic Venetian palaces. It has been
considerably changed in the various restorations to which it has been
subjected, but still has enough of its original features to remain
a wonderfully beautiful building. It is an extreme example of the
characteristic disregard of the ordinary principles of building
construction to be found throughout the work we have been considering.
Fergusson's remarks upon this failing of the Venetian architects is
pointed and well considered. He says: "Most of the faults that strike
us in the buildings of Venice arise from the defective knowledge which
they betray of constructive principles. The Venetian architects had
not been brought up in the hard school of practical experience, nor
thoroughly grounded in construction, as the northern architects were
by the necessities of the large buildings which they erected. On the
contrary, they merely adopted details because they were pretty,
and used them so as to be picturesque in domestic edifices where
convenience was everything, and construction but a secondary
consideration."

The Ca D'oro was probably built about the middle of the fourteenth
century.

Evidences of the use of color in this facade can be plainly seen in
the photographic views, and the contrast of the deep shadows and flat
wall surfaces is strikingly beautiful.

VIII.

THE PALAZZO PISANI.

This palace is of the late Gothic period, nearly approaching the
Renaissance. It is situated on the lower reach of the Grand Canal.

In all of the examples here selected a marked predominance of
horizontal treatment will be observed. The roofs are flat, and arcades
and balconies all help to emphasize the horizontal direction in the
design. This, it will be observed, i