Mark's.
pillars. 9. St. Mark's.
2. Terraced House, lateral pillars. 10. Braided House, upper arcade.
3. Casa Farsetti, central pillars, 11. Casa Loredan, upper arcade.
upper arcade. 12. St. Mark's.
4. Casa Loredan, lower arcade. 13. St. Mark's.
5. Casa Loredan, lower arcade. 14. Fondaco de' Turchi, upper
6. Fondaco de' Turchi, upper arcade. arcade.
7. Casa Loredan, upper arcade. 15. St. Mark's.

[49] Compare "Seven Lamps," chap. ii. Sec. 22.

[50] Two of these are represented in the second number of my folio work
upon Venice.

[51] The absence of the true grotesque spirit in Byzantine work will be
examined in the third chapter of the third volume.

[52] Ezekiel, xxvii. 11.

[53] Perhaps this type is in no place of Scripture more touchingly used
than in Lamentations, i. 12, where the word "afflicted" is rendered in
the Vulgate "vindemiavit," "vintaged."

[54] Appendix 12, "Modern Painting on Glass."

[55] 2 Samuel, xiii. 18.

SECOND, OR GOTHIC, PERIOD.

CHAPTER VI.

THE NATURE OF GOTHIC.

Sec. I. If the reader will look back to the division of our subject which
was made in the first chapter of the first volume, he will find that we
are now about to enter upon the examination of that school of Venetian
architecture which forms an intermediate step between the Byzantine and
Gothic forms; but which I find may be conveniently considered in its
connexion with the latter style. In order that we may discern the
tendency of each step of this change, it will be wise in the outset to
endeavor to form some general idea of its final result. We know already
what the Byzantine architecture is from which the transition was made,
but we ought to know something of the Gothic architecture into which it
led. I shall endeavor therefore to give the reader in this chapter an
idea, at once broad and definite, of the true nature of _Gothic_
architecture, properly so called; not of that of Venice only, but of
universal Gothic: for it will be one of the most interesting parts of
our subsequent inquiry, to find out how far Venetian architecture
reached the universal or perfect type of Gothic, and how far it either
fell short of it, or assumed foreign and independent forms.

Sec. II. The principal difficulty in doing this arises from the fact that
every building of the Gothic period differs in s