FOOTNOTES

[75] 38 ft. 2 in., without its cornice, which is 10 inches deep, and
sustains pinnacles of stone 7 feet high. I was enabled to get the
measures by a scaffolding erected in 1851 to repair the front.

[76] I believe the necessary upper joint is vertical, through the
uppermost lobe of the quatrefoil, as in the figure; but I have lost
my memorandum of this joint.

[77] "Dice, che non lauda per alcun modo di metter questo Serenissimo
Dominio in tanto pericolo d' habitar un palazzo fabricato in
aria."--_Pareri di XV. Architetti, con illustrazioni dell' Abbate
Giuseppe Cadorin_ (Venice, 1838), p. 104.

[78] "Il muro della sala e piu grosso delle colonne sott' esso piedi
uno e onze tre, et posto in modo che onze sei sta come in aere sopra
la piazza, et onze nove dentro."--_Pareri di XV. Architetti_, p. 47.

[79] Compare "Seven Lamps," chap. iii. Sec. 7.

[80] Pareri, above quoted, p. 21.

[81] It is a curious proof how completely, even so early as the
beginning of the sixteenth century, the Venetians had lost the habit
of _reading_ the religious art of their ancient churches, that
Sanuto, describing this injury, says, that "four of the _Kings_ in
marble fell from their pinnacles above the front, at St. Mark's
church;" and presently afterwards corrects his mistake, and
apologises for it thus: "These were four saints, St. Constantine,
St. Demetrius, St. George, and St. Theodore, all Greek saints. _They
look like Kings_." Observe the perfect, because unintentional,
praise given to the old sculptor.

I quote the passage from the translation of these precious diaries
of Sanuto, by my friend Mr. Rawdon Brown, a translation which I hope
will some day become a standard book in English libraries.

[82] I am not speaking here of iron balconies. See below, Sec. XXII.

[83] A Some details respecting the mechanical structure of the
Venetian balcony are given in the final Appendix.

[84] I found it convenient in my own memoranda to express them
simply as fourths, seconds, &c. But "order" is an excellent word for
any known group of forms, whether of windows, capitals, bases,
mouldings, or any other architectural feature, provided always that
it be not understood in any wise to imply preeminence or isolation
in these groups. Thus I may rationally speak of the six orders of
Venetian windows