§ XII. The issue of the struggle is not to our present purpose. We have already arrived at the fourteenth century without finding record of any effort made by the clergy of St. Mary’s to maintain their influence by restoring or beautifying their basilica; which is the only point at present of importance to us. That great alterations were made in it at the time of the acquisition of the body of St. Donato is however highly probable, the mosaic pavement of the interior, which bears its date inscribed, 1140, being probably the last of the additions. I believe that no part of the ancient church can be shown to be of more recent date than this; and I shall not occupy the reader’s time by any inquiry respecting the epochs or authors of the destructive modern restorations; the wreck of the old fabric, breaking out beneath them here and there, is generally distinguishable from them at a glance; and it is enough for the reader to know that none of these truly ancient fragments can be assigned to a more recent date than 1140, and that some of them may with probability be looked upon as remains of the shell of the first church, erected in the course of the latter half of the tenth century. We shall perhaps obtain some further reason for this belief as we examine these remains themselves.

§ XIII. Of the body of the church, unhappily, they are few and obscure; but the general form and extent of the building, as shown in the plan, Plate I. fig. 2, are determined, first, by the breadth of the uninjured east end D E; secondly, by some remains of the original brickwork of the clerestory, and in all probability of the side walls also, though these have been refaced; and finally by the series of nave shafts, which are still perfect. The doors A and B may or may not be in their original positions; there must of course have been always, as now, a principal entrance at the west end. The ground plan is composed, like that of Torcello, of nave and aisles only, but the clerestory has transepts extending as far as the outer wall of the aisles. The semicircular apse, thrown out in the centre of the east end, is now the chief feature of interest in the church, though the nave shafts and the eastern extremities of the aisles, outside, are also portions of the original building; the latter having been modernized in the interior, it cannot now be ascertained whether, as is probable, the aisles had once round ends as well as the choir. The spaces F G form small chapels, of which G has a straight terminal wall behind its altar, and F a curved one, marked by the dotted line; the partitions which divide these chapels from the presbytery are also indicated by dotted lines, being modern work.

§ XIV. The plan is drawn carefully to scale, but the relation in which its proportions are disposed can hardly be appreciated by the eye. The width of the nave from shaft to opposite shaft is 32 feet 8 inches: of the aisles, from the shaft to the wall, 16 feet 2 inches, or allowing 2 inches for the thickness of the modern wainscot, 16 feet 4 inches, half the breadth of the nave exactly. The intervals between the shafts are exactly one fourth of the width of the nave, or 8 feet 2 inches, and the distance between the great piers which form the pseudo-transept is 24 feet 6 inches, exactly three times the interval of the shafts. So the four distances are accurately in arithmetical proportion; i.e.

The shafts average 5 feet 4 inches in circumference, as near the base as they can be got at, being covered with wood; and the broadest sides of the main piers are 4 feet 7 inches wide, their narrowest sides 3 feet 6 inches. The distance a c from the outmost angle of these piers to the beginning of the curve of the apse is 25 feet, and from that point the apse is nearly semicircular, but it is so encumbered with renaissance fittings that its form cannot be ascertained with perfect accuracy. It is roofed by a concha, or semi-dome; and the external arrangement of its walls provides for the security of this dome by what is, in fact, a system of buttresses as effective and definite as that of any of the northern churches, although the buttresses are obtained entirely by adaptations of the Roman shaft and arch, the lower story being formed by a thick mass of wall lightened by ordinary semicircular round-headed niches, like those used so extensively afterwards in renaissance architecture, each niche flanked by a pair of shafts standing clear of the wall, and bearing deeply moulded arches thrown over the niche. The wall with its pillars thus forms a series of massy buttresses (as seen in the ground plan), on the top of which is an open gallery, backed by a thinner wall, and roofed by arches whose shafts are set above the pairs of shafts below. On the heads of these arches rests the roof. We have, therefore, externally a heptagonal apse, chiefly of rough and common brick, only with marble shafts and a few marble ornaments; but for that very reason all the more interesting, because it shows us what may be done, and what was done, with materials such as are now at our own command; and because in its proportions, and in the use of the few ornaments it possesses, it displays a delicacy of feeling rendered doubly notable by the roughness of the work in which laws so subtle are observed, and with which so thoughtful ornamentation is associated.

§ XV. First, for its proportions: I shall have occasion in Chapter V. to dwell at some length on the peculiar subtlety of the early Venetian perception for ratios of magnitude; the relations of the sides of this heptagonal apse supply one of the first and most curious instances of it. The proportions above given of the nave and aisles might have been dictated by a mere love of mathematical precision; but those of the apse could only have resulted from a true love of harmony.

In fig. 6, Plate I. the plan of this part of the church is given on a large scale, showing that its seven external sides are arranged on a line less than a semicircle, so that if the figure were completed, it would have sixteen sides; and it will be observed also, that the seven sides are arranged in four magnitudes, the widest being the central one. The brickwork is so much worn away, that the measures of the arches are not easily ascertainable, but those of the plinth on which they stand, which is nearly uninjured, may be obtained accurately. This plinth is indicated by the open line in the ground plan, and its sides measure respectively:

§ XVI. Now observe what subtle feeling is indicated by this delicacy of proportion. How fine must the perceptions of grace have been in those builders who could not be content without some change between the second and third, the fifth and sixth terms of proportion, such as should oppose the general direction of its cadence, and yet were content with a diminution of two inches on a breadth of seven feet and a half! For I do not suppose that the reader will think the curious lessening of the third and fifth arch a matter of accident, and even if he did so, I shall be able to prove to him hereafter that it was not, but that the early builders were always desirous of obtaining some alternate proportion of this kind. The relations of the numbers are not easily comprehended in the form of feet and inches, but if we reduce the first four of them into inches, and then subtract some constant number, suppose 75, from them all, the remainders 4, 16, 14, 19, will exhibit the ratio of proportion in a clearer, though exaggerated form.

§ XVII. The pairs of circular spots at b, c, d, etc., on the ground plan fig. 6, represent the bearing shafts, which are all of solid marble as well as their capitals. Their measures and various other particulars respecting them are given in Appendix 6. “Apse of Murano;” here I only wish the reader to note the coloring of their capitals. Those of the two single shafts in the angles (a, h) are both of deep purple marble; the two next pairs, b and g, are of white marble; the pairs c and f are of purple, and d and e are of white: thus alternating with each other on each side; two white meeting in the centre. Now observe, the purple capitals are all left plain; the white are all sculptured. For the old builders knew that by carving the purple capitals they would have injured them in two ways: first, they would have mixed a certain quantity of grey shadow with the surface hue, and so adulterated the purity of the color; secondly, they would have drawn away the thoughts from the color, and prevented the mind from fixing upon it or enjoying it, by the degree of attention which the sculpture would have required. So they left their purple capitals full broad masses of color; and sculptured the white ones, which would otherwise have been devoid of interest.

§ XVIII. But the feature which is most to be noted in this apse is a band of ornament, which runs round it like a silver girdle, composed of sharp wedges of marble, preciously inlaid, and set like jewels into the brickwork; above it there is another band of triangular recesses in the bricks, of nearly similar shape, and it seems equally strange that all the marbles should have fallen from it, or that it should have been originally destitute of them. The reader may choose his hypothesis; but there is quite enough left to interest us in the lower band, which is fortunately left in its original state, as is sufficiently proved by the curious niceties in the arrangement of its colors, which are assuredly to be attributed to the care of the first builder. A word or two, in the first place, respecting the means of color at his disposal.

§ XIX. I stated that the building was, for the most part, composed of yellow brick. This yellow is very nearly pure, much more positive and somewhat darker than that of our English light brick, and the material of the brick is very good and hard, looking, in places, almost vitrified, and so compact as to resemble stone. Together with this brick occurs another of a deep full red, and more porous substance, which is used for decoration chiefly, while all the parts requiring strength are composed of the yellow brick. Both these materials are cast into any shape and size the builder required, either into curved pieces for the arches, or flat tiles for filling the triangles; and, what is still more curious, the thickness of the yellow bricks used for the walls varies considerably, from two inches to four; and their length also, some of the larger pieces used in important positions being a foot and a half long.

With these two kinds of brick, the builder employed five or six kinds of marble: pure white, and white veined with purple; a brecciated marble of white and black; a brecciated marble of white and deep green; another, deep red, or nearly of the color of Egyptian porphyry; and a grey and black marble, in fine layers.

§ XX. The method of employing these materials will be understood at once by a reference to the opposite plate (Plate III.), which represents two portions of the lower band. I could not succeed in expressing the variation and chequering of color in marble, by real tints in the print; and have been content, therefore, to give them in line engraving. The different triangles are, altogether, of ten kinds:

a. Pure white marble with sculptured surface (as the third and fifth in the upper series of Plate III.).

b. Cast triangle of red brick with a sculptured round-headed piece of white marble inlaid (as the first and seventh of the upper series, Plate III.).

c. A plain triangle of greenish black marble, now perhaps considerably paler in color than when first employed (as the second and sixth of the upper series of Plate III.).

d. Cast red brick triangle, with a diamond inlaid of the above-mentioned black marble (as the fourth in the upper series of Plate III.).

e. Cast white brick, with an inlaid round-headed piece of marble, variegated with black and yellow, or white and violet (not seen in the plate).

f. Occurs only once, a green-veined marble, forming the upper part of the triangle, with a white piece below.

g. Occurs only once. A brecciated marble of intense black and pure white, the centre of the lower range in Plate III.

h. Sculptured white marble with a triangle of veined purple marble inserted (as the first, third, fifth, and seventh of the lower range in Plate III.).

i. Yellow or white marble veined with purple (as the second and sixth of the lower range in Plate III.).

k. Pure purple marble, not seen in this plate.

III.

Inlaid Bands of Murano.

§ XXI. The band, then, composed of these triangles, set close to each other in varied but not irregular relations, is thrown, like a necklace of precious stones, round the apse and along the ends of the aisles; each side of the apse taking, of course, as many triangles as its width permits. If the reader will look back to the measures of the sides of the apse, given before, p. 42, he will see that the first and seventh of the series, being much narrower than the rest, cannot take so many triangles in their band. Accordingly, they have only six each, while the other five sides have seven. Of these groups of seven triangles each, that used for the third and fifth sides of the apse is the uppermost in Plate III.; and that used for the centre of the apse, and of the whole series, is the lowermost in the same plate; the piece of black and white marble being used to emphasize the centre of the chain, exactly as a painter would use a dark touch for a similar purpose.

§ XXII. And now, with a little trouble, we can set before the reader, at a glance, the arrangement of the groups along the entire extremity of the church.

There are thirteen recesses, indicative of thirteen arches, seen in the ground plan, fig. 2, Plate I.