The Stones of Venice, Volume 2 (of 3), by John Ruskin
introduction to his Iconographie Chrétienne, p. 7:--"Un de mes
206 words | Chapter 18
compagnons s'étonnait de retrouver à la Panagia de St. Luc, le saint
Jean Chrysostome qu'il avait dessiné dans le baptistère de St. Marc,
à Venise. Le costume des personnages est partout et en tout temps le
même, non-seulement pour la forme, mais pour la couleur, mais pour
le dessin, mais jusque pour le nombre et l'épaisseur des plis."
[36] All the effects of Byzantine art to represent violent action
are inadequate, most of them ludicrously so, even when the
sculptural art is in other respects far advanced. The early Gothic
sculptors, on the other hand, fail in all points of refinement, but
hardly ever in expression of action. This distinction is of course
one of the necessary consequences of the difference in all respects
between the repose of the Eastern, and activity of the Western,
mind, which we shall have to trace out completely in the inquiry
into the nature of Gothic.
[37] Appendix 10, "Proper Sense of the word Idolatry."
[38] It is also of inferior workmanship, and perhaps later than the
rest. Vide Lord Lindsay, vol. i. p. 124, note.
[39] The old mosaics from the Revelation have perished, and have been
replaced by miserable work of the seventeenth century.
[40] Rev. xxi. 18.
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