File:Willis Remarks 1835 Plate 13.png

English: Plate 13 from: Willis, Robert (1835) Remarks on the architecture of the middle ages, especially of Italy, Cambridge: J & J.J. Deighton . Caption: Plates XI. XII. XIII. Windows.

Plate xi. Italian Tracery. Fig. 1. from the unfinished nave of Siena, (p. 62.) Fig. 2. from the north transept S. Antonio, Padua, (p. 57.) Fig. 3. from the front of Madonna dell' Orto, Venice, (p. 63.) Fig. 4. from the south transept of S. Giovanni and Paolo, Venice, (p. 57.). Fig. 5. from Modena Cathedral, (p. 60.) Fig. 6. part of a magnificent window at the east end of S. Domenieo, Perugia, (p. 58.) Fig. 7. from the side aisles of the Cathedral Perugia, (p. 63.) Of the profiles, ABC belongs to Fig. 2., DE to Fig. 3., and F to Fig. 6. The profile of the tracery bars of Fig. 4., are similar to E, with the addition of edge beads below the hollow chamfers; and the mouldings of the window side not very different from D. The dotted lines serve to separate the orders of mouldings, which are marked in each 1,2, 3 ; and they shew how the successive classes of mullions arise from the same system. Plate xii. Figs. I, 2, 3. German After Gothic Tracery from the Cathedral at Augsburg. Fig. 1. Stump Tracery, (p. 61.) Fig. 2. Exuberant Foliation, (p. 47.) Fig. 3. Unstable Tracery, (p. 61.) Fig. 4. A Flamboyant window from the west end of the Cathedral at Louvain, to explain the subordination of mouldings in tracery, (p. 56.) The left hand half of this figure is drawn complete ; in the right hand half the tracery is represented in outline only. A, B, C, D below are the sections of the different classes of mullions and tracery bars, produced by the superposition of the successive orders of mouldings, whose profiles are shewn on a larger scale at Fig. 9.; the letters a, b, c, d, placed on different parts of the tracery, shew where the sections A, B, C, D, respectively, are taken

and this is still further elucidated by indicating the lowest class D by dotted lines, the next C by single lines, and the next B by double lines. Fig. 5. A piece of Flamboyant work from the triforium of S. Nizier at Lyons, (p. 61.). Fig. 6. a window from the tower of S. Giovanni Maggiore at Naples, with a dripstone having external foliation; this also occurs at S. Chiara. Fig. 7. A window in the main street of Verona opposite SS. Apostoli. (p. 54.). Fig. 8. A window of a kind very common in Venice and its territory, (this was copied from the Vescovado at Verona); X is the section of the mouldings at x, Y at y, and Z at z, respectively. The windows of a great number of the smaller houses in Venice are either of this pattern or of a similar one, in which the arches are ogee trefoliated, instead of trefoil ogees, as in this. They con- sist of one, two, three or more lights, the profile of the mouldings is always the same, and in the foliated examples the foliating space is square-edged, and the mouldings X run round the arch. The arches all rest on bearing-shafts and spring at each end from pilasters, as in this example; but sometimes the Venetian dentil instead of following the arch forms a square canopy, as in Fig. 7. Such tracery as that of Fig. 7. is rare, but a heavy kind of tracery is made use of in the Ducal palace, the Palazzo Foscari, and some others, which have been engraved in Cicognaras' great work. It derives a peculiar character from being included in a square-headed opening. The profile in the Ducal palace tracery is that of Ei PI. xi. Fig. 9. belongs to Fig. 4., and has been already explained. Plate xiii. Fig. 1. Part of a window in Orsan Michele at Florence, to explain the system of mouldings in Italian Gothic tracery and its general character, (p. 59.) ; the right hand half of the figure is finished; the left hand in outline only, to receive the letters of reference. Fig. 2. is a section along the dotted line mn, to shew the mouldings, which are not symmetrically disposed as in the complete Gothic, but are differently managed in each pannel. In this section the mouldings are drawn on a much larger scale than the pannels; or rather, as if each pannel had been cut at its narrow end: this can lead to no ambiguity, because the proportional breadth of the mouldings is shewn in the finished half of the figure. The letters in Fig. 2. apply to the same pannels as in Fig. 1. respectively. In BE it will be seen that there are three orders

of mouldings, marked 1, 2, 3.