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Updated: June 23, 2025
The forty-eighth, forty-ninth, and fiftieth are bad work, but they are old; the fifty-first is the first Renaissance capital of the upper arcade: the first new lion's head with smooth ears, cut in the time of Foscari, is over the fiftieth capital; and that capital, with its shaft, stands on the apex of the eighth arch from the Sea, on the Piazzetta side, of which one spandril is masonry of the fourteenth and the other of the fifteenth century.
These mighty angels were formerly whitened and partially gilt, and the effect of the great figures looming out of the dark vault is most impressive. On the right side of the nave, at the spring of the arches, between two of the piers, is a centaur armed with a bow, cut in the stone, and on the opposite spandril are two goats, disposed back to back, also cut in the rock.
This latter is itself a kind of tympanum, and charged with sculpture in the same manner. The same principles apply to it which have been noted respecting the spandril, with one more of some importance. The chief difficulty in treating a gable lies in the excessive sharpness of its upper point.
Or when, finally, either these spandril spaces on each side of the arch, or the corresponding slopes of the gable, are loaded with recumbent figures by the sculptors of the renaissance, are we to call, for instance, Michael Angelo's Dawn and Twilight, only the decorations of the sloping plinths of a tomb, or trace to a geometrical propriety the subsequent rule in Italy that no window could be properly complete for living people to look out of, without having two stone people sitting on the corners of it above?
§ X. The other modes of spandril filling may be broadly reduced to four heads. 1. Radiated foliage, more or less referred to the centre, or to the bottom of the spandril for its origin; single figures with expanded wings often answering the same purpose. 3. Trefoils; and 4, ordinary wall decoration continued into the spandril space, as in Plate XIII., above, from St.
The extreme diameter of the circle is 3 ,, 10-1/2; its field is slightly raised above the red marbles, as shown in the section at A, on the left. The pattern which occupies the other spandril is similar, except that the field b c, instead of the intersecting arcs, has only triangles of grey marble, arranged like rays, with their bases towards the centre.
George; none of those goodly rows of kings and queens guarding the portals, or of those charming youthful heads marking the spring of the pointed arch, the curve of the spandril.
Pietro at Pistoja, and in Westminster Abbey. The Renaissance architects introduced spandril fillings composed of colossal human figures reclining on the sides of the arch, in precarious lassitude; but these cannot come under the head of wall veil decoration.
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