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Updated: May 1, 2025
The churches of San Giacopo dell'Orio, San Giovanni in Bragora, the Carmine, and one or two more, furnish the only important examples of it. Paul and the Frari began rapidly to affect the Venetian-Arab school.
It appears to be a feeble reflection of the Lombard-Arab forms, which were attaining perfection upon the continent, and would probably, if left to itself, have been soon merged in the Venetian-Arab school, with which it had from the first so close a fellowship, that it will be found difficult to distinguish the Arabian ogives from those which seem to have been built under this early Gothic influence.
Still the two systems never became united; the Venetian policy repressed the power of the church, and the Venetian artists resisted its example; and thenceforward the architecture of the city becomes divided into ecclesiastical and civil: the one an ungraceful yet powerful form of the Western Gothic, common to the whole peninsula, and only showing Venetian sympathies in the adoption of certain characteristic mouldings; the other a rich, luxuriant, and entirely original Gothic, formed from the Venetian-Arab by the influence of the Dominican and Franciscan architecture, and especially by the engrafting upon the Arab forms of the most novel feature of the Franciscan work, its traceries.
It appears to be a feeble reflection of the Lombard-Arab forms, which were attaining perfection upon the continent, and would probably, if left to itself, have been soon merged in the Venetian-Arab school, with which it had from the first so close a fellowship, that it will be found difficult to distinguish the Arabian ogives from those which seem to have been built under this early Gothic influence.
The churches of San Giacopo dell' Orio, San Giovanni in Bragora, the Carmine, and one or two more, furnish the only important examples of it. Paul and the Frari began rapidly to affect the Venetian-Arab school.
Still the two systems never became united; the Venetian policy repressed the power of the church, and the Venetian artists resisted its example; and thenceforward the architecture of the city becomes divided into ecclesiastical and civil: the one an ungraceful yet powerful form of the Western Gothic, common to the whole peninsula, and only showing Venetian sympathies in the adoption of certain characteristic mouldings; the other a rich, luxuriant, and entirely original Gothic, formed from the Venetian-Arab by the influence of the Dominican and Franciscan architecture, and especially by the engrafting upon the Arab forms of the most novel feature of the Franciscan work, its traceries.
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