The Brochure Series of Architectural Illustration, Vol. 1, 1895 | Page 4

size for those who were to see through them and stand on
them, and left the 'proportions' outside to take care of themselves,
which, indeed, they have very sufficiently done; for though the house
thus honestly confesses its diminutiveness, it is nevertheless one of the
principal ornaments of the very noblest reach of the Grand Canal, and
would be nearly as great a loss if it were destroyed, as the church of La
Salute itself."
This building is popularly known as "Desdemona's House."

III.
THE PALAZZO CAVALLI, VENICE.
This palace, situated opposite the Academy of Arts on the Grand Canal,
also dates from the fifteenth century. Its balconies and tracery are of the
later Gothic period, showing marked tendencies towards the
Renaissance.
It has been recently restored by its present owner, Baron Franchetti, and
is frequently spoken of as the Palazzo Franchetti.

IV.
WINDOW TRACERY IN THE PALAZZO CAVALLI.
In Venetian tracery it will always be found that a certain arrangement
of quatrefoils and other figures has been planned as if it were to extend
indefinitely into miles of arcade, and out of this colossal piece of
marble lace a portion in the shape of a window is cut mercilessly and
fearlessly: what fragments and odd shapes of interstice, remnants of
this or that figure of the divided foliation, may occur at the edge of the
window, it matters not; all are cut across and shut in by the great outer
archivolt. This is of course open to serious criticism as construction,
but its beauty and effectiveness, as used here, cannot be gainsaid.

V.
WINDOW TRACERY IN THE PALAZZO CICOGNA, VENICE.
This is an example of early Gothic work in Venice and is quite unlike
later examples. Ruskin speaks of it as the only instance of good
complicated tracery to be found in Venice. The fact that it is moulded
only on the face is considered evidence of its early date.
In this view, as, in fact, in all of the examples which we have selected,
the moulding formed of alternating blocks or dentils, projecting first on
one side and then the other, which is peculiar to Venice, can be seen. It
was commonly used as a frame about a window or group of windows,
and is very effective, especially when used, as it frequently was,
relieved against a flat wall surface.

VI. and VII.
TWO PORTIONS OF THE FACADE OF THE CA D'ORO, VENICE.
This, next to the Ducal Palace, is the most elaborate and it might be
said the most beautiful of the Gothic Venetian palaces. It has been
considerably changed in the various restorations to which it has been
subjected, but still has enough of its original features to remain a
wonderfully beautiful building. It is an extreme example of the
characteristic disregard of the ordinary principles of building
construction to be found throughout the work we have been considering.
Fergusson's remarks upon this failing of the Venetian architects is
pointed and well considered. He says: "Most of the faults that strike us

in the buildings of Venice arise from the defective knowledge which
they betray of constructive principles. The Venetian architects had not
been brought up in the hard school of practical experience, nor
thoroughly grounded in construction, as the northern architects were by
the necessities of the large buildings which they erected. On the
contrary, they merely adopted details because they were pretty, and
used them so as to be picturesque in domestic edifices where
convenience was everything, and construction but a secondary
consideration."
The Cà D'oro was probably built about the middle of the fourteenth
century.
Evidences of the use of color in this façade can be plainly seen in the
photographic views, and the contrast of the deep shadows and flat wall
surfaces is strikingly beautiful.

VIII.
THE PALAZZO PISANI.
This palace is of the late Gothic period, nearly approaching the
Renaissance. It is situated on the lower reach of the Grand Canal.
In all of the examples here selected a marked predominance of
horizontal treatment will be observed. The roofs are flat, and arcades
and balconies all help to emphasize the horizontal direction in the
design. This, it will be observed, is distinctly different from the
contemporary Gothic of the rest of Europe.
* * * * *
Notable examples of American buildings modelled after or in the style
of the Venetian palaces are the Chicago Athletic Club, the Montauk
Club, Brooklyn, and the new building adjoining the Hoffman House,
Madison Square, New York.
[Illustration: IV. Window Tracery in the Palazz, Cavalli, Venice.]

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