Mentions in the index volume (39) of the Library Edition:
- Ruskin at Bayeux (1848), 8, xxixn.
- Cathedral, 8.6
The Stones of Venice
There is a very curious instance on a Greek mirror in the British Museum, representing Orion on the Sea; and multitudes of examples with dolphins on the Greek vases: the type is preserved without alteration in medižval painting and sculpture. The sea in that Greek mirror (at least 400 B.C.), in the mosaics of Torcello and St. Mark’s, on the font of St. Frediano at Lucca, on the gate of the fortress of St. Michael’s Mount in Normandy, on the Bayeux tapestry, and on the capitals of the Ducal Palace at Venice (under Arion on his Dolphin), is represented in a manner absolutely identical. Giotto, in the frescoes of Avignon, has, with his usual strong feeling for naturalism, given the best example I remember, in painting, of the unity of the conventional system with direct imitation, and that both in sea and river; giving in pure blue color the coiling whirlpool of the stream, and the curled crest of the breaker. But in all early sculptural examples, both imitation and decorative effect are subordinate to easily understood symbolical [IX, 228]
But the fast and the discovery of the coffin, by whatever means effected, are facts; and they are recorded in one of the best-preserved mosaics of the north transept, executed very certainly not long after the event had taken place, closely resembling in its treatment that of the Bayeux tapestry, and showing, in a conventional manner, the interior of the church, as it then was, filled by the people, first in prayer, then in thanksgiving, the pillar standing open before them, and the Doge, in the midst of them, distinguished by his crimson bonnet embroidered with gold, but more unmistakably by the inscription “Dux” over his head, as uniformly is the case in the Bayeux tapestry, and most other pictorial works of the period [X, 62-63]
Last modified 28 June 2010