veined marble, and an ornamental disk in relief is set in each interspace.
The finest thing in this court is the giant's stair. Few architectural works of the Renaissance are so reasonable and so free from superfluous and unmeaning features. The steps, broken about midway by a landing stage, are enclosed by balustrades of severely simple design starting from square newels; and the sides are plainly panelled in marble, with delicate mouldings and arabesque carvings on the surfaces of the framing members. The mechanical execution of the whole is superb, no settlement or fracture appearing in any part.
The façade of the Scuola di San Marco, begun in 1485 and attributed to the architect Martino Lombardo, is a marvel of delicate workmanship resembling in many of its features the small church of the Miracole (p. 151) while including details of a different character. It is in two stories, and is divided into two parts, answering to an internal division, one of which, embracing the main portal, is larger and richer than the other. An order of Corinthian pilasters embraces both parts of each story, and these pilasters are unequally spaced in conformity with the proportions of the respective parts and their openings. The main division, which is on the spectator's left as he faces the building, has three bays of which the central one is the wider. The main portal (Fig. 91) is in this bay, and has two arch orders on pilasters flanked with larger pilasters, also in two orders, reaching to the entablature which passes over the arch. A free-standing Corinthian column on a high pedestal is set in front of each pilaster of the greater suborder, and from ressauts of the entablature over these columns an archivolt in high relief is sprung against the wall of the upper story. The shafts of the flanking columns are unusually short, the pedestals being about half the total height from the ground to the entablature. Comment on the unreason of such compositions becomes wearisome, and criticism may appear like captiousness. But if the reader will consider the character of a Greek portal, with its jamb mouldings and cornice, as reasonable and appropriate as they are simple, of a true Gothic doorway with its consistent arch orders, but with no superfluous or unmeaning features, he can hardly fail to feel the childishness of this Renaissance design in comparison.
