House and Garden 
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FIG. 27 —BRUNSWICK 
for he believes himself to possess the sole touchstone 
necessary—symmetry. ” 
1 he Bavarian law of 1864 has endeavoured to 
meet the artistic needs of the country by a.direction to 
architects to “avoid in their designs all which may 
offend against symmetry and morality." “It is not 
stated," adds Sitte caustically, “which of the two 
misdemeanours is considered the more serious’" 
I have already referred to the engagement of the 
old churches and palaces with other buildings, and to 
the resulting grouping of the “places." Let me il¬ 
lustrate a few examples only. At Modena [fig. 24] 
the Piazza Grande opens up the lateral facade and 
apse of the Cathedral. It forms a complete design, 
and is connected to both the Piazza della Torre and 
the space before the west front, but without forming 
gaps in the frame. 1 he former “place" is of course 
intended to give a perspective upon the beautiful 
campanile and enhance its effect. Remark, too, the 
street leading up to the principal entrance, a very 
favourite effect, of which the Eglise Notre-Dame at 
Bourg offers a well-known instance. 
At Perugia we find 
the Piazza S. Lorenzo 
[fig. 3], at Vicenza the 
Piazza dei Signori [fig. 
26], each with its char¬ 
acteristic secondary 
square. At B r uns- 
wick [tig. 27] there is 
a most interesting 
grouping of buildings 
a n d squares. T h e 
church of St. Martin 
rises on one side with 
a deep “place" before 
its principal facade 
and a wide one on its 
lateral elevation, while 
the old Town Hall 
abutting on other 
buildings dominates 
the Market Place. The Cloth Hall is thus also sur¬ 
rounded by squares whose buildings harmonize with 
its design. 1 his beautiful composition is formed of 
intimately connected parts, and the effect of each 
square and of each building gains immensely thereby. 
Examples could be multiplied indefinitely. Per¬ 
mit me, however, before leaving the subject to refer 
you once more to the Signoria at Florence [fig. 28], 
which, as you will see, has also its secondary “ place” 
m the portico of the Uffizzi. This Signoria is, from 
an architectural point of view, the most remarkable 
square in the world. Its form and size, contrasting 
with that of the Uffizzi adjoining it, the disposition of 
its monuments and buildings, the way in which the 
streets deliver into it, are all admirably studied. As 
Sitte well says, “No effort is apparent, and the superb 
composition is admired without disturbing thoughts 
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744—T-4—7 7 T H a T -- 7 
FIG. 29 -VENICE 
Piazza di San Marco and the Piazetta 
as to the causes of its beauty." Yet generations of 
great artists have occupied centuries in the making of 
this masterpiece. 
Lastly, I shall ask you, with the principles we have 
deduced before you -the placing of monuments, the 
freedom of the central space, the enclosed frame, the 
absence of geometrical regularity, and the value given 
to squares by their combination with others of vary¬ 
ing form and size- to examine the plans of the Piaz¬ 
za di San Marco and the Piazetta at Venice [fig. 29]. 
Here you will find these principles exemplified with 
the most refined art. 
The Piazza is a deep space in relation to St. Mark’s 
and wide in relation to the Procuratie. I he Piaz¬ 
etta is wide as regards the Doge’s Palace, and deep 
with especial reference to the splendid view of the 
Grand Canal and S. Giorgio Maggiore in the dis¬ 
tance. Before the north side of St. Mark’s extends 
FIG. 28- FLORENCE 
I—Signoria. II—Ulfizzi. a—Palazzo Vec- 
chio. b—Loggia dei Lanzi. c—Foun¬ 
tain and >tatue of Cosimo I. 
286 
