raised to its fourth power, but of which the curve N _n_
(for northern) represents the average condition; the shallower chamfers
of the same group, _r s_, _t u_, &c., occurring often in Italy. The
lines _r u_, _t u_, and _a b_ may be taken approximating to the most
frequent conditions of the southern chamfer.

[Illustration: Fig. LXXII.]

It is evident that the chords of any of these curves will give a
relative group of rectilinear chamfers, occurring both in the North and
South; but the rectilinear chamfers, I think, invariably fall within the
line Q C, and are either parallel with it, or inclined to A C at an
angle greater than A C Q, and often perpendicular to it; but never
inclined to it at an angle less than A C Q.

24. RENAISSANCE BASES.

The following extract from my note-book refers also to some features of
late decoration of shafts.

"The Scuola di San Rocco is one of the most interesting examples of
Renaissance work in Venice. Its fluted pillars are surrounded each by a
wreath, one of vine, another of laurel, another of oak, not indeed
arranged with the fantasticism of early Gothic; but, especially the
laurel, reminding one strongly of the laurel sprays, powerful as well as
beautiful, of Veronese and Tintoret. Their stems are curiously and
richly interlaced--the last vestige of the Byzantine wreathed work--and
the vine-leaves are ribbed on the surfaces, I think, nearly as finely as
those of the Noah,[106] though more injured by time. The capitals are
far the richest Renaissance in Venice, less corrupt and more masculine
in plan, than any other, and truly suggestive of support, though of
course showing the tendency to error in this respect; and finally, at
the angles of the pure Attic bases, on the square plinth, are set
couchant animals; one, an elephant four inches high, very curiously and
cleverly cut, and all these details worked with a spirit, finish, fancy,
and affection quite worthy of the middle ages. But they have all the
marked fault of being utterly detached from the architecture. The
wreaths round the columns look as if they would drop off the next
moment, and the animals at the bases produce exactly the effect of mice
who had got there by accident: one feels them ridiculously diminutive,
and utterly useless."

The effect of diminutiveness is, I think, chiefly owing to there being
no other groups of figures near them, to accustom the eye to the
proportion, and to the needless choice of t