of unpolished stone is enough for
sculpturesque value. You may have noticed that the quatrefoil used in
the Ducal Palace of Venice owes its complete loveliness in distant
effect to the finishing of its cusps. The extremity of the cusp is a
mere ball of Istrian marble; and consider how subtle the faculty of
sight must be, since it recognizes at any distance, and is gratified by,
the mystery of the termination of cusp obtained by the gradated light on
the ball.

In that Venetian tracery this simplest element of sculptured form is
used sparingly, as the most precious that can be employed to finish the
facade. But alike in our own, and the French, central Gothic, the
ball-flower is lavished on every line--and in your St. Mary's spire, and
the Salisbury spire, and the towers of Notre Dame of Paris, the rich
pleasantness of decoration,--indeed, their so-called 'decorative
style,'--consists only in being daintily beset with stone balls. It is
true the balls are modified into dim likeness of flowers; but do you
trace the resemblance to the rose in their distant, which is their
intended, effect?

19. But, farther, let the ball have motion; then the form it generates
will be that of a cylinder. You have, perhaps, thought that pure early
English architecture depended for its charm on visibility of
construction. It depends for its charm altogether on the abstract
harmony of groups of cylinders,[9] arbitrarily bent into moldings, and
arbitrarily associated as shafts, having no _real_ relation to
construction whatsoever, and a theoretical relation so subtle that none
of us had seen it till Professor Willis worked it out for us.

20. And now, proceeding to analysis of higher sculpture, you may have
observed the importance I have attached to the porch of San Zenone, at
Verona, by making it, among your standards, the first of the group which
is to illustrate the system of sculpture and architecture founded on
faith in a future life. That porch, fortunately represented in the
photograph, from which Plate I. has been engraved, under a clear and
pleasant light, furnishes you with examples of sculpture of every kind,
from the flattest incised bas-relief to solid statues, both in marble
and bronze. And the two points I have been pressing upon you are
conclusively exhibited here, namely,--(1) that sculpture is essentially
the production of a pleasant bossiness or roundness of surface; (2) that
the pleasantness of that bossy condition to th