166 THE SEVEN LAMPS OF ARCHITECTURE

the roll e. This could not, however, be managed with the simpler mouldings of the smaller quatrefoil above, whose half section is given from g to g₂; but the architect was evidently fretted by the heavy look of its circular foils as opposed to the light spring of the arches below: so he threw its cusps obliquely clear from the wall, as seen in fig. 2, attached to it where they meet the circle, but with their finials pushed out from their natural level (h, in the section) to that of the first order (g₂), and supported by stone props behind, as seen in the profile, fig. 2, which I got from the correspondent panel on the buttress face (fig. 1 being on its side), and of which the lower cusps, being broken away, show the remnant of one of their props projecting from the wall. The oblique curve thus obtained in the profile is of singular grace. Take it all in all, I have never met with a more exquisite piece of varied, yet severe, proportion and general arrangement (though all the windows of the period are fine, and especially delightful in the subordinate proportioning of the smaller capitals to the smaller shafts). The only fault it has is the inevitable misarrangement of the central shafts; for the enlargement of the inner roll, though beautiful in the group of four divisions at the side, causes, in the triple central shaft, the very awkwardness of heavy lateral members which has just been in most instances condemned. In the windows of the choir, and in most of the period, this difficulty is avoided by making the fourth order a fillet which only follows the foliation, while the three outermost are nearly in arithmetical progression of size, and the central triple shaft has of course the largest roll in front. The moulding of the Palazzo Foscari¹ (Plate VIII., and Plate IV., fig. 8) is, for so simple a group, the grandest in effect I have ever seen; it is composed of a large roll with two subordinates.

§ 28. It is of course impossible to enter into details of instances belonging to so intricate a division of our subject, in the compass of a general essay. I can but rapidly name

¹ [See above, pp. 94, 132.]

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