108 THE STONES OF VENICE

§ 40. Farther. In proportion to the degree in which his subject must be reduced to abstract outline will be the tendency in the sculptor to abandon naturalism of representation, and subordinate every form to architectural service. When the flower or animal can be hewn into bold relief, there will always be a temptation to render the representation of it more complete than is necessary, or even to introduce details and intricacies inconsistent with simplicity of distant effect. Very often a worse fault than this is committed; and in the endeavour to give vitality to the stone, the original ornamental purpose of the design is sacrificed or forgotten. But when nothing of this kind can be attempted, and a slight outline is all that the sculptor can command, we may anticipate that this outline will be composed with exquisite grace; and that the richness of its ornamental arrangement will atone for the feebleness of its power of portraiture. On the porch of a Northern cathedral we may seek for the images of the flowers that grow in the neighbouring fields, and as we watch with wonder the grey stones that fret themselves into thorns, and soften into blossoms, we may care little that these knots of ornament, as we retire from them to contemplate the whole building, appear unconsidered or confused. On the incrusted building we must expect no such deception of the eye or thoughts. It may sometimes be difficult to determine, from the involutions of its linear sculpture, what were the natural forms which originally suggested them; but we may confidently expect that the grace of their arrangement will always be complete; that there will not be a line in them which could be taken away without injury, nor one wanting which could be added with advantage.

§ 41. Farther. While the sculptures of the incrusted school will thus be generally distinguished by care and purity rather than force, and will be, for the most part, utterly wanting in depth of shadow, there will be one means of obtaining darkness peculiarly simple and obvious, and often in the sculptor’s power. Wherever he can, without danger, leave a hollow behind his covering slabs, or use them, like

[Version 0.04: March 2008]