189							178
                                                                      
                                                                      	     I have noted above 1 171 the repose of its sculptured
                                                                      subject.  Its sculptured treatment however is not in re-
                                                                      pose at all.  At Lyons the wld  subjects are in low relief
                                                                      Here we have gentle subject i[o]n high relief.  There is some
                                                                      thing like the effort of a mind naturally less energetic
                                                                      to set forth feeble thoughts by strong language   There
                                                                                    is a depth of cutting and hollowing everywhere which is
                                                                      now curiously opposed to the Italian and Lyons manners:
                                                                      Proutism	I have a hundred times noted the Proutian of Lombard work
                                                                      Proutism to my idea consists in broad masses of shade
                                                                      amid light, the latter decorated with rich linear ornament
                                                                      This is the entire spirit of Italian design.  The North-
                                                                      ern work[l] at Bourges and I think characteristically else-
                                                                      where depends on crowded and compared points of shade
                                                                      and so w earies the eye:  The Byzantine or Lombard never
                                                                      lose the mass - however beautifully they undercut - or 
                                                                      however deep their points of shade;  and their
                                                                      surface chasing, as well as that of the Romans, as on
                                                                      arch at l’Orange is lovely;  It is most curious to see the
                                                                      entire absence of all surface chasing from the dresses of
                                                                      the figures on the western porches here, and the breadth
                                                                      and simplicity of the folds:  In the Romanesque porches
                                                                      however - more especially the southern one, there is a
                                                                      mixture of the two manners, rich folds, and surface
                                                                      chasing in abundance, with quantities of undercutting,
                                                                      and, which is most notable, complete niches, fastened to

[Version 0.05: May 2008]