On colour, and on the necessity for a general diffusion of taste among all classes . Fig. 1. Fig. 2. Fig. 3. entablature (fig. 3). Nor will such a fault find any palliationfrom its occurrence in the facade of St. Marks, at Venice ;where the centre arch is thrust through the horizontal linewhich crowns the basement story. 100. I am far from finding fault with St. Marks, which Iunite with the most enthusiastic in admiring; but I admire itfor its effect, and I am no more disposed to subject it toordinary rules than any other object beautiful for its pic-turesqueness. An illuminated MS. (to which
On colour, and on the necessity for a general diffusion of taste among all classes . Fig. 1. Fig. 2. Fig. 3. entablature (fig. 3). Nor will such a fault find any palliationfrom its occurrence in the facade of St. Marks, at Venice ;where the centre arch is thrust through the horizontal linewhich crowns the basement story. 100. I am far from finding fault with St. Marks, which Iunite with the most enthusiastic in admiring; but I admire itfor its effect, and I am no more disposed to subject it toordinary rules than any other object beautiful for its pic-turesqueness. An illuminated MS. (to which it may becompared) is not to be criticised like a painting. There is acharm in St. Marks which is irrespective of architecturalmerits. It has a solemn mysterious character within, greatlyincreased by its half-darkened recesses, its chapels, and itscolumnar screens, and by so much being veiled from the sight,or imperfectly seen, that we only distinguish part of what weeven look at. Wherever we stand, whatever we admire, wefeel there is so much more unseen, which must be searchedou
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