The seven lamps of architecture . were obtained by the Romanesque architect by means ofranges of recessed arcade, in the management of which, however,though all the effect depends upon the shadow so obtained, theeye is still, as in classical architecture, caused to dwell upon theprojecting columns, capitals, and wall, as in Plate VI. But withthe enlargement of the window, which, in the Lombard andRomanesque churches, is usually little more than an arched slit,came the conception of the simpler mode of decoration, by pene-trations which, seen from within, are forms of light, and, fromwithout, a
The seven lamps of architecture . were obtained by the Romanesque architect by means ofranges of recessed arcade, in the management of which, however,though all the effect depends upon the shadow so obtained, theeye is still, as in classical architecture, caused to dwell upon theprojecting columns, capitals, and wall, as in Plate VI. But withthe enlargement of the window, which, in the Lombard andRomanesque churches, is usually little more than an arched slit,came the conception of the simpler mode of decoration, by pene-trations which, seen from within, are forms of light, and, fromwithout, are forms of shade. In Italian traceries the eye isexclusively fixed upon the dark forms of the penetrations, andthe whole proportion and power of the design are caused todepend upon them. The intermediate spaces are, indeed, in themost perfect early examples, filled with elaborate ornament; butthis ornament was so subdued as never to disturb the simplicityand force of the dark masses; and in many instances is entirely Plate VJ ,. THE LAMP OF POWER. 93 wanting. The composition of the whole depends on the propor-tioning and shaping of the darks ; and it is impossible that any-thing can be more exquisite than their placing in the head windowof the Giotto campanile, Plate IX., or the Church of Or SanMichele. So entirely does the effect depend upon them, that itis quite useless to draw Italian tracery in outline ; if with anyintention of rendering its effect, it is better to mark the blackspots, and let the rest alone. Of course, when it is desired toobtain an accurate rendering of the design, its lines and mould-ings are enough ; but it often happens that works on architectureare of Httle use, because they afford the reader no means ofjudging of the effective intention of the arrangements which theystate. No person, looking at an architectural drawing of therichly foliaged cusps and intervals of Or San Michele, wouldunderstand that all this sculpture was extraneous, was a mereadded
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Keywords: ., bookcentury1800, bookdecad, booksubjectarchitecture, bookyear1883
