. Brick and marble in the middle ages: notes of tours in the north of Italy . itecturalcarving was designed with the same idea; for when it wasintroduced elsewhere than in the capitals of columns, it wasalways very flat and delicate, severe in outline, and notmuch relieved, and often very decided in its direct imita-tion of nature. This, however, is mainly seen in the earliestexamples, for I am bound to say that later Italians neverrivalled the Byzantine capitals of S. Marks, or some ofthose in the early church of San Zenone, Verona. Indeed,as time wore on, the carving in Italian buildings bec
. Brick and marble in the middle ages: notes of tours in the north of Italy . itecturalcarving was designed with the same idea; for when it wasintroduced elsewhere than in the capitals of columns, it wasalways very flat and delicate, severe in outline, and notmuch relieved, and often very decided in its direct imita-tion of nature. This, however, is mainly seen in the earliestexamples, for I am bound to say that later Italians neverrivalled the Byzantine capitals of S. Marks, or some ofthose in the early church of San Zenone, Verona. Indeed,as time wore on, the carving in Italian buildings becamesteadily worse and Avorse. Most of the later Venetiancapitals are bad in their outline, confused and purposeless Kiiglisli examples may Ik; scon in tlie wcstcru pdrcli of Fountains Abbey,anil among the extcnsivf fragments of Egglestonc Abbey, near BarnardCastle. Chap. XIV.] CORNICES. 379 in all tlunr lines, and shew no sense of that vigorous petri-faction of the elements of natural growth and form, whichwas so sensitively felt and expressed by French and CORNICE—SAN FRANCESCO, BRESCIA. And, next, we come to the cornice, the feature whichal)ove all others must most startle men who, for the firsttime, make acquaintance with Italian work, and which mostrecalls in its idea its Classic prototype; for, though itstreatment in detail is as unlike that of the ancients as itcan well he, it is, nevertheless, so decidedly marked and soprominent a feature (crowning not only the summits of walls,but even running up the gables, and returning round but-tresses), that it is impossible not to regard it as anotherevidence of admiration for, and imitation of, earlier work. 380 ITALIAN GOTH[C BUILDINGS. [Chap. XIV. The ordinary northern parapet is never used, the eavesalmost always finishing with the common Italian tiles pro-jecting slightly over the deep cornice of the walls. AVe havenothing at all parallel to these cornices in England, and Iremember but few examples of anyth
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