.

Sec. X. The reader now understands all that he need about the shell of
the arch, considered as an united piece of stone.

He has next to consider the shape of the voussoirs. This, as much as is
required, he will be able best to comprehend by a few examples; by which
I shall be able also to illustrate, or rather which will force me to
illustrate, some of the methods of Mont-Cenisian masonry, which were to
be the second part of our subject.

Sec. XI. 1 and 2, Plate IV., are two cornices; 1 from St. Antonio, Padua;
2, from the Cathedral of Sens. I want them for cornices; but I have put
them in this plate because, though their arches are filled up behind,
and are in fact mere blocks of stone with arches cut into their faces,
they illustrate the constant masonry of small arches, both in Italian
and Northern Romanesque, but especially Italian, each arch being cut out
of its own proper block of stone: this is Mont-Cenisian enough, on a
small scale.

3 is a window from Carnarvon Castle, and very primitive and interesting
in manner,--one of its arches being of one stone, the other of two. And
here we have an instance of a form of arch which would be barbarous
enough on a large scale, and of many pieces; but quaint and agreeable
thus massively built.

4 is from a little belfry in a Swiss village above Vevay; one fancies
the window of an absurd form, seen in the distance, but one is pleased
with it on seeing its masonry. It could hardly be stronger.

Sec. XII. These then are arches cut of one block. The next step is to form
them of two pieces, set together at the head of the arch. 6, from the
Eremitani, Padua, is very quaint and primitive in manner: it is a
curious church altogether, and has some strange traceries cut out of
single blocks. One is given in the "Seven Lamps," Plate VII., in the
left-hand corner at the bottom.

7, from the Frari, Venice, very firm and fine, and admirably decorated,
as we shall see hereafter. 5, the simple two-pieced construction,
wrought with the most exquisite proportion and precision of workmanship,
as is everything else in the glorious church to which it belongs, San
Fermo of Verona. The addition of the top piece, which completes the
circle, does not affect the plan of the beautiful arches, with their
simple and perfect cusps; but it is highly curious, and serves to show
how the idea of the cusp rose out of mere foliation. The whole of the
architecture of this church may be characterise