portion of
cement showing externally, and the skill to insure, if needful, and to
suggest always, their stability in cementless construction. Plate X.
represents a piece of entirely fine Lombardic building, the central
portion of the arch in the Duomo of Verona, which corresponds to that of
the porch of San Zenone, represented in Plate I. In both these pieces of
building, the only line that traces the architrave round the arch, is
that of the masonry joint; yet this line is drawn with extremest
subtlety, with intention of delighting the eye by its relation of varied
curvature to the arch itself; and it is just as much considered as the
finest pen-line of a Raphael drawing. Every joint of the stone is used,
in like manner, as a thin black line, which the slightest sign of cement
would spoil like a blot. And so proud is the builder of his fine
jointing, and so fearless of any distortion or strain spoiling the
adjustment afterwards, that in one place he runs his joint quite
gratuitously through a bas-relief, and gives the keystone its only sign
of pre-eminence by the minute inlaying of the head of the Lamb, into the
stone of the course above.

161. Proceeding from this fine jointing to fine draughtsmanship, you
have, in the very outset and earliest stage of sculpture, your flat
stone surface given you as a sheet of white paper, on which you are
required to produce the utmost effect you can with the simplest means,
cutting away as little of the stone as may be, to save both time and
trouble; and, above all, leaving the block itself, when shaped, as solid
as you can, that its surface may better resist weather, and the carved
parts be as much protected as possible by the masses left around them.

162. The first thing to be done is clearly to trace the outline of
subject with an incision approximating in section to that of the furrow
of a plough, only more equal-sided. A fine sculptor strikes it, as his
chisel leans, freely, on marble; an Egyptian, in hard rock, cuts it
sharp, as in cuneiform inscriptions. In any case, you have a result
somewhat like the upper figure, Plate XI., in which I show you the most
elementary indication of form possible, by cutting the outline of the
typical archaic Greek head with an incision like that of a Greek
triglyph, only not so precise in edge or slope, as it is to be modified
afterwards.

163. Now, the simplest thing we can do next, is to round off the flat
surface _within_ the incision, a