the various
patterns of foliation with which its spaces are filled; and it is so cut
through and through that it is hardly stronger than a piece of lace:
whereas the pinnacle from Verona depends for its effect on one broad
mass of shadow, boldly shaped into the trefoil in its bearing arch; and
there is no other trefoil on that side of the niche. All the rest of its
decoration is floral, or by almonds and bosses; and its surface of stone
is unpierced, and kept in broad light, and the mass of it thick and
strong enough to stand for as many more centuries as it has already
stood, scatheless, in the open street of Verona. The figures 3 and 4,
above each niche, show how the same principles are carried out into the
smallest details of the two edifices, 3 being the moulding which
borders the gable at Abbeville, and 4, that in the same position at
Verona; and as thus in all cases the distinction in their treatment
remains the same, the one attracting the eye to broad sculptured
_surfaces_, the other to involutions of intricate _lines_, I shall
hereafter characterize the two schools, whenever I have occasion to
refer to them, the one as Surface-Gothic, the other as Linear-Gothic.

Sec. CIII. Now observe: it is not, at present, the question, whether the
form of the Veronese niche, and the design of its flower-work, be as
good as they might have been; but simply, which of the two architectural
principles is the greater and better. And this we cannot hesitate for an
instant in deciding. The Veronese Gothic is strong in its masonry,
simple in its masses, but perpetual in its variety. The late French
Gothic is weak in masonry, broken in mass, and repeats the same idea
continually. It is very beautiful, but the Italian Gothic is the nobler
style.

Sec. CIV. Yet, in saying that the French Gothic repeats one idea, I mean
merely that it depends too much upon the foliation of its traceries. The
disposition of the traceries themselves is endlessly varied and
inventive; and indeed, the mind of the French workman was, perhaps, even
richer in fancy than that of the Italian, only he had been taught a less
noble style. This is especially to be remembered with respect to the
subordination of figure sculpture above noticed as characteristic of the
later Gothic.

It is not that such sculpture is wanting; on the contrary, it is often
worked into richer groups, and carried out with a perfection of
execution, far greater than those which adorn th