The uppermost of these
stones is nearly pure in its Byzantine style; the lower, already semi-
Gothic. Both are exquisite of their kind, and we will examine them
closely; but first note these points about the stones of them. We are
discussing work at latest of the thirteenth century. Our loss of the
inscription is evidently owing to the action of the iron rivets which
have been causelessly used at the two horizontal joints. There was
nothing whatever in the construction to make these essential, and, but
for this error, the entire piece of work, as delicate as an ivory
tablet, would be as intelligible to-day as when it was laid in its
place. [1]
[Footnote: Plates 6 and 7 give, in greater clearness, the sculpture of
this lintel, for notes on which see Appendix.]
150. _Laid_. I pause upon this word, for it is an important one. And I
must devote the rest of this lecture to consideration merely of what
follows from the difference between laying a stone and setting it up,
whether we regard sculpture or construction. The subject is so wide, I
scarcely know how to approach it. Perhaps it will be the pleasantest
way to begin if I read you a letter from one of yourselves to me.
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