[74] I do not here speak of artistical merits, but the play of the light among the lower shafts is also singularly beautiful in this sketch of Prout’s, and the character of the wild and broken leaves, half dead, on the stone of the foreground.
[75] Vide the “Seven Lamps,” p. 122.
[76] The sections of all the mouldings are given on the right of each; the part which is constantly solid being shaded, and that which is cut into dentils left.
[77] As, however, we shall not probably be led either to Bergamo or Bologna, I may mention here a curiously rich use of the dentil, entirely covering the foliation and tracery of a niche on the outside of the duomo of Bergamo; and a roll, entirely incrusted, as the handle of a mace often is with nails, with massy dogteeth or nail-heads, on the door of the Pepoli palace of Bologna.
CHAPTER XXIV.
THE ROLL AND RECESS.
§ I. I have classed these two means of architectural effect together, because the one is in most cases the negative of the other, and is used to relieve it exactly as shadow relieves light; recess alternating with roll, not only in lateral, but in successive order; not merely side by side with each other, but interrupted the one by the other in their own lines. A recess itself has properly no decoration; but its depth gives value to the decoration which flanks, encloses, or interrupts it, and the form which interrupts it best is the roll.