forms were associated with the curved ones in the cornice and triglyph, and the mass of the pillar was divided by a fluting, which, in distant effect, destroyed much of its breadth. What power of light these primal arrangements left, was diminished in successive refinements and additions of ornament; and continued to diminish through Roman work, until the confirmation of the circular arch as a decorative feature. Its lovely and simple line taught the eye to ask for a similar boundary of solid form; the dome followed, and necessarily the decorative masses were thenceforward managed with reference to, and in sympathy with, the chief feature of the building. Hence arose, among the Byzantine architects, a system of ornament, entirely restrained within the superficies of curvilinear masses, on which the light fell with as unbroken gradation as on a dome or column, while the illumined surface was nevertheless cut into details of singular and most ingenious intricacy. Something is, of course, to be allowed for the less dexterity of the workmen; it being easier to cut down into a solid block, than to arrange the projecting portions of leaf on the Greek capital: such leafy capitals are nevertheless executed by the Byzantines with skill enough to show that their preference of the massive form was by no means compulsory, nor can I think it unwise. On the contrary, while the arrangements of line are far more artful in the Greek capital, the Byzantine light and shade are as incontestably more grand and masculine, based on that quality of pure gradation which nearly all natural objects possess, and the attainment of which is, in fact, the first and most palpable purpose in natural arrangements of grand form. The rolling heap of the thunder-cloud, divided by rents, and multiplied by wreaths, yet gathering them all into its broad, torrid, and towering zone, and its midnight darkness opposite; the scarcely less majestic heave of the mountain side, all torn and traversed by depth of defile and ridge of rock,
