for the purposes of illustration for which the plate is given. For the accuracy of the rest I can answer, even to the cracks in the ston*es, and the number of them; and though the looseness of the drawing, and the picturesque character which is necessarily given by an endeavour to draw old buildings as they actually appear, may perhaps diminish their credit for architectural veracity, they will do so unjustly.
The system of lettering adopted in the few instances in which sections have been given, appears somewhat obscure in the references, but it is convenient upon the whole. The line which marks the direction of any section is noted, if the section be symmetrical, by a single letter, as a; and the section itself by the same letter with a line over it — ā. But if the section be unsymmetrical, its direction is noted by two letters, a. a2, at its extremities; and the actual section by the same letters with lines over them, ā. ā2, at the correspondent extremities.
The reader will perhaps be surprised by the small number of buildings to which reference has been made. But it is to be remembered that the following chapters pretend only to be a statement of principles, illustrated each by one or two examples; not an Essay on European architecture; and those examples I have generally taken either from the buildings which I love best, or from the schools of architecture which, it appeared to me, have been less carefully described than they deserved. I could as fully, though not with the accuracy and certainty derived from personal observation, have illustrated the principles subsequently advanced, from the architecture of Egypt, India, or Spain, as from that to which the reader will find his attention chiefly directed, the Italian Romanesque and Gothic. But my affections, as well as my experience, led me to that line of richly varied and magnificently intellectual schools, which reaches, like a high watershed of Christian architecture, from the Adriatic
