campanile, but dominant over smaller divisions below, and subordinated to the noble third above. Even this arrangement is difficult to treat; and it is usually safer to increase or diminish the height of the divisions regularly as they rise, as in the Doge's Palace, whose three divisions are in a bold geometrical propression: or, in towers, to get an alternate proportion between the body, the belfry, and the crown, as in the campanile of St Mark's. But, at all events, get rid of equality; leave that to children and their card houses; the laws of nature and the reason of man are alike against it, in arts, as in politics. There is but one thoroughly ugly tower in Italy that I know of, and that is so because it is divided into vertical equal parts: the tower of Pisa[1].
XXIX. One more principle of Proportion I have to name, equally simple, equally neglected. Proportion is between three terms at least. Hence, as the pinnacles are not enough without the spire, so neither the spire without the pinnacles. All men feel this, and usually express their feeling by saying that the pinnacles conceal the junction of the spire and tower. This is one reason; but a more influential one is, that the pinnacles furnish the third term to the spire and tower. So that it is not enough, in order to secure proportion, to divide a building unequally; it must be divided into at least three parts; it may be into more (and in details with advantage), but on a large scale I find three is about the best number of parts in elevation, and five in horizontal extent, with freedom of increase to five in the one case and seven in the other; but not to more without confusion (in architecture, that is to say; for in organic structure the numbers cannot be limited). I purpose, in the course of works which are in preparation, to give copious illustrations of this subject, but I will take at present only one instance of vertical proportion, from the flower stem of the common water plantain,
- ↑ 12. p. 134. 'Into vertical equal parts': Not absolutely so. There are variations partly accidental (or at least compelled by the architect's effort to recover the vertical) between the sides of the stories; and the upper andlower story are taller than the rest. There is, however, an apparent equality between five out of the eight tiers.
