284. Plate III.—The Fountain of Perugia. Executed from a sketch by Mr. Arthur Severn. The perspective of the steps is not quite true; we both tried to get it right, but found that it would be a day or two's work, to little purpose,—and so let them go at hazard. The inlaid pattern behind is part of the older wall of the cathedral; the late door is of course inserted.
Plate IV., Letter E.—From Norman Bible in the British Museum; showing the moral temper which regulated common ornamentation in the twelfth century.
285. Plate V.—Door of the Baptistery at Pisa. The reader must note that, although these plates are necessarily, in fineness of detail, inferior to the photographs from which they are taken, they have the inestimable advantage of permanence, and will not fade away into spectres when the book is old. I am greatly puzzled by the richness of the current ornamentation on the main pillars, as opposed to the general severity of design. I never can understand how the men who indulged in this flowing luxury of foliage were so stern in their masonry and figure-draperies.
Plate VI.—Part of the lintel of the door
