[M2.178L]                                                             [M2.178]								178
                                                                      
                                                                      		I have noted above p 171 the repose of its sculptured
                                                                      		subject.  Its sculptured treatment however is not in repose
                                                                      		at all.  At Lyons the wild subjects are in low relief
                                                                      		Here we have gentle subject in high relief.  There is
                                                                      		something like the effort of a mind naturally less energetic
                                                                      		to set forth feeble thoughts by strong language   There
                                                                      		is a depth of cutting and hollowing everywhere which is
                                                                      		now curiously opposed to the Italian and Lyons manners:
                                                                      Proutism	I have a hundred times noted the Proutism of Lombard work
                                                                      		Proutism to my idea consists in broad masses of shade
                                                                      		amid light, the latter decorated with rich linear ornament
                                                                      		This is the entire spirit of Italian design.  The Northern work at Bourges and I 		think characteristically elsewhere
                                                                      		depends on crowded and compared points of shade
                                                                      		and so wearies the eye:  The Byzantine or Lombard never
                                                                      		lose the mass - however beautifully they undercut - or 
                                                                      		however deep their points of shade;  and their
                                                                      		surface chasing, as well as that of the Romans, as on
                                                                      		arch at l’Orange is lovely;  It is most curious to see the
                                                                      		entire absence of all surface chasing from the dresses of
                                                                      		the figures on the western porches here, and the breadth
                                                                      		& simplicity of the folds:  In the Romanesque porches
                                                                      		however - more especially the southern one, there is a
                                                                      		mixture of the two manners, rich folds, and surface
                                                                      		chasing in abundance, with quantities of undercutting,
                                                                      		and, which is most notable, complete niches, fastened to

[Version 0.05: May 2008]