under the term early Renaissance are, in many cases, only the extravagances and corruptions of the languid Gothic, for whose errors the classical principle is in no wise answerable. It was stated in the second chapter of the “Seven Lamps,” that, unless luxury had enervated and subtlety falsified the Gothic forms, Roman traditions could not have prevailed against them; and, although these enervated and false conditions are almost instantly colored by the classical influence, it would be utterly unfair to lay to the charge of that influence the first debasement of the earlier schools, which had lost the strength of their system before they could be struck by the plague.

§ V. The manner, however, of the debasement of all schools of art, so far as it is natural, is in all ages the same; luxuriance of ornament, refinement of execution, and idle subtleties of fancy, taking the place of true thought and firm handling: and I do not intend to delay the reader long by the Gothic sick-bed, for our task is not so much to watch the wasting of fever in the features of the expiring king, as to trace the character of that Hazael who dipped the cloth in water, and laid it upon his face, Nevertheless, it is necessary to the completeness of our view of the architecture of Venice, as well as to our understanding of the manner in which the Central Renaissance obtained its universal dominion, that we glance briefly at the principal forms into which Venetian Gothic first declined. They are two in number: one the corruption of the Gothic itself; the other a partial return to Byzantine forms; for the Venetian mind having carried the Gothic to a point at which it was dissatisfied, tried to retrace its steps, fell back first upon Byzantine types, and through them passed to the first Roman. But in thus retracing its steps, it does not recover its own lost energy. It revisits the places through which it had passed in the morning light, but it is now with wearied limbs, and under the gloomy shadows of evening.

§ VI. It has just been said that the two principal causes of natural decline in any school, are over-luxuriance and over-refinement. The corrupt Gothic of Venice furnishes us with a curious instance of the one, and the corrupt Byzantine of the other. We shall examine them in succession.

Now, observe, first, I do not mean by luxuriance of ornament, quantity of ornament. In the best Gothic in the world there is hardly an inch of stone left unsculptured. But I mean that character of extravagance in the ornament itself which shows that it was addressed to jaded faculties; a violence and coarseness in curvature, a depth of shadow, a lusciousness in arrangement of line, evidently arising out of an incapability of feeling the true beauty of chaste form and restrained power. I do not know any character of design which may be more easily recognized at a glance than this over-lusciousness; and yet it seems to me that at the present day there is nothing so little understood as the essential difference between chasteness and extravagance, whether in color, shade, or lines. We speak loosely and inaccurately of “overcharged” ornament, with an obscure feeling that there is indeed something in visible Form which is correspondent to Intemperance in moral habits; but without any distinct detection of the character which offends us, far less with any understanding of the most important lesson which there can be no doubt was intended to be conveyed by the universality of this ornamental law.

§ VII. In a word, then, the safeguard of highest beauty, in all visible work, is exactly that which is also the safeguard of conduct in the soul,—Temperance, in the broadest sense; the Temperance which we have seen sitting on an equal throne with Justice amidst the Four Cardinal Virtues, and, wanting which, there is not any other virtue which may not lead us into desperate error. Now, observe: Temperance, in the nobler sense, does not mean a subdued and imperfect energy; it does not mean a stopping short in any good thing, as in Love or in Faith; but it means the power which governs the most intense energy, and prevents its acting in any way but as it ought. And with respect to things in which there may be excess, it does not mean imperfect enjoyment of them; but the regulation of their quantity, so that the enjoyment of them shall be greatest. For instance, in the matter we have at present in hand, temperance in color does not mean imperfect or dull enjoyment of color; but it means that government of color which shall bring the utmost possible enjoyment out of all hues. A bad colorist does not love beautiful color better than the best colorist does, nor half so much. But he indulges in it to excess; he uses it in large masses, and unsubdued; and then it is a law of Nature, a law as universal as that of gravitation, that he shall not be able to enjoy it so much as if he had used it in less quantity. His eye is jaded and satiated, and the blue and red have life in them no more. He tries to paint them bluer and redder, in vain: all the blue has become grey, and gets greyer the more he adds to it; all his crimson has become brown, and gets more sere and autumnal the more he deepens it. But the great painter is sternly temperate in his work; he loves the vivid color with all his heart; but for a long time he does not allow himself anything like it, nothing but sober browns and dull greys, and colors that have no conceivable beauty in them; but these by his government become lovely: and after bringing out of them all the life and power they possess, and enjoying them to the uttermost,—cautiously, and as the crown of the work, and the consummation of its music, he permits the momentary crimson and azure, and the whole canvas is in a flame.

§ VIII. Again, in curvature, which is the cause of loveliness in all form; the bad designer does not enjoy it more than the great designer, but he indulges in it till his eye is satiated, and he cannot obtain enough of it to touch his jaded feeling for grace. But the great and temperate designer does not allow himself any violent curves; he works much with lines in which the curvature, though always existing, is long before it is perceived. He dwells on all these subdued curvatures to the uttermost, and opposes them with still severer lines to bring them out in fuller sweetness; and, at last, he allows himself a momentary curve of energy, and all the work is, in an instant, full of life and grace.

The curves drawn in Plate VII. of the first volume, were chosen entirely to show this character of dignity and restraint, as it appears in the lines of nature, together with the perpetual changefulness of the degrees of curvature in one and the same line; but although the purpose of that plate was carefully explained in the chapter which it illustrates, as well as in the passages of “Modern Painters” therein referred to (vol. ii. pp. 43, 79), so little are we now in the habit of considering the character of abstract lines, that it was thought by many persons that this plate only illustrated Hogarth’s reversed line of beauty, even although the curve of the salvia leaf, which was the one taken from that plate for future use, in architecture, was not a reversed or serpentine curve at all. I shall now, however, I hope, be able to show my meaning better.

§ IX. Fig. 1 in Plate I., opposite, is a piece of ornamentation from a Norman-French manuscript of the thirteenth century, and fig. 2 from an Italian one of the fifteenth. Observe in the first its stern moderation in