52 TAPERS, ETC. 



but rises at once from the ground like an ancient Doric 

 column. It has no frame-work, except its own outline 

 agalnst the sky. Its lateral continuity is destroyed by the 

 fluting, and it is a Square pier, or a shaft which, according 

 to its size and the material of which it is composed, might 

 serve for a thousand other purposes. Owing to the 

 absence of frame-work, there is no necessary connection 

 between its parts. The spire which crowns it cannot 

 possibly grow out of its base. It is, in fact, a Square 

 fluted shaft, having at one end a sort of shrine, a Square 

 box, and a spire, all perfectly distinct and independent of 

 each other, and altogether forming what, being of marble, 

 of great size, and standing upright, is, I suppose, a very 

 good campanile ; but which, if about two feet long, 

 made of wood, and furnlshed with a handle at the end, 

 (which, as it has no defined base, may easily be imagined) 

 would only require the Doge's cap at the other end to make 

 it quite as good a design for the staff of a Venetian 

 constable, as for anything eise ; in fact, it is a Romanesque 

 campanile, and not a tower at all, in the Gothic sense of 

 the Word. I have spoken of this campanile in what may 

 appear a sllghting tone, not with any Intention of depre- 

 ciating Italian architecture, of the merits and demerits of 

 which I candidly own myself to be a totally incompetent 

 judge, but merely to shew the immense importance of 

 the prlnciples above mentioned to that unity of design, 

 which is indispensable to the construction of a perfect 

 Gothic tower. 



That a frame-work enclosing the tower wIU conduce to 



the appearance of unity of design is obvious, but it is not of 



. itself sufficient, for it is very possible to fritter away the 



wall work enclosed, so as totally to counteract the effect of 



