1 52 0N COLOUR. Pabt I. 



Architectural Art in Italy and Spain," PL vi., the two mosaic 

 patterns, from St. Lorenzo, on the right and left of the plate ; 

 the lowest centre one from the Ara-cceli, Rome, and most of 

 those in the plate ; except the uppermost ones in the centre, 

 from the Baptistry at Venice, which are discordant. There 

 are also many good illustrations of coloured ornamentations in 

 Grriiner's admirable work, " The Fresco Decorations of Italian 

 Churches and Palaces," among which may be particularly 

 noticed the Villa Madama, PI. vn. vin. ix. x. ; the Villa Santi, 

 PI. xx. ; the Ufhzi at Mantua, PI. xxiv, ; the Palazzo Marti- 

 nengo, PI. xxix. (where even the difficulty of pink and green 

 is so admirably overcome) ; the Chartreuse at Pavia, PI. iv. v. 

 vin. ix. x. ; and the Sta. Maria del Popolo at Eome, PL xiii. 



I may also mention some plates in Mr. Digby Wyatt's 

 interesting selection of the " Mosaics of the Middle Ages," as 

 No. vin. fig. 1 (though to judge of it properly, it is necessary 

 to have with it the rest of the design) ; No. ix. fig. 3, from 

 Palermo ; No. x. fig. 5 (though rather cold) ; No. xi. fig. 2 ; 

 No. xiii. A, figs. 1, 4; No. xvn. — the two uppermost figs, to 

 the right and left (even though the red so greatly outbalances 

 the blue) also the upper part of figs. 9, 1 1 ; — No. xvm. figs. 

 7, 8, 9 ; No. xix. especially fig. 4 ; and No. xx. figs. 1 to 8. 



There are also many in Mr. Owen Jones's grand work of 

 the Alhambra ; and the ceilings and soffits of the Alhambra 

 Court at Sydenham, those of the Greek Court, and of the 

 Grallery of Antiquities at the British Museum, may be cited as 

 satisfactory examples of coloured ornamentation; while the 

 greens and reds in the pavements of the Eoman churches (some 

 of which are given in the first plates of Mr. Digby Wyatt's 

 work), should be avoided as specimens of discordant colours ; 

 only to be excused from the nature of the materials employed, 

 which limited the designers to the discordant union of red 

 porphyry with green serpentine, giallo antico, and pavonazzo. 

 (See p. 105.) 



