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less than by the management of the hght and shade ; by the 
latter, apparent prominence or distance is given, as may be 
required ; and it has been observed by an ancient author — 
( Theages Pythagoricus apud Stohoeum ) — " That the con- 
"tour of the illuminated part of a figure should be blended 
* ' with and lost in the shade, since on this depends anima- 
''tion, tenderness, and similitude to truth." 
Sculpture frequently calls painting to its aid, as may be 
observed in the monochromatic and polychromatic works 
of the ancients, no less than those of the middle ages. 
But by what means, it may be asked, does Architecture 
produce those thrilling sensations of awe which we experi- 
ence in the contemplation of our sublime cathedrals ? Simply 
by the effect of light and shade. 
Longinus, in his work on the " Sublime," observes, that 
"if we place in parallel lines, on the samiC plane, a bright 
" and an obscure tone of colouring, the former springs 
'^forward, and appears much nearer the eye." Now, in 
Norman buildings the recession of the mouldings produces 
this very effect ; but the mouldings being placed at right 
angles, however multiplied, a degree of harshness and se- 
verity in the shadows is the result — not to say, a great 
degree of sameness. 
The superiority of the Gothic over the circular arch, in 
the projection of shadows, is thus beautifully explained by 
Mr. Kerrick : — " In the archivolt of a semicircular arch, 
" all the mouldings, however diversified and rich, will still 
be all concentric semicircles, (see plate 1, No. 18), all 
" exactly similar to the arch itself ; but in pointed arches 
"it is not so. Every moulding on the face of the arch is 
" concentric with its arch, but not similar to it; (see plate 1, 
" No. 19) ; no two are alike ; they are respectively com- 
" posed of different portions of a circle, and each is a 
" different arch, (the internal being pointed, the external 
