tombs in the desecrated cloister. SECTION XXII. It must therefore be altogether without reference to its present usefulness, that we pursue our inquiry into the merits and meaning of the architecture of this marvellous building; and it can only be after we have terminated that inquiry, conducting it carefully on abstract grounds, that we can pronounce with any certainty how far the present neglect of St. Mark's is significative of the decline of the Venetian character, or how far this church is to be considered as the relic of a barbarous age, incapable of attracting the admiration, or influencing the feelings of a civilized community. The inquiry before us is twofold. Throughout the first volume, I carefully kept the study of _expression_ distinct from that of abstract architectural perfection; telling the reader that in every building we should afterwards examine, he would have first to form a judgment of its construction and decorative merit, considering it merely as a work of art; and then to examine farther, in what degree it fulfilled its expressional purposes. Accordingly, we have first to judge of St. Mark's merely as a piece of architecture, not as a church; secondly, to estimate its fitness for its special duty as a place of worship, and the relation in which it stands, as such, to those northern cathedrals that still retain so much of the power over the human heart, which the Byzantine domes appear to have lost for ever. SECTION XXIII. In the two succeeding sections of this work, devoted respectively to the examination of the Gothic and Renaissance buildings in Venice, I have endeavored to analyze and state, as briefly as possible, the true nature of each school,--first in Spirit, then in Form. I wished to have given a similar analysis, in this section, of the nature of Byzantine architecture; but could not make my statements general, because I have never seen this kind of building on its native soil. Nevertheless, in the following sketch of the principles exemplified in St. Mark's, I believe that most of the leading features and motives of the style will be found clearly enough distinguished to enable the reader to judge of it with tolerable fairness, as compared with the better known systems of European architecture in the middle ages. SECTION XXIV. Now the first broad characteristic of the building, and the root nearly of every other important peculiarity in it, is its confessed _incrustation_. It is the purest example in Italy of the great school of architecture in which the ruling principle is the incrustation of brick with more precious materials; and it is necessary before we proceed to criticise any one of its arrangements, that the reader should carefully consider the principles which are likely to have influenced, or might legitimately influence, the architects of such a school, as distinguished from those whose designs are to be executed in massive materials.