[Illustration: PLATE XI.--(Page 131--Vol. V.) BALCONY IN THE CAMPO, ST. BENEDETTO, VENICE.] XXXV. III. Our final inquiry was to be into the use of color as associated with architectural ornament. I do not feel able to speak with any confidence respecting the touching of _sculpture_ with color. I would only note one point, that sculpture is the representation of an idea, while architecture is itself a real thing. The idea may, as I think, be left colorless, and colored by the beholder's mind: but a reality ought to have reality in all its attributes: its color should be as fixed as its form. I cannot, therefore, consider architecture as in any wise perfect without color. Farther, as I have above noticed, I think the colors of architecture should be those of natural stones; partly because more durable, but also because more perfect and graceful. For to conquer the harshness and deadness of tones laid upon stone or on gesso, needs the management and discretion of a true painter; and on this co-operation we must not calculate in laying down rules for general practice. If Tintoret or Giorgione are at hand, and ask us for a wall to paint, we will alter our whole design for their sake, and become their servants; but we must, as architects, expect the aid of the common workman only; and the laying of color by a mechanical hand, and its toning under a vulgar eye, are far more offensive than rudeness in cutting the stone. The latter is imperfection only; the former deadness or discordance. At the best, such color is so inferior to the lovely and mellow hues of the natural stone, that it is wise to sacrifice some of the intricacy of design, if by so doing we may employ the nobler material. And if, as we looked to Nature for instruction respecting form, we look to her also to learn the management of color, we shall, perhaps, find that this sacrifice of intricacy is for other causes expedient. XXXVI. First, then, I think that in making this reference we are to consider our building as a kind of organized creature; in coloring which we must look to the single and separately organized creatures of Nature, not to her landscape combinations. Our building, if it is well composed, is one thing, and is to be colored as Nature would color one thing--a shell, a flower, or an animal; not as she colors groups of things.