examples of this kind of sculpture-painting are the works of Mino da Fiesole; their best effects being reached by strange angular, and seemingly rude, touches of the chisel. The lips of one of the children on the tombs in the church of the Badia, appear only half finished when they are seen close; yet the expression is farther carried and more ineffable, than in any piece of marble I have ever seen, especially considering its delicacy, and the softness of the child-features. In a sterner kind, that of the statues in the sacristy of St. Lorenzo equals it, and there again by incompletion. I know no example of work in which the forms are absolutely true and complete where such a result is attained; in Greek sculptures is not even attempted. XXII. It is evident that, for architectural appliances, such masculine handling, likely as it must be to retain its effectiveness when higher finish would be injured by time, must always be the most expedient; and as it is impossible, even were it desirable that the highest finish should be given to the quantity of work which covers a large building, it will be understood how precious the intelligence must become, which renders incompletion itself a means of additional expression; and how great must be the difference, when the touches are rude and few, between those of a careless and those of a regardful mind. It is not easy to retain anything of their character in a copy; yet the reader will find one or two illustrative points in the examples, given in Plate XIV., from the bas-reliefs of the north of Rouen Cathedral. There are three square pedestals under the three main niches on each side of it, and one in the centre; each of these being on two sides decorated with five quatrefoiled panels. There are thus seventy quatrefoils in the lower ornament of the gate alone, without counting those of the outer course round it, and of the pedestals outside: each quatrefoil is filled with a bas-relief, the whole reaching to something above a man's height. A modern architect would, of course, have made all the five quatrefoils of each pedestal-side equal: not so the Mediæval. The general form being apparently a quatrefoil composed of semicircles on the sides of a square, it will be found on examination that none of the arcs are semicircles, and none of the basic figures squares. The latter are rhomboids, having their acute or obtuse angles uppermost according to their larger or smaller size; and the arcs upon their sides slide into such places as they can get in the angles of the enclosing parallelogram, leaving intervals, at each of the four angles, of various shapes, which are filled each by an animal. The size of the whole panel being thus varied, the two lowest of the five are tall, the next two short, and the uppermost a little higher than the lowest; while in the course of bas-reliefs which surrounds the gate, calling either of the two lowest (which are equal), _a_, and either of the next two _b_, and