VII. Whether, therefore, we have to do with tower or wall, there must be one bounding line from base to coping; and I am much inclined, myself, to love the true vertical, or the vertical, with a solemn frown of projection (not a scowl), as in the Palazzo Vecchio of Florence. This character is always given to rocks by the poets; with slight foundation indeed real rocks being little given to overhanging--but with excellent judgment; for the sense of threatening conveyed by this form is a nobler character than that of mere size. And, in buildings, this threatening should be somewhat carried down into their mass. A mere projecting shelf is not enough, the whole wall must, Jupiter like, nod as well as frown. Hence, I think the propped machicolations of the Palazzo Vecchio and Duomo of Florence far grander headings than any form of Greek cornice. Sometimes the projection may be thrown lower, as in the Doge's palace of Venice, where the chief appearance of it is above the second arcade; or it may become a grand swell from the ground, as the head of a ship of the line rises from the sea. This is very nobly attained by the projection of the niches in the third story of the Tour de Beurre at Rouen. VIII. What is needful in the setting forth of magnitude in height, is right also in the marking it in area--let it be gathered well together. It is especially to be noted with respect to the Palazzo Vecchio and other mighty buildings of its order, how mistakenly it has been stated that dimension, in order to become impressive, should be expanded either in height or length, but not equally: whereas, rather it will be found that those buildings seem on the whole the vastest which have been gathered up into a mighty square, and which look as if they had been measured by the angel's rod, "the length, and the breadth, and the height of it are equal," and herein something is to be taken notice of, which I believe not to be sufficiently, if at all, considered among our architects.