§ IX. There remains, therefore, only the mediæval system, in which I think, generally, more completion is permitted (though this often because more was possible) in the inferior than in the higher portions of ornamental subject. Leaves, and birds, and lizards are realised, or nearly so; men and quadrupeds formalised. For observe, the smaller and inferior subject remains subordinate, however richly finished; but the human sculpture can only be subordinate by being imperfect. The realisation is, however, in all cases, dangerous except under most skilful management, and the abstraction, if true and noble, is almost always more delightful.[70] [Illustration: Plate VIII. DECORATION BY DISKS. PALAZZO DEI BADOARI PARTECIPAZZI.] § X. What, then, is noble abstraction? It is taking first the essential elements of the thing to be represented, then the rest in the order of importance (so that wherever we pause we shall always have obtained more than we leave behind), and using any expedient to impress what we want upon the mind, without caring about the mere literal accuracy of such expedient. Suppose, for instance, we have to represent a peacock: now a peacock has a graceful neck, so has a swan; it has a high crest, so has a cockatoo; it has a long tail, so has a bird of Paradise. But the whole spirit and power of peacock is in those eyes of the tail. It is true, the argus pheasant, and one or two more birds, have something like them, but nothing for a moment comparable to them in brilliancy: express the gleaming of the blue eyes through the plumage, and you have nearly all you want of peacock, but without this, nothing; and yet those eyes are not in relief; a rigidly _true_ sculpture of a peacock's form could have no eyes,--nothing but feathers. Here, then, enters the stratagem of sculpture; you _must_ cut the eyes in relief, somehow or another; see how it is done in the peacock on the opposite page; it is so done by nearly all the Byzantine sculptors: this particular peacock is meant to be seen at some distance (how far off I know not, for it is an interpolation in the building where it occurs, of which more hereafter), but at all events at a distance of thirty or forty feet; I have put it close to you that you may see plainly the rude rings and rods which stand for the eyes and quills, but at the just distance their effect is perfect.