occupy important positions, are quite endless, and nearly all admirable. Mr. Digby Wyatt has given a beautiful example of inlaid work so employed, from the cloisters of the Lateran, in his work on early mosaic; an example which unites the surface decoration of the shaft with the adoption of the spiral contour. This latter is often all the decoration which is needed, and none can be more beautiful; it has been spoken against, like many other good and lovely things, because it has been too often used in extravagant degrees, like the well-known twisting of the pillars in Raffaelle's "Beautiful gate." But that extravagant condition was a Renaissance barbarism: the old Romanesque builders kept their spirals slight and pure; often, as in the example from St. Zeno, in Plate XVII. below, giving only half a turn from the base of the shaft to its head, and nearly always observing what I hold to be an imperative law, that no twisted shaft shall be single, but composed of at least two distinct members, twined with each other. I suppose they followed their own right feeling in doing this, and had never studied natural shafts; but the type they _might_ have followed was caught by one of the few great painters who were not affected by the evil influence of the fifteenth century, Benozzo Gozzoli, who, in the frescoes of the Ricardi Palace, among stems of trees for the most part as vertical as stone shafts, has suddenly introduced one of the shape given in Fig. LXII. Many forest trees present, in their accidental contortions, types of most complicated spiral shafts, the plan being originally of a grouped shaft rising from several roots; nor, indeed, will the reader ever find models for every kind of shaft decoration, so graceful or so gorgeous, as he will find in the great forest aisle, where the strength of the earth itself seems to rise from the roots into the vaulting; but the shaft surface, barred as it expands with rings of ebony and silver, is fretted with traceries of ivy, marbled with purple moss, veined with grey lichen, and tesselated, by the rays of the rolling heaven, with flitting fancies of blue shadow and burning gold. FOOTNOTES: [82] Vide end of Appendix 20. [83] Vide, however, their defence in the Essay above quoted, p. 251. CHAPTER XXVII. THE CORNICE AND CAPITAL.