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but still in a system non-concurrent with their forms.

On the opposite side of this scale, ascending from the colour pattern, I would place the various forms of painting which may be associated with architecture: primarily, and as most fit for such purpose, the mosaic, highly abstract in treatment, and introducing brilliant colour in masses; the Madonna of Torcello being, as I think, the noblest type of the manner, and the Baptistery of Parma the richest: next, the purely decorative fresco, like that of the Arena Chapel; finally, the fresco becoming principal, as in the Vatican and Sistine. But I cannot, with any safety, follow the principles of abstraction in this pictorial ornament; since the noblest examples of it appear to me to owe their architectural applicability to their archaic manner; and I think that the abstraction and admirable simplicity which render them fit media of the most splendid colouring, cannot be recovered by a voluntary condescension. The Byzantines themselves would not I think, if they could have drawn the figure better, have used it for a colour decoration; and that use, as peculiar to a condition of childhood, however noble and full of promise, cannot be included among those modes of adornment which are now legitimate or even possible. There is a difficulty in the management of the painted window for the same reason, which has not yet been met, and we must conquer that first, before we can venture to consider the wall as a painted