by part; you see even the eyes are made symmetrical--entirely round,
instead of irregular, oval; and the iris is set properly in the middle,
instead of--as nature has absurdly put it--rather under the upper lid.
You will also observe the "principle of the pyramid" in the general
arrangement of the figure, and the value of "series" in the placing of
dots.

From this dead barbarism we pass to living barbarism--to work done by
hands quite as rude, if not ruder, and by minds as uninformed; and yet
work which in every line of it is prophetic of power, and has in it the
sure dawn of day. You have often heard it said that Giotto was the
founder of art in Italy. He was not: neither he, nor Giunta Pisano, nor
Niccolo Pisano. They all laid strong hands to the work, and brought it
first into aspect above ground; but the foundation had been laid for
them by the builders of the Lombardic churches in the valleys of the
Adda and the Arno. It is in the sculpture of the round arched churches
of North Italy, bearing disputable dates, ranging from the eighth to
the twelfth century, that you will find the lowest struck roots of the
art of Titian and Raphael. [Footnote: I have said elsewhere, "the root
of _all_ art is struck in the thirteenth century." This is quite
true: but of course some of the smallest fibres run lower, as in this
instance.] I go, therefore, to the church which is certainly the
earliest of these, St. Ambrogio, of Milan, said still to retain some
portions of the actual structure from which St. Ambrose excluded
Theodosius, and at all events furnishing the most archaic examples of
Lombardic sculpture in North Italy. I do not venture to guess their
date; they are barbarous enough for any date.

We find the pulpit of this church covered with interlacing patterns,
closely resembling those of the manuscript at Cambridge, but among them