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 takennotice of, which I believe not to be sufficiently, if at all, considered among our architects.
Of the many broad divisions under which architecture may be considered, none appear to me more significant than that into buildings whose interest is in their walls, and those whose interest is in the lines dividing their walls. In the Greek temple the wall is as nothing; the entire interest is in the detached columns and the frieze they bear; in French Flamboyant, and in our detestable Perpendicular, the object is to get rid of the wall surface, and keep the eye altogether on tracery of line; in Romanesque work and Egyptian, the wall is a confessed and honoured member, and the light is often allowed to fall on large areas of it, variously decorated. Now, both these principles are admitted by Nature, the one in her woods and thickets, the other in her plains, and cliffs, and waters; but the latter is preeminently the principle of power, and, in some sense of beauty also. For, whatever infinity of fair form there may be in the maze of the forest, there is a fairer, as I think, in the surface of the quiet lake; and I hardly know that association of shaft or tracery, for which I would exchange the warm sleep of sunshine on some smooth, broad, human-like front of marble. Nevertheless, if breadth is to be beautiful, its substance must
