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THE POETRY OF ARCHITECTURE.
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hind them, at the same distance as the balustrades, or between every two or three, as shown in Fig. 30, and keep them cut down to a certain height, and we have immediate depth and increased ease, with undiminished symmetry. But the great difficulty is to keep the thing within proper limits, since too much of it will lead to paltriness, as is the case in a slight degree in Isola Bella, on Lago Maggiore;
Fig. 29.
Fig. 30.
and not to let it run into small details: for, be it remembered, that it is only in the majesty of art, in its large and general effects, that this regularity is allowable; nothing but variety should be studied in detail, and therefore there can be no barbarism greater then the lozenge borders and
