ing decoration, though we are too sternly convinced that they believe mankind to be more shortsighted by at least thirty yards than they are; for they think of nothing but general effect in their ornaments, and lay on their flower-work so carelessly, that a good substantial captain's biscuit, with the small holes left by the penetration of the baker's four fingers, encircling the large one which testifies of the forcible passage of his thumb, would form quite as elegant a rosette as hundreds now perpetuated in stone. Now, there is nothing which requires 6tudy so close, or experiment so frequent, as the proper designing of ornament. For its use and position some definite rules may be given; but, when the space and position have been determined, the lines of curvature, the breadth, depth, and sharpness of the shadows to be obtained, the junction of the parts of a group, and the general expression, will present questions for the solution of which the study of years will sometimes scarcely be sufficient[1]; for they depend upon the feeling of the eye and hand, and there is nothing like perfection in decoration, nothing which, in all probability, might not, by farther consideration, be improved. Now, in cases in which the outline and larger masses are determined by situation, the architect will frequently find it necessary to
- ↑ For example, we would allow one of the modern builders of Gothic chapels a month of invention, and a botanic garden to work from, with perfect certainty that he would not, at the expiration of the time, be able to present us with one design of leafage equal in beauty to hundreds we could point out in the capitals and niches of Melrose and Boslin.
