which would have attracted the eye by itself, without being placed in a conspicuous situation; for, if it were the united attraction of form and detail would confine the contemplation altogether to the parts so distinguished, and render it impossible for the mind to receive any impression of general effect. Consequently, the parts that project, and are to bear a strong light, must be chiseled with infinite delicacy; so that the ornament, though it would have remained unobserved, had the eye not been guided to it, when observed, may be of distinguished beauty and power; but those parts which are to be flat, and in shade, should be marked with great sharpness and boldness, that the impression may be equalised. When, for instance, we have to do with oriels, to which attention is immediately attracted by their projection, we may run wreaths of the finest flowered-work up the mullions, charge the terminations with shields, and quarter them richly; but we must join the window to the wall, where its shadow falls, by means of more deep and decided decoration.
Secondly. In the choice and design of his ornaments, the architect should endeavor to be grotesque rather than graceful (though little bits of soft flower-work here and there will relieve the eye); but he must not imagine he can be grotesque by carving faces with holes for eyes and knobs for noses; on the contrary, wherever he mimics grotesque life, there should be wit and humour in every feature, fun and frolic in every attitude; every distortion should be anatomical, and every monster a studied
