[Footnote 33: [A contributor to the "Architectural Magazine."]]
179. Now, there is nothing which requires study 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;[34] 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 fall
back upon his decorations, as the only means of obtaining character; and
that which before was an unmeaning lump of jagged freestone, will become
a part of expression, an accessory of beautiful design, varied in its
form, and delicate in its effect. Then, instead of shrinking from his
bits of ornament, as from things which will give him trouble to invent,
and will answer no other purpose than that of occupying what would
otherwise have looked blank, the designer will view them as an efficient
_corps de reserve_, to be brought up when the eye comes to close
quarters with the edifice, to maintain and deepen the impression it has
previously received.
Pages:
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177