251. Of the ornament itself, it is to be observed that it is not to be
what is properly called architectural _decoration_ (that which is
"decorous," becoming, or suitable to), namely, the combination of minor
forms, which repeat the lines, and partake of the essence of the grand
design, and carry out its meaning and life into its every member; but it
is to be true sculpture; the presenting of a pure ideality of form to
the eye, which may give perfect conception, without the assistance of
color: it is to be the stone image of vegetation, not botanically
accurate, indeed, but sufficiently near to permit us to be sure of the
intended flower or leaf. Not a single line of any other kind of ornament
should be admitted, and there should be more leafage than flower-work,
as it is the more easy in its flow and outline. Deep relief need not be
attempted, but the edges of the leafage should be clearly and delicately
defined. The cabbage, the vine, and the ivy are the best and most
beautiful leaves: oak is a little too stiff, otherwise good. Particular
attention ought to be paid to the ease of the stems and tendrils; such
care will always be repaid. And it is to be especially observed, that
the carving is not to be arranged in garlands or knots, or any other
formalities, as in Gothic work; but the stalks are to rise out of the
stone, as if they were rooted in it, and to fling themselves down where
they are wanted, disappearing again in light sprays, as if they were
still growing.
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