On the Modem Ornaments of Architecture^ 8fc. 295 



the most splendid fashionable designs; either in the works of 

 the sculptor, scagliolist, &c. or the more insignificant designers 

 of figured paper or drapery. Indeed there can be no good 

 reason why ox-heads and garlands (now the days of sacrifices 

 are past), should not be banished from the frieze and entabla- 

 ture, to admit the far more appropriate figures of foUage, fruit, 

 and flowers, aquatic as well as terrestrial, which every garden 

 yields ;•?— and for interior enrichments of cornices, mouldings, 

 &c., the curious and elegant forms of ^ the testacea, would 

 afford beautiful copies for imitation,. , ■ r;^ ^ .;-..;, 



In fine, if there be any merit or propriety in the adaptation 

 of whatever is elegant in form, beautiful in outline, harmonious 

 in tint and proportion, and congruous in combination, such 

 may readily be found in the animal and vegetable kingdoms. 

 Faithful representations of such objects, not only open a 

 fine field for the exercise of individual ability, at this time, but 

 also a source from which might be drawn a large share of 

 pubhc patronage, and consequent commensurate reward. 

 Indeed it is now pretty evident that in many things, especially 

 in the minor works of art, we have been too long and too 

 rigidly impressed with a veneration for the works of antiquity, 

 or what is equally benumbing, a passive following of tyrant 

 fashion ; and that many a bright genius has been '^ nipped in 

 the bud," and remained "twinkling in the socket" of Grecian 

 and Roman rules, who, if venturous enough to have burst the 

 shackles of professional thraldom, would have improved and 

 elevated his art, as well as himself, by designs and works 

 which would have advanced his profession and adorned his 



But it is not yet too late ; a knowledge and study of th^ 

 genuine elements of taste, whether of art or nature, and a mind 

 embued with rational perceptions of all that is beautiful 

 and picturesque, and grand or sublime in either, will rise 

 superior to all precedential fetters, as well as all modern man- 

 nerism, and will equally regard the excellencies of the ancients, 

 as it will avoid tlie errors of some modern artists, who, in 

 leaving the beaten track, have deviated far and widely from 

 the point to which good sense and good taste would have 

 led. 



