THE president's ADDRESS. 135 



form and weight, made under the direction of the late Rev. John 

 Wallis, was deposited by me some years ago in the Museum of 

 the Bodmin Literary Institute. 



But we must pass to other topics. 



No work has yet appeared treating specially of the 

 Ornamentation traceable in the forms and surface-enrichments of 

 many of Cornwall's antique remains. 



Neither the Sculp turings of the ancient stones nor the 

 Carvings of the mediaeval woodwork of the county have yet 

 been made the subjects of distinct study and elucidation. 



Some types prevail chiefly in certain districts — all afford 

 valuable evidences connected either with home or with distant 

 influences ; and a comparison of them, one with another and 

 with those in other places, greatly assists in determining dates. 



Mr. Blight, by his descriptions and accurate engravings, 

 has done more than anyone else in Cornwall to perpetuate for 

 Art Students and Archaeologists the elegant forms and patterns 

 of a considerable number of the relics of antiquity ; and every 

 day it becomes more evident how desirable it would be to obtain 

 (ere decay and church restoration, so-called, have entirely 

 destroyed what time has spared to us) a greatly extended record, 

 classified and carefully illustrated, of our numerous Crosses, 

 Altar-slabs, Fonts, Arch-mouldings, Pillar- capitals. Bench-ends, 

 Rood-screens, Wall-plates, Roof-timbers, Bosses, &c. 



Copies of old Frescoes, Panel-paintings, Illuminative 

 decorations, and Stained-glass, would enhance such a collection. 



Illustrations of the Church-plate in the different parishes, 

 although possessing constructive associations less local, would 

 also be worth including. 



Who will produce for Cornwall so beautiful and instructive 

 a work on Ancient Art in the West ? 



A few observations upon some plain points characteristic of 

 the ancient workmanship, I will here venture to offer. 



First, then, as to contour: — 



When modern imitations of the ancient Crosses are made, 

 one important feature of the old work is almost always omitted 

 — and that is, the beauty of a weH-balanced Outline. 



