Theory AND Practice 185 



small, too near or too far apart; in short, with every devi- 

 ation from the established rules of the respective orders, 

 whether such column be composed of marble, of stone, 

 or of plastered brick-work, the costliness of the material 

 makes no difference in the design. But this is not the 

 case with decorations. The cheapness and facility with 

 which good designs may be multiplied in papier mache 

 or putty composition have encouraged bad taste in the 

 lavish profusion of tawdry embellishment. 



This consideration leads me to assert that every species 

 of enrichment or decoration ought to be costly, either in 

 its materials or in its workmanship : and if we attend to 

 the common opinion of all, except children and savages, 

 we shall find that no real value is attached to any deco- 

 ration, except upon this principle ; on the contrary, it 

 becomes contemptible in proportion as it affects to seem 

 what it is not. 



The idea of costliness in ornament is increased by its 

 rarity, or, rather, by its being used only where it is most 

 conspicuous, and this sort of economy is observable even 

 in the works of nature ; for instance, the most beautiful 

 coloured feathers of birds are on the surface, while those 

 for use, rather than for shew, are generally of a dirty 

 brown; it may also be observed that those butterflies 

 or moths, whose wings are ornamented on the under 

 side, generally bear them erect, while those which have 

 the upper side most beautiful generally spread them 

 flat. The same remark may be extended to all the vege- 

 table tribe; every flower and every leaf has one side 

 more ornamented, more glossy, more vivid, or more 

 highly finished than the other, and this is always the 

 side presented to the eye. Hence we are taught, by the 

 example of nature, not to lavish decorations where they 

 cannot generally be seen. 



