374 
mouldings, creates a monotony ; whereas the half tone of 
shadow produced by the ever-varyhig forms of Gothic 
mouldings present infinite variety and attractiveness to the 
eye of the artist and the man of refined taste* 
It must be evident from the preceding observations, that 
varied talent and knowledge are required in the reparation 
of our cathedrals and collegiate and parish churches ; a 
general acquaintance with the peculiarities of the various 
styles of Gothic Architecture is not sufficient ; it must be 
conjoined with deep antiquarian feeling, and an intimate 
knowledge of all the historical circumstances which have 
given rise to these variations. A modern Gothic church, 
although far from faultless, may escape the censure of the 
critic, from a knowledge of the parsimonious spirit of the 
founders, although the neglect of perfect synchronism is 
without excuse. 
But the existence of anachronism, as exhibited in the 
different styles in our ancient churches, may be regarded 
as among their chief beauties ; these varieties lead the 
mind into a delightful train of reflection, connected with 
the history of the several periods in which they were intro- 
duced, and of the county in which the structures them- 
selves are situated. 
All these churches necessarily require reparation from 
* " We cannot but admire the consummate skill manifested by Gothic 
" architects in the conduct of their mouldings, — their curvatures are sometimes 
" abrupt, and sometimes gentle and easy, according to the degree of light that is 
*' impinged upon them. If a number of small members occur together, appearing 
*' as mere expletives, it is where they were certain to have the necessary effect of 
*' softening the violence of a powerful shadow, or, in other words, of producing 
" those beautiful reflecting tints, apparently so much valued in the combinations 
" of mouldings by the Grecian architects. In those situations where the com- 
" position required it, and in the convexities where great effect was called for, 
" they are thrown either partially into shadow by a sharp fillet or some part of 
" their curvature, or entirely so by a bold separating torus advancing before 
"them." — Cooper\s Tinteni Ahhey. 
