748 
PROCEEDINGS OF SECTION H. 
Secondly, as to the uses we find architectural sculpture put to, 
they are numerous. The chief is the addition of: beauty, life, and 
variety of texture to the whole building by conti ast with the plain 
surfaces, as shown by Fig. 14, Plate 4. 
The completion of the outline of the main masses, as in Fig. 6, 
Plate 3, is a small matter, and the giving relief to the skyline, at 
times perchance too much relieved. Sculpture should also express 
the character and purpose of a building. There are several such 
schemes in London satisfactorily treated, being both interesting and 
decorative — one, a frieze over a hatter’s shop, illustrating hat-making; 
another, over a baker’s shop, with little urchins all along it making 
biscuits and bread. 
Sculpture may also be used to record the deeds or the notable 
events in the lives of people connected with a building — the patron 
saint of a church, for instance, or the founder of a school ; or, again, 
the history of a town and great events of civil interest would suit 
well a town hall. 
The creation of readable interesting subjects is a matter of vital 
import ; for now that phonetic language has replaced the figurative to an 
extent, sculptural symbolism is read by few. Books are looked to 
more and mc-re for descriptions and records of events, and symbolical 
subjects not being understood are found uninteresting. Some symbols 
have by continued use, however, become quite part of ourselves, and 
the fact that their presence upon a building gives a subtle pleasure 
to those who do read them, is, I think, quite sufficient argument 
in favour of their continued use, putting aside the fact that they 
would decorate the building and relieve its masses, even though 
unappreciated and unread. 1 may cite as an example Fig. 8, Plate 3. 
Here the very ftw ignorant observers would see only a winged bull in 
a very awkward position. How different the thoughts of all those who 
understand the symbol. They would recognise a chief light of the 
Church, placed there on the buttress as a guide and example to 
remind passers by of the life lessons preached so ardently by the 
great Apostle. 
It would of course be preferable as a rule to adopt subjects 
everybody could read and be interested in, for it is the capability of 
telling a story in so noble a material that is the glory of sculpture, 
for sculpture at its highest has more than decorative qualities ; it has a 
moral to teach, a mernoiy to recall, an individuality to record. 
Now let us turn to the design and execution of sculpture. Here 
I find it convenient to divide my subject under half-a-dozen minor 
headings, in order that I may the better enforce certain guiding 
principles and helpful truths founded on experience and the study of 
old work. Attention to such does not restrict the aitist’s powers, but 
directs his efforts worthily and guards him from irregularities ; for 
they are, as Buskin says, not only safeguards against error, but the 
source of every measure of success. 
The first heading I shall speak under is res fro inf. This is one of the 
most important elements of design, yet one of those most frequently 
neglected. Do not be too lavish, keep the work small, and keep it flat. 
The most common contraventions of this principle may be traced 
either to an anxiety for lavish display, leading the designer to intro- 
duce an excessive quantity of sculpture, thereby giving a disagreeable 
