architects, Plate XII, fig. 7, as exclusively composed of right lines as the other, only, observe, with the noble element of shadow added. This ornament, taken from the front of the Cathedral of Pisa, is universal throughout the Lombard churches of Pisa, Lucca, Pistoja, and Florence; and it will be a grave stain upon them if it cannot be defended. Its first apology for itself, made in a hurry, sounds marvellously like the Greek one, and highly dubious. It says that its terminal contour is the very image of a carefully prepared artificial crystal of common salt. Salt being, however, a substance considerably more familiar to us than bismuth, the chances are somewhat in favour of the accused Lombard ornament already. But it has more to say for itself, and more to the purpose; namely, that its main outline is one not only of natural crystallization, but among the very first and commonest of crystalline forms, being the primal condition of the occurrence of the oxides of iron, copper, and tin, of the sulphurets of iron and lead, of fluor spar, etc.; and that those projecting forms in its surface represent the conditions of structure which effect the change into another relative and equally common crystaUine form, the cube. This is quite enough. We may rest assured it is as good a combination of such simple right lines as can be put together, and gracefully fitted for every place in which such lines are necessary.
VIII. The next ornament whose cause I would try is that of our Tudor work, the portcullis. Reticulation is common enough in natural form, and very beautiful; but it is either of the most delicate and gauzy texture, or of variously sized meshes and undulating lines. There is no family relation between portcullis and cobwebs or beetles' wings; something like it, perhaps, may be found in some kinds of crocodile armour and on the backs of the Northern divers, but always beautifully varied in size of mesh. There is a dignity in
