kind of architecture has no business with rich ornament in any place; but that if those groups of flowers had been put into natural places in an edifice of another style, their value would have been felt as vividly as now their uselessness. What applies to festoons is still more sternly true of garlands. A garland is meant to be seen upon a head. There it is beautiful, because we suppose it newly gathered and joyfully worn. But it is not meant to be hung upon a wall. If you want a circular ornament, put a flat circle of coloured marble, as in the Casa Dario and other such palaces at Venice; or put a star, or a medallion, or if you want a ring, put a solid one, but do not carve the images of garlands, looking as if they had been used in the last procession, and been hung up to dry and serve next time withered. Why not also carve pegs, and hats upon them?
XIV. One of the worst enemies of modern Gothic architecture, though seemingly an important feature, is an excrescence, as offensive by its poverty as the garland by its profusion, the dripstone in the shape of the handle of a chest of drawers, which is used over the square-headed windows of what we call Elizabethan buildings. In the last Chapter, it will be remembered that the square form was shown to be that of pre-eminent Power, and to be properly adapted and limited to the exhibition of space or surface. Hence, when the window is to be an exponent of power, as for instance in those by M. Angelo in the lower story of the Palazzo Ricardi at Florence, the square head is the most noble form they can assume; but then either their space must be unbroken, and their associated mouldings the most severe, or else the square must be used as a final outline, and is chiefly to be associated with forms of tracery, in which the relative form of power, the circle, is predominant, as in Venetian, and Florentine, and Pisan Gothic. But if you break upon your terminal square, or if you cut
