more imperative one than any other I have asserted; and this kind of dishonesty the meanest, as the least necessary; for ornament is an extravagant and inessential thing; and therefore, if fallacious, utterly base—this, I say, being our general law, there are, nevertheless, certain exceptions respecting particular substances and their uses.
XX. Thus in the use of brick: since that is known to be originally moulded, there is no reason why it should not be moulded into diverse forms. It will never be supposed to have been cut, and, therefore, will cause no deception; it will have only the credit it deserves. In flat countries, far from any quarry of stone, cast brick may be legitimately, and most successfully, used in decoration, and that elaborate, and even refined. The brick mouldings of the Palazzo Pepoli at Bologna, and those which run round the marketplace of Vercelli, are among the richest in Italy. So also, tile and porcelain work, of which the former is grotesquely, but successfully, employed in the domestic architecture of France, coloured tiles being inserted in the diamond spaces between the crossing timbers; and the latter admirably in Tuscany, in external bas-reliefs, by the Robbia family, in which works, while we cannot but sometimes regret the useless and ill-arranged colours, we would by no means blame the employment of a material which, whatever its defects, excels every other in permanence, and, perhaps, requires even greater skill in its management than marble. For it is not the material, but the absence of the human labour, which makes the thing worthless; and a piece of terra cotta, or of plaster of Paris, which has been wrought by the human hand, is worth all the stone in Carrara, cut by machinery. It is, indeed, possible, and even usual, for men to sink into machines themselves, so that even hand-work has all the characters of mechanism; of the difference between living and dead hand-work I shall speak presently; all that I ask at present is, what it is
