always in our power to secure—the confession of what we have done, and what we have given; so that when we use stone at all, since all stone is naturally supposed to be carved by hand, we must not carve it by machinery; neither must we use any artificial stone cast into shape, nor any stucco ornaments of the colour of stone, or which might in any wise be mistaken for it, as the stucco mouldings in the cortile of the Palazzo Vecchio at Florence, which cast a shame and suspicion over every part of the building. But for ductile and fusible materials, as clay, iron, and bronze, since these will usually be supposed to have been cast or stamped, it is at our pleasure to employ them as we will; remembering that they become precious, or otherwise, just in proportion to the hand-work upon them, or to the clearness of their reception of the hand-work of their mould. But I believe no cause to have been more active in the degradation of our national feeling for beauty than the constant use of cast-iron ornaments. The common iron work of the middle ages was as simple as it was effective, composed of leafage cut flat out of sheet iron, and twisted at the workman's will. No ornaments, on the contrary, are so cold, clumsy, and vulgar, so essentially incapable of a fine line or shadow, as those of cast-iron; and while, on the score of truth, we can hardly allege any thing against them, since they are always distinguishable, at a glance, from wrought and hammered work, and stand only for what they are, yet I feel very strongly that there is no hope of the progress of the arts of any nation which indulges in these vulgar and cheap substitutes for real decoration. Their inefficiency and paltriness I shall endeavour to show more conclusively in another place; enforcing only, at present, the general conclusion that, if even honest or allowable, they are things in which we can never take just pride or pleasure, and must never be employed in any place wherein they might either themselves obtain the credit of being other and better
