than they are, or be associated with the thoroughly downright work to which it would be a disgrace to be found in their company.
Such are, I believe, the three principal kinds of fallacy by which architecture is liable to be corrupted; there are, however, other and more subtile forms of it, against which it is less easy to guard by definite law, than by the watchfulness of a manly and unaffected spirit. For, as it has been above noticed, there are certain kinds of deception which extend to impressions and ideas only; of which some are, indeed, of a noble use, as that above referred to, the arborescent look of lofty Gothic aisles; but of which the most part have so much of legerdemain and trickery about them, that they will lower any style in which they considerably prevail; and they are likely to prevail when once they are admitted, being apt to catch the fancy alike of uninventive architects and feelingless spectators; just as mean and shallow minds are, in other matters, delighted with the sense of over-reaching, or tickled with the conceit of detecting the intention to overreach: and when subtleties of this kind are accompanied by the display of such dexterous stone-cutting, or architectural sleight of hand, as may become, even by itself, a subject of admiration, it is a great chance if the pursuit of them do not gradually draw us away from all regard and care for the nobler character of the art, and end in its total paralysis or extinction. And against this there is no guarding, but by stem disdain of all display of dexterity and ingenious device, and by putting the whole force of our fancy into the arrangement of masses and forms, caring no more how these masses and forms are wrought out, than a great painter cares which way his pencil strikes. It would be easy to give many instances of the danger of these tricks and vanities; but I shall confine myself to the examination of one which has, as I think, been the cause of the fall of Gothic Architecture throughout Europe. I mean the system
