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unlicensed and incongruous. Each designer follows his own caprice; one borrows decorations from Pagan antiquities, which have no reference to, and by no means illustrate the character or teaching of the Christian religion, but are rather in direct contradiction to both; another draws from the common domestic or profane buildings of the day.[1]
Fig. 3.
When the impropriety of these practices is perceived—as, fortunately, it sometimes is—the alteration is somewhat better, but very far from being completely satisfactory. We then meet with misapplied and poorly-executed imitations of the details of mediæval art; as, for example, the introduction of features of great Cathedrals and Collegiate Churches into small parochial Churches and Chapels. From these practices, I think it will be found, arise the irregularities in arrangements,
- ↑ Figures 3 and 4 will be familiar to the eyes of many, as general types of the external character of our modern Churches. It will be well to compare their effect with that of figures 10 and 11, pages 21 and 35, which illustrate Churches designed correctly after ancient ecclesiastical examples.
