They certainly appear to have carried out, to as great an extent as practice can ever carry out the dictates of theory, the principles which have been described at the close of Chapter II., as deduced by him from his original studies in Italy, except so far as these were modified by the powerful though indirect influence of the Gothic revival. This did not arise from any deficiency in power of originating novelty. There were few cases in which ideas were not conceived, and designs made, embodying more unusual forms and details than those finally adopted. Nor does it appear to have been due to his adoption of a formally defined system of principles--a kind of confession of architectural faith. It may be doubted whether he himself could have given an analysis of his own principles of design, as clear and as precise as that which has been given by others. Perhaps few men, who have much originative power in art, have also the power of such scientific analysis. He himself would constantly adopt what he conceived to be new “first principles,” and for a time mould every line of a design in obedience to their dictates. But yet in almost every case he reverted eventually to his original principles. If the comparison of the old with the new was fatal to the latter, in respect of beauty or convenience, he was not the man to seek apparent originality at the cost of real excellence. The temptation to depart from the old methods, and the study of the methods by which such departure could be made, only tended to confirm them in his mind, and to show (what most practical men sooner or later discover in all provinces of thought) that the prevalence of old forms is generally due, not to arbitrary and pedantic convention, but to their inherent truth and vigour.