The heterogeneous collection is piled up anyhow. Some pieces are fixed lengthwise, others across, others aslant. There are angles in this direction and angles in the other, resulting in sharp little turns and twists; the big is mixed with the little, the correct rubs shoulders with the shapeless. It is not an edifice, it is a frenzied conglomeration. Sometimes, a fine disorder is an effect of art. This is not so here: the work of the Caddis worm is not a masterpiece worth signing. And this mad heaping up follows straight upon the regular basket work of the start. The young grub's fascine did not lack a certain elegance, with its dainty laths, all stacked crosswise, methodically; and, lo and behold, the builder, grown larger, more experienced and, one would think, more skilful, abandons the orderly plan to adopt another which is wild and incoherent! There is no transition stage between the two systems. The extravagant pile rises abruptly from the original basket. But that we often find the two kinds of work placed one above the other, we would not dare ascribe to them a common origin. The fact of their being joined together is the only thing that makes them one, in spite of the incongruity. But the two storeys do not last indefinitely. When the worm has grown slightly and is housed to its satisfaction in a heap of joists, it abandons the basket of its childhood, which has become too narrow and is now a troublesome burden. It cuts through its sheath, lops off and lets go the stern, the original work. When moving to a higher and roomier flat, it understands how to lighten its portable house by breaking off a part of it. All that remains is the upper floor, which is enlarged at the aperture, as and when required, by the same architecture of disordered beams. Side by side with these cases, which are mere ugly faggots, we find others just as often of exquisite beauty and composed entirely of tiny shells. Do they come from the same workshop? It takes very convincing proofs to make us believe this. Here is order with its charm, there disorder with its hideousness; on the one hand a dainty mosaic of shells, on the other a clumsy heap of sticks. And yet it is all produced by the same laborer. Proofs abound. On some case which offends the eye with the want of arrangement in its bits of wood, patches are apt to appear which are quite regular and made of shells; in the same way, it is not unusual to see a horrid tangle of joists braced to a masterpiece of shell work. One feels a certain annoyance at seeing the pretty sheath so barbarously spoilt.