But I believe no cause to have been more active in the degradation of our natural 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 anything 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 endeavor 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 than they are, or be associated with the 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 subtle 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 over-reach; and when subtleties of this kind are accompanied by the display of such dextrous 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 stern 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