XIII. Now I do not mean to say that Nature never uses festoons: she loves them, and uses them lavishly; and though she does so only in those places of excessive luxuriance wherein it seems to me that architectural types should seldom be sought, yet a falling tendril or pendent bough might, if managed with freedom and grace, be well introduced into luxuriant decoration (or if not, it is not their want of beauty, but of architectural fitness, which incapacitates them for such uses). But what resemblance to such example can we trace in a mass of all manner of fruit and flowers, tied heavily into a long bunch, thickest in the middle, and pinned up by both ends against a dead wall? For it is strange that the wildest and most fanciful of the builders of truly luxuriant architecture never ventured, so far as I know, even a pendent tendril; while the severest masters of the revived Greek permitted this extraordinary piece of luscious ugliness to be fastened in the middle of their blank surfaces. So surely as this arrangement is adopted, the whole value of the flower work is lost. Who among the crowds that gaze upon the building ever pause to admire the flower work of St. Paul's? It is as careful and as rich as it can be, yet it adds no delightfulness to the edifice. It is no part of it. It is an ugly excrescence. We always conceive the building without it, and should be happier if our conception were not disturbed by its presence. It makes the rest of the architecture look poverty-stricken, instead of sublime; and yet it is never enjoyed itself. Had it been put, where it ought, into the capitals, it would have been beheld with never-ceasing delight. I do not mean that it could have been so in the present building, for such kind of architecture has no business with rich ornament in any place; but that if those groups of flowers had been put into natural places in an edifice of another style, their value would have been felt as vividly as now their uselessness. What applies to festoons is still more sternly true of garlands. A garland is meant to be seen upon a head. There it is beautiful, because we suppose it newly gathered and joyfully worn. But it is not meant to be hung upon a wall. If you want a circular ornament, put a flat circle of colored marble, as in the Casa Doria and other such palaces at Venice; or put a star, or a medallion, or if you want a ring, put a solid one, but do not carve the images of garlands, looking as if they had been used in the last procession, and been hung up to dry, and serve next time withered. Why not also carve pegs, and hats upon them?