The slope of this right line, as well as the nature of the
curves, here drawn as segments of circles, we leave undetermined: the
slope, as well as the proportion of the depths of X and Y to each other,
vary according to the weight to be carried, the strength of the stone,
the size of the cornice, and a thousand other accidents; and the nature
of the curves according to aesthetic laws. It is in these infinite fields
that the invention of the architect is permitted to expatiate, but not
in the alteration of primitive forms.

Sec. VI. But to proceed. It will doubtless appear to the reader, that,
even allowing for some of these permissible variations in the curve or
slope of X, neither the form at _b_, nor any approximation to that form,
would be sufficiently undercut to keep the rain from running back upon it.
This is true; but we have to consider that the cornice, as the close of
the wall's life, is of all its features that which is best fitted for
honor and ornament. It has been esteemed so by almost all builders, and
has been lavishly decorated in modes hereafter to be considered. But it
is evident that, as it is high above the eye, the fittest place to
receive the decoration is the slope of X, which is inclined towards the
spectator; and if we cut away or hollow out this slope more than we have
done at _b_, all decoration will be hid in the shadow. If, therefore,
the climate be fine, and rain of long continuance not to be dreaded, we
shall not hollow the stone X further, adopting the curve at _b_ merely
as the most protective in our power. But if the climate be one in which
rain is frequent and dangerous, as in alternations with frost, we may be
compelled to consider the cornice in a character distinctly protective,
and to hollow out X farther, so as to enable it thoroughly to accomplish
its purpose. A cornice thus treated loses its character as the crown or
honor of the wall, takes the office of its protector, and is called a
DRIPSTONE. The dripstone is naturally the attribute of Northern
buildings, and therefore especially of Gothic architecture; the true
cornice is the attribute of Southern buildings, and therefore of Greek
and Italian architecture; and it is one of their peculiar beauties, and
eminent features of superiority.

Sec. VII. Before passing to the dripstone, however, let us examine a
little farther into the nature of the true cornice. We cannot, indeed,
render either of the forms _b_ or _c_, Fig. V., per