ty; nor does scenery of
shipping ever become prominent in bas-relief without destroying it:
witness the base of the Nelson pillar. It may be, and must be sometimes,
introduced in severe subordination to the figure subject, but just
enough to indicate the scene; sketched in the lightest lines on the
background; never with any attempt at realisation, never with any
equality to the force of the figures, unless the whole purpose of the
subject be picturesque. I shall explain this exception presently, in
speaking of imitative architecture.

Sec. IX. There is one piece of a ship's fittings, however, which may
be thought to have obtained acceptance as a constant element of
architectural ornament,--the cable: it is not, however, the cable
itself, but its abstract form, a group of twisted lines (which a cable
only exhibits in common with many natural objects), which is indeed
beautiful as an ornament. Make the resemblance complete, give to the
stone the threads and character of the cable, and you may, perhaps,
regard the sculpture with curiosity, but never more with admiration.
Consider the effect of the base of the statue of King William IV. at the
end of London Bridge.

Sec. X. 4. Architecture itself. The erroneous use of armor, or dress, or
instruments, or shipping, as decorative subject, is almost exclusively
confined to bad architecture--Roman or Renaissance. But the false use of
architecture itself, as an ornament of architecture, is conspicuous even
in the mediaeval work of the best times, and is a grievous fault in some
of its noblest examples.

It is, therefore, of great importance to note exactly at what point this
abuse begins, and in what it consists.

Sec. XI. In all bas-relief, architecture may be introduced as an
explanation of the scene in which the figures act; but with more or less
prominence in the _inverse ratio of the importance of the figures_.

The metaphysical reason of this is, that where the figures are of great
value and beauty, the mind is supposed to be engaged wholly with them;
and it is an impertinence to disturb its contemplation of them by any
minor features whatever. As the figures become of less value, and are
regarded with less intensity, accessory subjects may be introduced, such
as the thoughts may have leisure for.

Thus, if the figures be as large as life, and complete statues, it is
gross vulgarity to carve a temple above them, or distribute them over
sculptured rocks, or lead them