which would suffer material injury either by the weather-staining, or the mechanical degradation which the lapse of such a period would necessitate.
XVII. It is not my purpose to enter into any of the questions which the application of this principle involves. They are of too great interest and complexity to be even touched upon within my present limits, but this is broadly to be noticed, that those styles of architecture which are picturesque in the sense above explained with respect to sculpture, that is to say, whose decoration depends on the arrangement of points of shade rather than on purity of outline, do not suffer, but commonly gain in richness of effect when their details are partly worn away; hence such styles, pre-eminently that of French Gothic, should always be adopted when the materials to be employed are liable to degradation, as brick, sandstone, or soft limestone; and styles in any degree dependent on purity of line, as the Italian Gothic, must be practised altogether in hard and undecomposing materials, granite, serpentine, or crystalline marbles. There can be no doubt that the nature of the accessible materials influenced the formation of both styles; and it should still more authoritatively determine our choice of either.
XVIII. It does not belong to my present plan to consider at length the second head of duty of which I have above spoken; the preservation of the architecture we possess: but a few words may be forgiven, as especially necessary in modern times. Neither by the public, nor by those who have the care of public monuments, is the true meaning of the word restoration understood. It means the most total destruction which a building can suffer: a destruction out of which no remnants can be gathered: a destruction accompanied with false description of the thing destroyed. Do not let us deceive ourselves in this important matter; it is impossible, as impossible as to
