guide but each his own individual whim to point out to them what is admirable and what contemptible: while the very nature of their task compels them to destroy something, and to supply the gap by imagining what the earlier builders should or might have done. Moreover, in the course of this double process of destruction and addition, the whole surface of the building is necessarily tampered with; so that the appearance of antiquity is taken away from such old parts of the fabric as are left, and there is no laying to rest in the spectator the suspicion of what may have been lost; and in short, a feeble and lifeless forgery is the final result of all the wasted labour.
"Of all the Restorations yet undertaken the worst have meant the reckless stripping a building of some of its most interesting material features; while the best have their exact analogy in the Restoration of an old picture, where the partly perished work of the ancient craftsmaster has been made neat and smooth by the tricky hand of some unoriginal and thoughtless hack of to-day. If, for the rest, it be asked us to specify what kind or amount of art, style, or other interest in a building, makes it worth protecting, we answer, Anything which can be looked on as artistic, picturesque, historical, antique, or substantial: any work, in short, over which educated artistic people would think it worth while to argue at all.
"It is for all these buildings, therefore, of all times and styles, that we plead, and call upon those who have to deal with them, to put Protection in the place of Restoration, to stave off decay by daily care, to prop a perilous wall or mend a leaky roof by such means as are obviously meant for support or covering, and show no pretence of other art, and otherwise to resist all tampering with either the fabric or ornament of the
