well _let into_ the wall; and the first function of the decoration
should be to give the idea of this insertion, if possible; at all
events, not to contradict this idea. If the reader will glance at any of
the brackets used in the ordinary architecture of London, he will find
them of some such character as Fig. XLI.; not a bad form in itself, but
exquisitely absurd in its curling lines, which give the idea of some
writhing suspended tendril, instead of a stiff support, and by their
careful avoidance of the wall make the bracket look pinned on, and in
constant danger of sliding down. This is, also, a Classical and
Renaissance decoration.

[Illustration: Fig. XLI.]

Sec. XV. 2. The Parapet. Its forms are fixed in military architecture
by the necessities of the art of war at the time of building, and are
always beautiful wherever they have been really thus fixed; delightful
in the variety of their setting, and in the quaint darkness of their
shot-holes, and fantastic changes of elevation and outline. Nothing is
more remarkable than the swiftly discerned difference between the
masculine irregularity of such true battlements, and the formal
pitifulness of those which are set on modern buildings to give them a
military air,--as on the jail at Edinburgh.

Sec. XVI. Respecting the Parapet for mere safeguard upon buildings not
military, there are just two fixed laws. It should be pierced, otherwise
it is not recognised from below for a parapet at all, and it should not
be in the form of a battlement, especially in church architecture.

The most comfortable heading of a true parapet is a plain level on which
the arm can be rested, and along which it can glide. Any jags or
elevations are disagreeable; the latter, as interrupting the view and
disturbing the eye, if they are higher than the arm, the former, as
opening some aspect of danger if they are much lower; and the
inconvenience, therefore, of the battlemented form, as well as the worse
than absurdity, the bad feeling, of the appliance of a military feature
to a church, ought long ago to have determined its rejection. Still (for
the question of its picturesque value is here so closely connected with
that of its practical use, that it is vain to endeavor to discuss it
separately) there is a certain agreeableness in the way in which the
jagged outline dovetails the shadow of the slated or leaded roof into
the top of the wall, which may make the use of the battlement excusabl