e extremities of
their foils.]

13. Now then, I proceed to argue in this manner from what we see in the
woods and fields around us; that as they are evidently meant for our
delight, and as we always feel them to be beautiful, we may assume that
the forms into which their leaves are cast, are indeed types of beauty,
not of extreme or perfect, but average beauty. And finding that they
invariably terminate more or less in pointed arches, and are not
square-headed, I assert the pointed arch to be one of the forms most
fitted for perpetual contemplation by the human mind; that it is one of
those which never weary, however often repeated; and that therefore,
being both the strongest in structure, and a beautiful form (while the
square head is both weak in structure, and an ugly form), we are unwise
ever to build in any other.

[Illustration: PLATE IV. (Fig. 7.)]

14. Here, however, I must anticipate another objection. It may be asked
why we are to build only the tops of the windows pointed,--why not
follow the leaves, and point them at the bottom also?

For this simple reason, that, while in architecture you are continually
called upon to do what may be _unnecessary_ for the sake of beauty, you
are never called upon to do what is _inconvenient_ for the sake of
beauty. You want the level window sill to lean upon, or to allow the
window to open on a balcony: the eye and the common sense of the
beholder require this necessity to be met before any laws of beauty are
thought of. And besides this, there is in the sill no necessity for the
pointed arch as a bearing form; on the contrary, it would give an idea
of weak support for the sides of the window, and therefore is at once
rejected. Only I beg of you particularly to observe that the level sill,
although useful, and therefore admitted, does not therefore become
beautiful; the eye does not like it so well as the top of the window,
nor does the sculptor like to attract the eye to it; his richest
moldings, traceries, and sculptures are all reserved for the top of the
window; they are sparingly granted to its horizontal base. And farther,
observe, that when neither the convenience of the sill, nor the support
of the structure, are any more of moment, as in small windows and
traceries, you instantly _have_ the point given to the bottom of the
window. Do you recollect the west window of your own Dunblane Abbey? If
you look in any common guide-book, you will find it pointed out as