and the artificial foliage is carved with leaves, etc., of a suitable
thickness: in Natural foliage the tenuity of leaves, etc., is such
that it cannot be reproduced. Even in the architraves round the
glorious doors of Florence the natural foliage is not always a
success; and where Ghiberti has stopped short in the ductile bronze,
it is not probable that the modern carver will succeed in stone. It
may therefore be suggested that the close imitation of Natural foliage
should be confined to objects of _two_ dimensions, i.e., to plane
surfaces and figured materials.

This selection of the Elements of Decoration, according to their
association, is analogous to the selection made use of by the Poet,
from the words and ideas, which are his Materials. It will be observed
that, as on a Classic or Heroic subject, the choice is of learned
words and classical ideas, and on a Domestic or Pastoral one, simple
words and homely similes are used--so, in conjunction with the severe
forms of Architecture, the formal character of artificial foliage is
suitable; and for decorating Textiles and other movable Accessories,
the Natural foliage, with which the earth is clothed and beautified,
is appropriate.

ENRICHMENT OF SURFACE may be beautiful for one reason; IMITATION OF
NATURE is beautiful for another. When imitations of natural foliage
are introduced decoratively on a surface, then may it be twice
beautiful--first, in the _principles_ according to which the
distribution is arranged; and secondly, because of the _elements_
which are worked in being beautiful in themselves. Geometrical
elements might be so used as to serve the first end, but can never
fulfill the second: Storiation fulfills the second; but its increase
of interest absorbs the first.