later on. Then, if the plan is convenient and effective, the walls
carried up with the architectural expression arising from the placing
and grouping of the openings, and the proper emphasizing of the base and
the cornice, and the horizontal stages (if any) of the structure, and
the roof firmly and scientifically seated on the walls; after all these
main portions of the structure are designed logically and in accordance
with one another and with the leading idea of the building, then the
finishing touches of expression and interest are given by well designed
and effective ornamental detail. Here the designer may indulge his fancy
as he pleases, as far as the nature of the design is concerned, but not,
if you please, as far as its position and distribution are concerned.
There the logic of architecture still pursues us.

We may not place ornament anywhere at haphazard on a building simply
because it looks pretty. At least, to do so is to throw away great part
of its value. For everything in architectural design is relative; it is
to be considered in relation to the expression and design of the whole,
and ornament is to be placed where it will emphasize certain points or
certain features of the building. It must form a part of the grouping of
the whole, and be all referable to a central and predominating idea. A
building so planned, built, and decorated becomes, in fact, what all
architecture--what every artistic design in fact should be--an organized
whole, of which every part has its relation to the rest, and from which
no feature can be removed without impairing the unity and consistency of
the design. You may have a very good, even an expressive, building with
no ornament at all if you like, but you may not have misplaced ornament.
That is only an excrescence on the design, not an organic portion of it.

I have thought that it would be of use to those who are unacquainted
with architectural procedure in delineating architecture by geometrical