STRUCTURAL DETAILS.
The material cannot of course remain in its original form, but must be worked and reduced to shape. As the masses of the edifice enclose space, so is the edifice itself bounded by infinite space, and the boun daries which result from this enclosure define the outlines of the struc ture. These outlines must in their vast totality indicate the charac ter and purpose of the building, while their every detail must clearly denote what relation a particular portion bears to the whole and how it contributes to the general effect. This proportioning of the several con structively united parts to one another is in the German language called the Glicticrung; literally, the " membering." The term includes that part of proportion which is not imperatively prescribed by the requirements and also the arrangement of the details. The lumbering will be of least importance in mere utilitarian structures, but will become more prom inent the more the xsthetic idea predominates; and in the ideal realiza tion of the highest conceptions it exacts that no dead masses, as they are called—namely, portions unnecessary to the artistic idea—be allowed, but that every part shall bear its characteristic detail.
The details—that is, the forms of the smaller separate parts—are not directly dependent on the general character of the whole structure, which can only make its influence felt in a subordinate manner, but must primarily depend on the nature of the materials, the kind used in each individual part, the manner in which the parts are connected, and the purpose which the connection of a series of parts into a constructional member serves in the entire construction. When great strength and consequently ponderous masses are needed, the effect of strength must be made clear to the eye by large, severe, massive details; while where the masses to be decorated serve no statical or mechanical purpose, but owe their presence to aesthetic demands, the existent relation may be expressed by light and graceful features.
The details must not only indicate the intrinsic nature and functions of the individual parts of the construction, but must also enable the eye to bind and unite apparently incongruous elements, must harmonize dis cordances and detach similarities. Supporting and supported structures
have each their appropriate detail, and so have independent detached masses. The detail is partly essential and partly conventional. In this respect it is like a language which expresses individual thoughts. Lan guages differ according to races and nations, but not at random, since each tongue is absolutely dependent on the natural affinities and civilization of the people who speak it, and develops with their culture.
Language cf the same way the language of forms, of detail and decoration, differs with races and times, progresses with the civiliza tion of a nation, and ascends hand in hand with the problems which are presented to Architecture by the modes of life of the people. We can thus explain why the general purpose and character of the whole structure do not exert any direct influence on the decoration. As speech develops with the necessity for new expressions and sharp definitions, so is it also with the form-speech of Architecture. As languages vary in their power of expression, in their euphony and harmony, so does the language of form, expressed in the architecture of one nation, differ from that of others. That this is the case is proved by the fact that the speech and the language of form of a people usually exhibit similar properties and reach an equal development. Language develops according to well defined laws. Certain fundamental sounds and a few general rules for the relation of sounds are common to all; definite fundamental rules regard ing various modes of expression are repeated everywhere. The declen sions and conjugations in all languages bear a certain relation. In the same way, certain fundamental elements of decoration are found every where, accompanied by a few fundamental principles.