Balcony railings and staircase balustrades are quite general to houses of the late eighteenth century. Refined and thoroughly good of their kind, they never fail to please, and never, of course, imitate wrought iron. The design is always direct, unpretentious and effortless, in a manner that became at this time quite a tradition.
The verandahs also, of which there are so many in Piccadilly or Mayfair, with posts reeded and of delicate profiles, are of the same kind, confessedly cast iron, and never without the characterising dulness of the forms, so that they have no jutting members to be broken off, to expose a repulsive jagged fracture. The opposite of all these qualities may be found in the "expensive"-looking railing on the Embankment enclosing the gardens, whose tiny fretted and fretful forms invite an experiment often successful.
It must be understood that cast iron should be merely a flat lattice-like design, obviously cast _in panels_, or plain post and rail construction with cast uprights and terminal knops tenoned into rails, so that there is no doubt of straightforward unaffected fitting. The British Museum screen may be taken to instance how ample ability will not redeem false principles of design: the construction is not clear, nor are the forms sufficiently simple, the result being only a high order of commonplace grandeur.
Even the lamp-posts set up in the beginning of the century for oil lights, a few of which have not yet been improved away from back streets, show the same care for appropriate form. Some of the Pall Mall Clubs, again, have well-designed candelabra of a more pretentious kind; also London and Waterloo Bridges.
The fire-grates, both with hobs and close fronts, that came into use about the middle of the last century, are decorated all over the field with tiny flutings, beads, and leaf mouldings, sometimes even with little figure medallions, and carry delicacy to its limit. The better examples are entirely successful, both in form and in the ornamentation, which, adapted to this new purpose, does no more than gracefully acknowledge its debt to the past, just as the best ornament at all times is neither original nor copied: it must recognise tradition, and add something which shall be the tradition of the future. The method followed is to keep the general form quite simple and the areas flat, while the decoration, just an embroidery of the surface, is of one substance and in the slightest possible relief. Other larger grates there were with plain surfaces simply framed with mouldings.