ignored by the average designer, and occasionally even by some who consider themselves bridge experts. In the author's opinion, if piers and abutments be adequately designed from an engineering point of view, they will not fall far short of the ideal of artistic excellence.

In concluding this chapter the author would advise each of his readers to study carefully Chapter XXVI on "The Aesthetic Design of Bridges," by David A. Molitor, Esq., C. E., in Prof. Johnson's work on the "Theory and Practice of Modern Framed Structures." Although most of Mr. Molitor's illustrations are necessarily drawn from European practice, there are many features thereof which it would be well for American bridge-designers to adopt; notwithstanding the facts that European and American practice in bridge-building are fundamentally and essentially different, and that American engineers have little or nothing to learn from their brethren across the seas concern the science of bridge design. From an artistic point of view, however, it must be confessed that the average American bridge is inferior to the average European structure; so, while it is advisable that American bridge-designers study carefully European practice in respect to aesthetics, they should be cautious to avoid thoughtless imitation; because decorative features which are appropriate to the heavy, massive, and costly bridges of Europe would be out of place when engrafted on the light, airy, and economic structures that are characteristic of American engineering practice.