Such coöperation with the architect demands at once fertility of imagination and considerable self-restraint; an appreciation of the larger qualities of design as displayed in the architecture, mingled with a natural feeling for the charm of minute and exquisite workmanship; a personal feeling, subordinated to the main design, yet in this subordination finding an increase of force. For the modelled ornament is itself enriched by its enrichment of the wall-surface; and the statue which has fine architecture for its setting receives therefrom additional dignity, provided always that the sculptor has adapted the lines of his figure to those of the architecture. If he miss the spirit of the latter and design his subject independently his statue loses the benefit of the alliance and its importance is overpowered by the necessary predominance of the architectural effect. Nor is the failure to secure harmonious relation between the sculpture and the architecture always to be laid to the sculptor. The architect’s design may be lacking in taste and dignity; or, if good in itself, yet without adequate or any provision for sculptural embellishment; the latter being resorted to as an afterthought. Examples of this kind are not infrequent. The best opportunity that we have in this country of studying sculpture in its relation to architecture is in the Library of Congress, for here the design was deliberately planned to include sculpture and painted decoration, and on a scale of unusual magnitude. Some critics are disposed to complain of an overelaboration in the decorative scheme, but at least every item of the sculpture was organic and structural in intention. We may differ, that is to say, as to the propriety of introducing so much embellishment, but the latter everywhere grows naturally out of its position and has its closely planned function in the general design.