yourself have seen the same effect produced in former pictures; but the charm lies in producing them yourself from nature. Aim then at facility in producing these effects in general, and you will easily apply and vary that knowledge as you require it. Aim at acquiring a kind of _grammar of effect_, just as in reading music, the habitué recognises a certain set of notes from their frequent recurrence, and which is even called by musical people a _phrase_, alluding to the similar recurrence of words in the composition of a sentence. It is knowledge that leads to decision, which is the secret of rapidity.”[11] Of course, with an architect rapidity is not necessary, it only pertains to a sketcher in water-colours, whose materials dry up rapidly. A hundred lessons in architecture may be gained every time that we walk along a pleasant lane, and the village with a cheerful row of cottages grown over with creepers, and showing tall chimneys, is full of suggestions in light and shade and composition. In all importations of foreign architecture--and it is not pretended that there should be none--the first thing to consider is its fitness for the climate and surroundings. Dol, Morlaix, and other towns in the north of France, contain many suggestions for city architecture. Our own cathedrals and great churches were meant to stand alone, and can only be seen at some distance; the churches on the Continent were often designed for the effect they would have in a crowded town; but here again, the old chronic error has to be met, that Gothic buildings suit country scenes the best, and Classic a town, whereas the only place where a classic building can be employed, except by a man of absolute genius, is in the country among heavy foliage.