5. And observe how unbroken the ascent from this, the simplest architecture, to the loftiest. The placing of the timbers in a ship's stem, and the laying of the stones in a bridge buttress, are similar in art to the construction of the plowshare, differing in no essential point, either in that they deal with other materials, or because, of the three things produced, one has to divide earth by advancing through it, another to divide water by advancing through it, and the third to divide water which advances against it. And again, the buttress of a bridge differs only from that of a cathedral in having less weight to sustain, and more to resist. We can find no term in the gradation, from the plowshare to the cathedral buttress, at which we can set a logical distinction. 6. Thus then we have simply three divisions of Art--one, that of giving colors to substance; another, that of giving form to it without question of resistance to force; and the third, that of giving form or position which will make it capable of such resistance. All the fine arts are embraced under these three divisions. Do not think that it is only a logical or scientific affectation to mass them together in this manner; it is, on the contrary, of the first practical importance to understand that the painter's faculty, or masterhood over color, being as subtle as a musician's over sound, must be looked to for the government of every operation in which color is employed; and that, in the same manner, the appliance of any art whatsoever to minor objects cannot be right, unless under the direction of a true master of that art. Under the present system, you keep your Academician occupied only in producing tinted pieces of canvas to be shown in frames, and smooth pieces of marble to be placed in niches; while you expect your builder or constructor to design colored patterns in stone and brick, and your china-ware merchant to keep a separate body of workwomen who can paint china, but nothing else. By this division of labor, you ruin all the arts at once. The work of the Academician becomes mean and effeminate, because he is not used to treat color on a grand scale and in rough materials; and your manufactures become base, because no well-educated person sets hand to them. And therefore it is necessary to understand, not merely as a logical statement, but as a practical necessity, that wherever beautiful color is to be arranged, you need a Master of Painting; and wherever noble form is to be given, a Master of Sculpture; and wherever complex mechanical force is to be resisted; a Master of Architecture.