In painting, the most uncultivated persons, even those who have never exercised their organs of sight except involuntarily, will always admire the higher forms before the lower.[28] They will more highly appreciate a picture of a Madonna or other beautiful woman than an interior where the scene is comparatively complicated by the presence of several persons, and they will prefer the interior to a landscape, and a landscape to a still-life picture. So in sculpture. Other things being equal, a figure of a man or woman will be preferred to a group, and the group to an animal or decorative ornament. An exception must however be made in respect of the sublime reaches of Grecian sculpture in the fifth and fourth centuries B.C., owing to an artificial restriction. There is very little of this sculpture to be actually seen, nearly all the more important works being known only from records or variable copies. Considerable observation, comparison, and study, are necessary before one can gain a fair conception of the Grecian ideals, and so they are practically lost to the bulk of the people. In fiction it is common knowledge that the greatest works from the point of view of art are always the most popular, as they are invariably the most simple in construction and diction. In considering poetry we must exclude the great epics, as those of Homer, Virgil, Dante, and Milton, because where the actions of supernatural persons are described, the sentiments and language employed are so elevated in character, and the images and literary references so numerous, that a certain superior education is required before the sense of the poems can be comprehended. Subject to this artificial restriction, the rule holds entirely good. Shakespeare is at once the greatest and most popular of our poets: Shelley, Byron, and Burns, are as far ahead of Tennyson and Browning in popularity as they are in general beauty and simplicity. In music on the other hand the lower forms are the simplest and consequently the most popular. Songs, dance measures, and ditties of various kinds, are enjoyed by the mass of the people in preference to Beethoven and Wagner, a certain cultivation of the aural nerves being necessary for the appreciation of the greater artists. The architect is under the necessity of meeting the ends of utility, but subject to this restriction it is obvious that simplicity must be the keynote to his design, for the highest quality of beauty in his power to produce is grandeur, and this diminishes with an increase in the complexity of his sign combinations. The combination of simplicity with grandeur is the first form of beauty that would be recognized by the immature eye, and consequently in respect of the general test of art excellence, architecture falls into line with the Associated Arts, and not with music.