In a portrait, too, we read not only the relation between sitter and artist, which must be a relation of deep sympathy and understanding if the portrait is to be anything but an imitation, but also the relation of the sitter to all the events of his life. Think of Raeburn’s portrait of James Wardrop. The strength, the kindliness, the rugged purpose, the humour with which the old man faced his life all through are there. It is the face of a man who has fought and won, and in fighting and winning has learned much wisdom. Think of Giorgione’s Portrait of a Gentleman, with its wealth of refinement; with its conviction that “manners makyth man,” sustained with gentleness already many times when courtesy and calm were not easy. Yet here too there is no representation of episode. The painter’s art is faithful to itself and allows no alien intrusion. The harmony, the unity of a man’s life, compounded though that life be of sequent episodes, makes the artist’s intuition. History has become philosophy. An absolute thing, an aspect of Reality, is presented, and we feel somehow that it is not set against the world but includes the world. The same kind of thing may be said of lapidary art, and we will not dwell on it in detail. The sculptor sees beauty in the human or animal form and in three dimensional representation generalises from it, whether his work represent an individual or an ideal; for the individual is used to express an ideal, the ideal is localised in an individual. The problem of the architect is somewhat different, being on the theoretic side the attempt to portray in three dimensions that which the designer of geometric patterns expresses in two--rhythm and order; multiplicity that establishes a unity; unity that interprets a multiplicity. But here, more than in other arts, the practical has to be kept in mind, and a harmony preserved between the economic and the theoretic activities. Generally one or other predominates, no one clear idea is expressed, and in consequence, much modern architecture, especially domestic and civic architecture, is unpleasing. To build a house is harder than to paint a picture, because men have to live in a house; and in a contention between two ideas the artistic side is overbalanced by the practical. Moreover the idea of relationship is comparatively subordinate here just because two ideas are set over against one another. The relationship of a thing to a man is in view. The aim is primarily economic, and beauty takes a second place because the intuition of harmony is vague and its expression imperfect.