My own feeling is, that as in the pointed arch we have not only the most beautiful, but at the same time incomparably the most convenient feature in construction which has ever been, or which, I firmly believe, ever can be invented, we should not be true artists if we neglected to use it. I hold firmly the doctrine that no architect can properly neglect to avail himself of every improvement in construction which the growing intelligence of this mechanical age can afford him; but this doctrine in no way hinders the constant employment of the pointed arch; on the contrary, it makes it necessary, because it is at once the most beautiful and the most economical way of doing the work that has to be done. There are, I well know, advocates for the round arch, whose theory appears to be that we ought to go back for some ages, to throw ourselves as it were into the position of men who knew only the round arch, and from this to attempt to develope in some new direction: this is Mr. Petit’s theory, and it is, as appears to me, one which it is not difficult to meet. Its supporters assert that pointed architecture is so essentially the effort of a particular age, and marked by certain peculiarities so decided, as to be filled, even in its most noble works, with a kind of spirit which in this age it is vain to attempt again to evoke. The old Gothic spirit is, they say, dead; and, glorious as it was, its flight was but meteor-like, and, having passed across the horizon of the world in its rapid course, it has sunk beyond all possibility of revival. It appears to me that those who so argue confound the accidents with the elements of the true Gothic architecture of the Middle Ages, and mistake altogether the object which, I trust, most architects would propose to themselves in striving for its revival. The elements are the adoption of the best principles of construction, and the ornamentation naturally and properly, and without concealment, of the construction; the accidents are, as it appears to me, the particular character which individual minds may have given to their work, the savageness, or the grotesqueness as it has been called, which is mainly to be discovered in the elaboration of particular features by some particular sculptor or architect, and which in the noblest works--and, indeed, I might say, in most works--one sees no trace of. The true Gothic architects of the Middle Ages had, in short, an intense love of nature grafted on an equally intense love of reality and truth, and to this it is that we owe the true nobility and abiding beauty of their works; nor need we in this age despond, for if we be really earnest in our work, there is nothing in this which we need fear to miss, nothing which we may not ourselves possess if we will, and nothing therefore to prevent our working in the same spirit, and with the same results, as our forefathers.