There are, to be sure, numerous instances in which the particular church or castle he names suits the tone of the story just a trifle better than anything else he could have found. In _Sordello_, for example, he constructed an imaginary castle, Goito, which both harmonized with the character of Sordello and influenced his life, since it was the home of his youth. An excellent example of a building chosen to illustrate the theme of the story is _The Bishop orders his Tomb at St. Praxed’s Church_. Perhaps no such tomb as the Bishop’s ever existed, exactly as described in the poem; but if it had, St. Praxed (Santa Prassede) with its ornate beauty was exactly suited to be its location. _The Ring and the Book_ and _The Statue and the Bust_ are both excellent examples of poems in which the buildings were already selected for Browning by the stories on which he based his poems. Examples of buildings chosen for harmony, such as those in _Sordello_ and _The Bishop orders his Tomb_, are rather exceptional cases. Browning’s poetic architecture, for the most part, may be grouped in three divisions--(1) buildings already chosen for him by the story which he wished to embody in a poem, (2) buildings chosen by himself, to harmonize with the tone of the story, (3) buildings used for setting with no regard whatever for architectural qualities. The last division is by far the largest. Or, to classify more broadly, there are two ways in which he uses architecture--(1) for the sake of an emotional value, of which there is one example, and (2) for the sake of background effects, to which practically all the other instances belong. IV. COMPARISON WITH OTHER WRITERS.--Wordsworth has several poems--for example, _Old Abbeys_, _In the Cathedral at Cologne_, _Inside of King’s College Chapel_--that within a short space and in a lyrical fashion deal with architecture in a highly appreciative manner. Somewhat similar examples from Byron are the _Elegy on Newstead Abbey_ and the familiar _Sonnet on Chillon_. But Browning, whose writings contain few poems of lyric or descriptive subjectivity, did not devote himself to any such effusions over inanimate objects. His only description of architecture as something appealing to the emotion and imagination of man is contained in a few lines of a very long poem, _Christmas-Eve and Easter-Day_. The speaker is searching for religious truth and finds himself, in his visit to the homeland of Catholicism, viewing St. Peter’s at Rome. Then follows that wonderfully comprehensive description--