Architecture is the art of a concrete bodily form, absolutely separated from any representation of humanity, unless one looks beyond it to the architect, or to the people for whom it is constructed. In contradistinction to the other fine arts discussed here, it is characterized by usefulness. While it should, and does, in its highest forms, surmount mere utility, and give an impression of harmony, beauty, and grandeur, it never directly portrays the finest feelings of which humanity is capable and never inspires one directly with a feeling of achievement or struggle in character. Utility is the chief interest guiding Browning’s treatment of architecture--not architectural utility, but the service to the poet in fixing the setting of his poems. Such service is clear in nearly every instance in all of the twenty-five poems in which some Italian building is mentioned, and in the case of nearly all the fifty-eight edifices named. The description of St. Peter’s in _Christmas-Eve and Easter-Day_ is practically the only exception, and there, as has already been stated, the poet passed from the grandeur of the structure itself to the builders. Lack of personality in architecture is, then, the reason for its very slight introduction as an actual art in Browning’s verse. Passing on from architecture to sculpture one finds that we have another art of concrete bodily form, with the added power of portraying the human form, face, and to a very slight degree, the soul. While the number of sculptors named is very small, then, Browning’s appreciation of this art surpasses his appreciation of architecture. Examples of this are _Old Pictures in Florence_, in which sculpture is treated at considerable length, by comparing its merits with the aspirations of the early painters, and _Pippa Passes_, in which Jules, the sculptor, is a prominent figure. _The Bishop orders his Tomb_ deals almost entirely with sculpture. Still sculpture was not Browning’s favorite art by any means. Bodily perfection he admired; but he wished to go beyond it to the soul in dramatic situations, to its struggle and endeavor. And for these values the powers of sculpture are limited. To portray successfully any very great struggle or intense feeling of the soul is beyond its nature.