You will have gathered from incidental remarks as I have proceeded that I have not supposed you to limit your attention and study to architecture properly so called. Time does not allow me to go farther into the subject of collateral arts; but let me say that, as architecture unites all arts in one, so you must gather into her garner the spoils to be collected from the study of every art by which architecture may be ennobled and enriched. I have said nothing in the course of the foregoing remarks as to the choice or preference you would have to exercise among specimens of different Mediæval periods and styles, but I have said enough to show that I do not suppose your studies of the old buildings in our own and neighbouring countries to be limited to one selected period, nor even to what can be strictly called Mediæval works, as much that is useful can be gathered (particularly in domestic work) from buildings of the sixteenth and seventeenth centuries. It is absolutely necessary, too, that you should understand and be familiar with _all_ the varieties of our old architecture, because, though you may not follow them in your own works, you may be frequently called upon to _restore_ them, though this reason is hardly necessary to lead you to master the _whole_ range of Mediæval art. Still, however, you cannot choose but follow more lovingly the works of the periods which most approve themselves to your minds as the days when art was the most vigorous, noble, and full of deep and true sentiment. For my own part, though I am less exclusive than many of my friends, I must confess that I find a difficulty in sketching, unless with a directly practical object, from works either so early as to be rude or so late as to be enervated. And while I beg you to make yourselves masters of the _whole_ range, I am far from asking you to check the genial current of the soul by endeavouring to love all varieties alike, or to give equal attention to those which are and those which are not in harmony with your inner feelings.