This, however, alone is but the skeleton. You must clothe it with muscles, and breathe into it the breath of life, by the direct culture of your own individual artistic powers. Make yourselves artists,--not so much artists in the lower sense of being able to make your ideas look well on paper, as in the incomparably more important sense of making your works really noble works of art in reality and in execution. It is of very little importance to any but yourselves whether your drawings look well; but it is of infinite importance that your works, when carried out, should be really worthy of admiration, and should produce the impression on the mind which they ought to produce. Make yourselves, then, artists, not alone in respect of mere architecture itself, but in respect also of its allied arts; in respect of architectural sculpture, in respect of painted decoration, in respect of figure sculpture and of figure-painting in forms suited to architecture; of painted glass, mosaic work, metal work, and all the subordinate arts. I do not say that you should really practise these arts yourselves, but by training yourselves in them you will become fitted to direct, guide, and check those whom you employ, or who are made your art colleagues. Few, indeed, of us have as yet come up to this standard,--very few have even approached it. I address you as the rising generation of architects, and urge you to do what your immediate predecessors have, for the most part, failed of having the means of doing. Let your new generation go far beyond its predecessor. It is not for us moderns to be content with a standard of our own degenerate age. To “measure ourselves _by_ ourselves, and to compare ourselves _with_ ourselves,” is never the part of wisdom. Set, rather, before yourselves a standard of glorious days of old; and, remembering always the right noble _Catæna Patrum_, whose successors you hope to be, make it your first endeavour to raise yourselves to a level worthy of your parentage, and then to press ardently onwards, if Providence shall permit, to ever new and higher attainments. INDEX. Abacus, circular, i. 113, 247; square, 121, 126, 143, 144, 303; plan of, 155; comparative merits of round and square, 156, 158; cruciform, 226; in French work, 247, 354; in Norman work, ii. 78, 85; square, round, octagonal, 78; of the Corinthian capital, 94, 140. Abbots’ houses in early Irish remains, ii. 19. Abstract beauty, i. 17. Abutment of the round arch, i. 233. Academy, Royal, i. 339; library, 315; students, 357. Acanthus, Greek and Roman, i. 81; the Greek type largely used in French transitional work, 82, 100; ii. 131. Additions to old churches, i. 364. Ædnoth, the architect of Romsey Abbey in the time of Dunstan, ii. 33. Agamemnon, tomb of, at Mycenæ, ii. 230, 231, 300. Aidan, ancient diocese of, ii. 130. Aidan, St., missionary from Iona, ii. 30. Ainay, near Lyons, domical church at, ii. 276.