We are restoring our old cathedral stone by stone after its ancient model. We are also trying to build a new church. We are building it--as most new churches in England are now built--in a pure Gothic style. Are we doing right? I do not mean morally right. It is always morally right to build a new church, if needed, whatever be its architecture. It is always morally right to restore an old church, if it be beautiful and noble, as an heirloom handed down to us by our ancestors, which we have no right--I say no right--for the sake of our children, and of our children's children, to leave to ruin. But are we artistically, aesthetically right? Is the best Gothic fit for our worship? Does it express our belief? Or shall we choose some other style? I say that it is; and that it is so because it is a style which, if not founded on Nature, has taken into itself more of nature, of nature beautiful and healthy, than any other style. With greater knowledge of nature, both geographical and scientific, fresh styles of architecture may and will arise, as much more beautiful, and as much more natural, than the Gothic, as Gothic is more beautiful and natural than the Norman. Till then we must take the best models which we have; use them; and, as it were, use them up and exhaust them. By that time we may have learnt to improve on them; and to build churches more Gothic than Gothic itself, more like grot and grove than even a northern cathedral. That is the direction in which we must work. And if any shall say to us, as it has been said ere now--"After all, your new Gothic churches are but imitations, shams, borrowed symbols, which to you symbolise nothing. They are Romish churches, meant to express Romish doctrine, built for a Protestant creed which they do not express, and for a Protestant worship which they will not fit." Then we shall answer-- Not so. The objection might be true if we built Norman or Romanesque churches; for we should then be returning to that very foreign and unnatural style which Rome taught our forefathers, and from which they escaped gradually into the comparative freedom, the comparative naturalness, of that true Gothic of which Mr. Ruskin says so well: