There are pictures you and I dearly love, and they are priceless treasures in the market; yet there is no deep thought or display of learning in them to win our admiration. They violate facts of history, they outrage the grammar of academic art, and even their drawing may be inaccurate. Why, then, are such works cherished and treasured? Because, with all their faults, they have power, they have feeling; they speak to the heart. The men who painted them were unlearned and ignorant, but they were artists to the finger-tips. There is a spiritual something breathing beneath the surface of the true painter’s work which leaps to the eye and draws upon us and bestirs our emotions. Other pictures--laboured, scholastic, monumental, they leave us cold and passionless, and we pass them by on the other side. A good architect also is to the manner born. The principles of proportion in designing a building are difficult to adjust to give pleasure to the eye. Now, the sense of proportion is a gift which some men possess and others lack; although they are architects by profession, they are amateurs in construction. Without that subtle sense of proportion a man blunders through his designs, and puts no feeling of beauty or joy in the finished structure which is the work of his hands. Ruskin says: "It is just as rational an attempt to teach a young architect how to proportion truly and well by calculating for him the proportions of fine works as it would be to teach him to compare melodies by calculating the mathematical relations of the notes in Beethoven’s ’Adelaide’ or Mozart’s ’Requiem.’ The man who has eye and intellect will invent beautiful proportions, and cannot help it; but he can no more tell us how to do it than Wordsworth could tell us how to write a sonnet, or than Scott could have told us how to plan a romance."