[5] See also Fergusson, _A History of Architecture_, Vol. I, p. 48: "... If we had made the same progress in the higher that we have in the lower branches of the building art, we should see a Gothic Cathedral pulled down with the same indifference, content to know that we could easily replace it by one far nobler and more worthy of our age and intelligence. No architect during the Middle Ages ever hesitated to pull down any part of a cathedral that was old and going to decay; and to replace it with something in the style of the day, however incongruous that might be; and if we were progressing as they were, we should have as little compunction in following the same course." 2. Landscape Painting. Up to the present, I have spoken only of Man as the proper subject of Ruler-Art. I have done this because Man is the highest subject of Art in general, and because the moment humanity ceases from holding the first place in our interest, something must be amiss, either with humanity, or with ourselves. Still, there are degrees and grades among ruler-artists. All of them cannot aspire to the exposition of the highest human values. And just as some turn to design and to ornament, and thus, in a small way, arrange and introduce order into a small area of the world, so others --standing halfway between these designers and the valuers of humanity --apply their powers quite instinctively to Nature away from Man. They have a thought to express--let us say it is: "Order is the highest good," or "Power is the source of all pleasure and beauty," or "Anarchy contends in vain against the governing power of light which is genius," and in the case of this last thought they paint a rugged scene which they reveal as arranged, simplified and transfigured by the power of the sun. In each of these cases they use Nature merely as a symbol, or a vehicle, by means of which their thought or valuation is borne in upon their fellows; and they do not start out as actual admirers of mere scenery, wishing only to repeat it as carefully as possible. Even when it uses Nature merely as a symbol or a vehicle, however, there can be little doubt that this kind of Ruler-Art is a degree lower in rank than the art which concerns itself with man; and when this kind of art becomes realistic, as it did with Constable and all his followers, it is literally superfluous. Only when the landscape is a minor element, serving but to receive and convey the mood or aspiration of the artist, is it a subject for Ruler-Art, and then the hand of man should be visible in it everywhere. With the artist's arranging, simplifying and transfiguring power observable in Nature, landscape painting, as Kant very wisely observed in his _Kritik der Urteilskraft_, becomes a process of pictorial gardening, and as such can teach very great lessons.