In connection with terracing any story (by which Wotton seems to have meant the making of loggias), Wren remarks: “Terracing is most commended in hotter climates, and in our country must serve mostly for summer rooms.” To Wotton’s general reflection that “various colours on the out-walls of buildings have always in them more delight than dignity,” Wren adds the criticism in Latin that in this particular the noble building of Lord Exeter at Wimbledon also offends. He seems, however, to have been friendly to the use of mosaic, for he says: “Herein excels that excellent cave at Bodington wherein stands the brazen hydra with seven springs out of seven heads.” With regard to the art of the plasterer, Wotton had said: “Plastique is not only under sculpture, but indeed very sculpture itself, with this difference that the plasterer doth make his figures by addition, and the carver by subtraction.” Wren makes short work of this with, “This proposition can never hold true to the name of sculpture.” At the end of the _Elements_ Wotton promises another work, “A Philosophical Survey of Education, which is indeed a Second Building or Repairing of Nature, and, as I may term it, a kind of moral architecture.” Wren must have taken considerable pleasure from the _Elements_, for in the margin he has written: “Oh that we might see that, so long expected.” There are bits of detailed criticism in his first _Tract_ which might have been used in recent comments on a great London building: “Fronts ought to be elevated in the Middle, not the Corners; because the Middle is the place of greatest Dignity and first arrests the Eye; and rather projecting forward in the Middle, than hollow. For these Reasons, Pavilions at the Corners are naught; because they make both Faults, a hollow and depressed Front.... No Roof can have Dignity enough to appear above a Cornice, but the Circular: in private Buildings it is excusable.”