other hand, that our eclectic architecture, popularly speaking, is not comprehended, even by the most intelligent of cultivated people; and this is plainly because it is based on learning and archeology, instead of that natural love which scorns the limitations of any other _authorities and precedents_ than those which can be found in the human heart, where the true architecture of our time is lying unsuspected, save in those half-conscious Ideals which yearn for free expression in Art. Let our artists turn to Greece, and learn how, in the meditative repose of that antiquity, these Ideals arose to life beneficent with the baptism of grace, and became visible in the loveliness of a hundred temples. Let them there learn how in our own humanity is the essence of form as a language, and that _to create_, as true artists, we must know ourselves and our own distinctive capacities for the utterance of monumental history. After this sublime knowledge comes the necessity of the knowledge of precedent. The great Past supplies us with the raw material, with orders, colonnades and arcades, pediments, consoles, cornices, friezes and architraves, buttresses, battlements, vaults, pinnacles, arches, lintels, rustications, balustrades, piers, pilasters, trefoils, and all the innumerable conventionalities of architecture. It is plainly our duty not to revive and combine these in those cold and weary changes which constitute modern design, but to make them live and speak intelligibly to the people through the eloquent modifications of our own instinctive lines of Life and Beauty. The riddle of the modern Sphinx is, How to create a new architecture? and we find the Oedipus who shall solve it concealed in our own hearts. * * * * * THE ORDEAL BY BATTLE.