There is no reason at all why there should not be a certain number of interesting architects. I can also see no reason why this pamphlet should not bring them forth. I should be very proud of that, and watch their labours with great interest. This, I think, is such a modest optimism that I am sure you will allow it. I should like to see the entire city rebuilt on a more conscious pattern. But this would automatically happen should an architect of genius turn up who would invent an architecture for our time and climate that was also a creative and fertilising art-form. The first great modern building that arose in this city would soon carry everything before it; and hand in hand with the engineer, and his new problems, by force of circumstances so exactly modern ones, would make a new form-content for our everyday vision. So all we want is one single architect with brains, and we will regard him with optimism. Now the question of form-content is obviously one of importance to every painter. Almost any painter, sculptor, or designer of an actual type to-day will agree with you that Cheapside, Piccadilly, Russell Square, Marylebone Road, are thoroughly dull and insignificant masses of brickwork, laid out according to no coherent plan, bestially vulgar in their details of ornament, and in every way fit for instant demolishment. Similarly, he will agree that any large and expensive West-End restaurant is an eyesore, and a meaningless sham. Similarly, when you say to him that it is about time something were done to get rid of this graceless and stupid spectacle, he will agree, but will quickly change the subject. Every law of common-sense precludes any possibility of an appreciable modification of this detestable sight. He will either imagine that you are out for some Utopia, or he will think that your notions hardly agree with the fashionable fad-idea that all is for the best in the best of all possible worlds--that whatever reality, accident, or your neighbour, that is, flings at your head, your head should resound to, if it is empty, as it ought to be. Of course there are good arguments against you. I have made use of those arguments myself. We have just been envisaging them in the section of this pamphlet headed “The Bull Sounds.” But we will proceed to sift out more thoroughly the Painter’s argument; this time not only the painter or the amateur, but any painter.