Architecture is the weakest of the arts, in so far as it is the most dependent on the collective sensibility of its period. It is so involved, on the other hand, in utility, and so much a portion of public life, that it is far more helpless than painting and literature in the face of public indifference. Sculpture shares with it some of this helplessness. There are many good sculptors wasted to-day as thoroughly as anyone can be, through the absence of such conditions as are needed to give them their chance of natural expression. Had Gaudier-Brzeska lived, he would be doing an odd door-knocker or two, and an occasional paper-weight, or portrait busts, for a living, with all the limiting circumstance that personal vanity sets to that form of art work. There only remains for the sculptor, as for the painter, the art exhibition, and the freak-selling or commercial-selling of the dealer’s shop. A man like Archipenko, for instance, quite capable of finer things, is reduced to stunt-sculpting of a dilettante sort, on a small scale, it may be assumed of a precarious nature on the material side. Have you ever met an Architect? I do not mean a well-paid _pasticheur_, who restores a house or runs one up, in Tudor, Italian, or any other style. But a creative architect, or a man with some new power in his craft, and concerned with the æsthetic as well as the practical needs of the mass sensibility of his time? I have not. And what is more, should you wish to approach this neglected subject and learn more about it, you will find nothing but a dismal series of very stupid books for your information and reference. The best treatise I have so far come across is W. K. Lethaby’s handbook, “An Introduction to the History and Theory of the Art of Building.” It appears to me to be as sound a book as possible: and if everybody were of Mr. Lethaby’s opinions we should soon find that the aspect of this lifeless scene had changed for the better. And this voice for the right and active vision comes from the unlikeliest quarter. For Mr. Lethaby, I understand, is Chief Lecturer on Architecture in the South Kensington School. Listen to this admitted academic authority on the subject: “Modern armoured concrete is only a higher power of the Roman system of construction. If we could sweep away our fear that it is an inartistic material, and boldly build a railway station, a museum, or a cathedral, wide and simple, amply lighted, and call in our painters to finish the walls, we might be interested in building again almost at once. This building interest must be aroused.