In London especially his eye was always on the watch. Comparing it with continental capitals, and especially with Paris, he, of course, felt painfully the contrast of what might be with what is, and sighed over the waste of resources, and the neglect of grand opportunities for architectural display. His architectural career indeed began at a time of strict economy and rigid utilitarianism. But as it advanced, he could not but see that men were gradually emancipating themselves from the conventional fallacy, which separated the useful by a strong line of demarcation from the ornamental. Art was shown to involve, not mere arbitrary taste, but substantial and reasonable principle, and accordingly its influence was recognised, as important and valuable, not only in the case of the individual, but in that of the community. Accordingly artistic efforts have been allowed greater scope, and higher reward.[107] Schemes are proposed, and sums of money voted for them, which would have made the hair of the economists of 1835 stand on end with horror. Nor is the feeling for artistic display confined to the higher classes. It does not appear that the tendency to greater democratic influence is likely to check the growth of this feeling. Sir Charles rejoiced of course in its development, and his notions of metropolitan improvement grew in boldness and comprehensiveness of scale. His natural activity in this direction was quickened by the fact of his long official connection with the Board of Works. Many of the Chief Commissioners had much confidence in his opinion and designs. He was not unfrequently consulted as to public improvements; and it was seldom that his vivid imagination confined itself to the limits of his official instructions. The great scheme of London improvements, which was his last work, was only the expression and completion of the ideas of a life-time.