whose separate stones are like mountain foundations, and yet numberless. II. Now, the difference between these two orders of build-ing is not merely that which there is in nature between things beautiful and sublime. It is, also, the difference between what is derivative and original in man's work; for whatever is in architecture fair or beautiful, is imitated from natural forms; and what is not so derived, but depends for its dignity upon arrangement and government received from human mind, becomes the expression of the power of that mind, and receives a sublimity high in proportion to the power expressed. All building, therefore, shows man either as gathering or governing: and the secrets of his success are his knowing what to gather, and how to rule. These are the two great intellectual Lamps of Architecture; the one consisting in a just and humble veneration for the works of God upon the earth, and the other in an understanding of the dominion over those works which has been vested in man. III. Besides this expression of living authority and power, there is, however, a sympathy in the forms of noble building, with what is most sublime in natural things; and it is the governing Power directed by this sympathy, whose operation I shall at present endeavor to trace, abandoning all inquiry into the more abstract fields of invention: for this latter faculty, and the questions of proportion and arrangement connected with its discussion, can only be rightly examined in a general view of all arts; but its sympathy, in architecture, with the vast controlling powers of Nature herself, is special, and may shortly be considered; and that with the more advantage, that it has, of late, been little felt or regarded by architects. I have seen, in recent efforts, much contest between two schools, one affecting originality, and the other legality--many attempts at beauty of design--many ingenious adaptations of construction; but I have never seen any aim at the expression of abstract power; never any appearance of a consciousness that, in this primal art of man, there is room for the marking of his relations with the mightiest, as well as the fairest, works of God; and that those works themselves have been permitted, by their Master and his, to receive an added glory from their association with earnest efforts of human thought. In the edifices of Man there should be found reverent worship and following, not only of the spirit which rounds the pillars of the forest, and arches the vault of the avenue--which gives veining to the leaf, and polish to the shell, and grace to every pulse that agitates animal organization,--but of that also which reproves the pillars of the earth, and builds up her barren precipices into the coldness of the clouds, and lifts her shadowy cones of mountain purple into the pale arch of the sky; for these, and other glories more than these, refuse not to connect themselves, in his thoughts, with the work