Send him to our hills, and let him study there what nature understands by a buttress, and what by a dome. There was something in the old power of architecture, which it had from the recluse more than from the citizen. The buildings of which I have spoken with chief praise, rose, indeed, out of the war of the piazza, and above the fury of the populace: and Heaven forbid that for such cause we should ever have to lay a larger stone, or rivet a firmer bar, in our England! But we have other sources of power, in the imagery of our iron coasts and azure hills; of power more pure, nor less serene, than that of the hermit spirit which once lighted with white lines of cloisters the glades of the Alpine pine, and raised into ordered spires the wild rocks of the Norman sea; which gave to the temple gate the depth and darkness of Elijah's Horeb cave; and lifted, out of the populous city, grey cliffs of lonely stone, into the midst of sailing birds and silent air. CHAPTER IV. THE LAMP OF BEAUTY. I. It was stated, in the outset of the preceding chapter, that the value of architecture depended on two distinct characters: the one, the impression it receives from human power; the other, the image it bears of the natural creation. I have endeavored to show in what manner its majesty was attributable to a sympathy with the effort and trouble of human life (a sympathy as distinctly perceived in the gloom and mystery of form, as it is in the melancholy tones of sounds). I desire now to trace that happier element of its excellence, consisting in a noble rendering of images of Beauty, derived chiefly from the external appearances of organic nature. It is irrelevant to our present purpose to enter into any inquiry respecting the essential causes of impressions of beauty. I have partly expressed my thoughts on this matter in a previous work, and I hope to develope them hereafter. But since all such inquiries can only be founded on the ordinary understanding of what is meant by the term Beauty, and since they presume that the feeling of mankind on this subject is universal and instinctive, I shall base my present investigation on this assumption; and only asserting that to be beautiful which I believe will be granted me to be so without dispute, I would endeavor shortly to trace the manner in which this element of delight is to be best engrafted upon architectural design, what are the purest sources from which it is to be derived, and what the errors to be avoided in its pursuit.