What has been said of sculpture, however, can be repeated with even more force perhaps with regard to every detail of construction and decoration. Builders and architects did make mistakes at times, but, even their mistakes always reveal an artist's soul struggling for expression through inadequate media. Many things had to be done experimentally, most things were being done for the first time. Everything had an originality of its own that made its execution something more than merely a secure accomplishment after previous careful {108} tests. In spite of this state of affairs, which might be expected sadly to interfere with artistic execution, the Cathedrals, in the main, are full of admirable details not only worthy of imitation, but that our designers are actually imitating or at least finding eminently suggestive at the present time. To begin with a well known example of decorative effect which is found in the earliest of the English Cathedrals, that of Lincoln. The nave and choir of this was finished just at the beginning of the Thirteenth Century. The choir is so beautiful in its conception, so wonderful in its construction, so charming in its finish, so satisfactory in all its detail, though there is very little of what would be called striving after effect in it, that it is still called the Angel Choir. The name was originally given it because it was considered to be so beautiful even during the Thirteenth Century, that visitors could scarcely believe that it was constructed by human hands and so the legend became current that it was the work of angels. If the critics of the Thirteenth Century, who had the opportunity to see work of nearly the same kind being constructed in many parts of England, judged thus highly of it, it is not surprising that modern visitors should be unstinted in their praise. It is interesting to note as representative of the feeling of a cultured modern scientific mind that Dr. Osler said not long ago, in one of his medical addresses, that probably nothing more beautiful had ever come from the hands of man than this Angel Choir at Lincoln. As to who were the designers, who conceived it, or the workmen who executed it, we have no records. It is not unlikely that the famous Hugh of Lincoln, the great Bishop to whom the Cathedral owes its foundation and much of its splendor, was responsible to no little extent for this beautiful feature of his Cathedral church. The workmen who made it were artist-artisans in the best sense of the word and it is not surprising that other beautiful architectural features should have flourished in a country where such workmen could be found.