his delight was in the things he thought of as he carved; but when he had once reached this pitch of constructive science, he began to think only how cleverly he could put the stones together. The question was not now with him, What can I represent? but, How high can I build--how wonderfully can I hang this arch in air, or weave this tracery across the clouds? And the catastrophe was instant and irrevocable. Architecture became in France a mere web of waving lines,--in England a mere grating of perpendicular ones. Redundance was substituted for invention, and geometry for passion; tho Gothic art became a mere expression of wanton expenditure, and vulgar mathematics; and was swept away, as it then deserved to be swept away, by the severer pride, and purer learning, of the schools founded on classical traditions. You cannot now fail to see, how, throughout the history of this wonderful art--from its earliest dawn in Lombardy to its last catastrophe in France and England--sculpture, founded on love of nature, was the talisman of its existence; wherever sculpture was practised, architecture arose--wherever that was neglected, architecture expired; and, believe me, all you students who love this mediaeval art, there is no hope of your ever doing any good with it, but on this everlasting principle. Your patriotic associations with it are of no use; your romantic associations with it--either of chivalry or religion--are of no use; they are worse than useless, they are false. Gothic is not an art for knights and nobles; it is an art for the people: it is not an art for churches or sanctuaries; it is an art for houses and homes: it is not an art for England only, but an art for the world: above all, it is not an art of form or tradition only, but an art of vital practice and perpetual renewal. And whosoever pleads for it as an ancient or a formal thing, and tries to teach it you as an ecclesiastical tradition or a geometrical science, knows nothing of its essence, less than nothing of its power. Leave, therefore, boldly, though not irreverently, mysticism and symbolism on the one side; cast away with utter scorn geometry and legalism on the other; seize hold of God's hand and look full in the face of His creation, and there is nothing He will not enable you to achieve. Thus, then, you will find--and the more profound and accurate your knowledge of the history of art the more assuredly you will find--that the living power in all the real schools, be they great or small, is love of nature. But do not mistake me by supposing that I mean this law to be all that is necessary to form a school. There needs to be much superadded to it, though there never must be anything superseding it. The main thing which needs to be superadded is the gift of design.