This conclusion, then, we arrive at, _must_ arrive at; the fact being irrevocably so:--that in order to give your imagination and the other powers of your souls full play, you must do as all the great architects of old time did--you must yourselves be your sculptors. Phidias, Michael Angelo, Orcagna, Pisano, Giotto,--which of these men, do you think, could not use his chisel? You say, "It is difficult; quite out of your way." I know it is; nothing that is great is easy; and nothing that is great, so long as you study building without sculpture, can be _in_ your way. I want to put it in your way, and you to find your way to it. But, on the other hand, do not shrink from the task as if the refined art of perfect sculpture were always required from you. For, though architecture and sculpture are not separate arts, there is an architectural _manner_ of sculpture; and it is, in the majority of its applications, a comparatively easy one. Our great mistake at present, in dealing with stone at all, is requiring to have all our work too refined; it is just the same mistake as if we were to require all our book illustrations to be as fine work as Raphael's. John Leech does not sketch so well as Leonardo da Vinci; but do you think that the public could easily spare him; or that he is wrong in bringing out his talent in the way in which it is most effective? Would you advise him, if he asked your advice, to give up his wood-blocks and take to canvas? I know you would not; neither would you tell him, I believe, on the other hand, that because he could not draw as well as Leonardo, therefore he ought to draw nothing but straight lines with a ruler, and circles with compasses, and no figure- subjects at all. That would be some loss to you; would it not? You would all be vexed if next week's _Punch_ had nothing in it but proportionate lines. And yet, do not you see that you are doing precisely the same thing with _your_ powers of sculptural design that he would be doing with his powers of pictorial design, if he gave you nothing but such lines. You feel that you cannot carve like Phidias; therefore you will not carve at all, but only draw mouldings; and thus all that intermediate power which is of especial value in modern days,--that popular power of expression which is within the attainment of thousands,--and would address itself to tens of thousands,--is utterly lost to us in stone, though in ink and paper it has become one of the most desired luxuries of modern civilization. Here, then, is one part of the subject to which I would especially invite your attention, namely, the distinctive character which may be wisely permitted to belong to architectural sculpture, as distinguished from perfect sculpture on one side, and from mere geometrical decoration on the other.