ny
kind, and all being done solidly, securely, and at the smallest
necessary cost.

The _sacrifice_ of any of these first requirements to external
appearance is a futility and absurdity. Rooms must not be darkened to
make the ranges of windows symmetrical. Useless wings must not be added
on one side, to balance useful wings on the other, but the house built
with one wing, if the owner has no need of two; and so on.

60. But observe, in doing all this, there is no High, or as it is
commonly called, Fine Art, required at all. There may be much science,
together with the lower form of art, or "handicraft," but there is as
yet no _Fine Art_. House-building, on these terms, is no higher thing
than ship-building. It indeed will generally be found that the edifice
designed with this masculine reference to utility, will have a charm
about it, otherwise unattainable, just as a ship, constructed with
simple reference to its service against powers of wind and wave, turns
out one of the loveliest things that human hands produce. Still, we do
not, and properly do not, hold ship-building to be a fine art, nor
preserve in our memories the names of immortal ship-builders; neither,
so long as the mere utility and constructive merit of the building are
regarded, is architecture to be held a fine art, or are the names of
architects to be remembered immortally. For any one may at any time be
taught to build the ship, or (thus far) the house, and there is nothing
deserving of immortality in doing what any one may be taught to do.

But when the house, or church, or other building is thus far designed,
and the forms of its dead walls and dead roofs are up to this point
determined, comes the divine part of the work--namely, to turn these
dead walls into living ones. Only Deity, that is to say, those who are
taught by Deity, can do that.

And that is to be done by painting and sculpture, that is to say, by
ornamentation. Ornamentation is therefore the principal part of
architecture, considered as a subject of fine art.

61. Now observe. It will at once follow from this principle, that _a
great architect must be a great sculptor or painter_.

This is a universal law. No person who is not a great sculptor or
painter _can_ be an architect. If he is not a sculptor or painter, he
can only be a _builder_.

The three greatest architects hitherto known in the world were Phidias,
Giotto, and Michael Angelo; with all of whom, architecture was onl