and that far too highly, what is called "the bold style" in painting,
you cannot appreciate it in sculpture. You like a hurried, broad,
dashing manner of execution in a water-color drawing, though that may be
seen as near as you choose, and yet you refuse to admit the nobleness of
a bold, simple, and dashing stroke of the chisel in work which is to be
seen forty fathoms off. Be assured that "handling" is as great a thing
in marble as in paint, and that the power of producing a masterly effect
with few touches is as essential in an architect as in a draughtsman;
though indeed that power is never perfectly attained except by those who
possess the power of giving the highest finish when there is occasion.

41. But there is yet another and a weightier charge to be brought
against our modern Pseudo-Greek ornamentation. It is, first, wrongly
placed; secondly, wrongly finished; and, thirdly, utterly _without
meaning_. Observe in these two Gothic ornaments, and in every other
ornament that ever was carved in the great Gothic times, there is a
definite aim at the representation of some natural object. In _fig._ 15
you have an exquisite group of rose-stems, with the flowers and buds; in
_fig._ 16, various wild weeds, especially the Geranium pratense; in
every case you have an approximation to a natural form, and an unceasing
variety of suggestion. But how much of Nature have you in your Greek
buildings? I will show you, taking for an example the best you have
lately built; and, in doing so, I trust that nothing that I say will be
thought to have any personal purpose, and that the architect of the
building in question will forgive me; for it is just because it is a
good example of the style that I think it more fair to use it for an
example. If the building were a bad one of the kind, it would not be a
fair instance; and I hope, therefore, that in speaking of the
institution on the Mound, just in progress, I shall be understood as
meaning rather a compliment to its architect than otherwise. It is not
his fault that we force him to build in the Greek manner.

42. Now, according to the orthodox practice in modern architecture, the
most delicate and minute pieces of sculpture on that building are at the
very top of it, just under its gutter. You cannot see them in a dark
day, and perhaps may never, to this hour, have noticed them at all. But
there they are: sixty-six finished heads of lions, all exactly the same;
and, therefore, I su