THE VIRTUES OF ARCHITECTURE 61

§ 2. Now, as regards the second of these virtues, it is evident that we can establish no general laws. First, because it is not a virtue required in all buildings; there are some which are only for covert or defence, and from which we ask no conversation. Secondly, because there are countless methods of expression, some conventional, some natural: each conventional mode has its own alphabet, which evidently can be no subject of general laws. Every natural mode is instinctively employed and instinctively understood, wherever there is true feeling; and this instinct is above law. The choice of conventional methods depends on circumstances out of calculation, and that of natural methods on sensations out of control; so that we can only say that the choice is right, when we feel that the means are effective; and we cannot always say that it is wrong when they are not so.

A building which recorded the Bible history by means of a series of sculptural pictures, would be perfectly useless to a person unacquainted with the Bible beforehand: on the other hand, the text of the Old and New Testaments might be written on its walls, and yet the building be a very inconvenient kind of book, not so useful as if it had been adorned with intelligible and vivid sculpture. So, again, the power of exciting emotion must vary or vanish, as the spectator becomes thoughtless or cold; and the building may be often blamed for what is the fault of its critic, or endowed with a charm which is of its spectator’s creation. It is not, therefore, possible to make expressional character any fair criterion of excellence in buildings, until we can fully place ourselves in the position of those to whom their expression was originally addressed, and until we are certain that we understand every symbol, and are capable of being touched by every association which its builders employed as letters of their language. I shall continually endeavour to put the reader into such sympathetic temper, when I ask for his judgment of a building; and in every work I may bring before him I shall point out, as far as I am able, whatever is peculiar in its expression; nay, I must even depend on such peculiarities for much of

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