surface, his only rests, and his chief means of sublimity, are definite shades. So that, after size and weight, the Power of architecture may be said to depend on the quantity (whether measured in space or intenseness) of its shadow; and it seems to me, that the reality of its works, and the use and influence they have in the daily life of men (as opposed to those works of art with which we have nothing to do but in times of rest or of pleasure), require of it that it should express a kind of human sympathy, by a measure of darkness as great as there is in human life: and that as the great poem and great fiction generally affect us most by the majesty of their masses of shade, and cannot take hold upon us if they affect a continuance of lyric sprightliness, but must be often serious, and sometimes melancholy, else they do not express the truth of this wild world of ours; so there must be, in this magnificently human art of architecture, some equivalent expression for the trouble and wrath of life, for Its sorrow and its mystery; and this it can only give by depth or diffusion of gloom, by the frown upon its front, and the shadow of its recess. So that Rembrandtism is a noble manner in architecture, though a false one in painting; and I do not believe that ever any building was truly great, unless it had mighty masses, vigorous and deep, of shadow mingled with its surface. And among the first habits that a young architect should learn, is that of thinking in shadow, not looking at a design in its miserable liny skeleton; but conceiving it as it will be when the dawn lights it, and the dusk leaves it; when its stones will be hot, and its crannies cool; when the lizards will bask on the one, and the birds build in the other. Let him design with the sense of cold and heat upon him; let him cutout the shadows, as men dig wells in unwatered plains; and lead along the lights, as a founder does his hot metal; let him keep the full command of both, and see that he knows how they fall, and where they
