main principles of art in simple light before the general student, and
to indicate their practical bearing on modern design. The law which it
has been my effort chiefly to illustrate is the dependence of all noble
design, in any kind, on the sculpture or painting of Organic Form.

This is the vital law; lying at the root of all that I have ever tried
to teach respecting architecture or any other art. It is also the law
most generally disallowed.

I believe this must be so in every subject. We are all of us willing
enough to accept dead truths or blunt ones; which can be fitted
harmlessly into spare niches, or shrouded and coffined at once out of
the way, we holding complacently the cemetery keys, and supposing we
have learned something. But a sapling truth, with earth at its root and
blossom on its branches; or a trenchant truth, that can cut its way
through bars and sods; most men, it seems to me, dislike the sight or
entertainment of, if by any means such guest or vision may be avoided.
And, indeed, this is no wonder; for one such truth, thoroughly
accepted, connects itself strangely with others, and there is no saying
what it may lead us to.

And thus the gist of what I have tried to teach about architecture has
been throughout denied by my architect readers, even when they thought
what I said suggestive in other particulars. "Anything but that. Study
Italian Gothic?--perhaps it would be as well: build with pointed
arches?--there is no objection: use solid stone and well-burnt brick?--
by all means: but--learn to carve or paint organic form ourselves! How
can such a thing be asked? We are above all that. The carvers and painters
are our servants--quite subordinate people. They ought to be glad if we
leave room for them."