me is to resume!"

COLOR AND CERAMICS

The production of ceramics--perhaps the oldest of all the useful
arts practised by man; an art with a magnificent history--seems to be
entering upon a new era of development. It is more alive today, more
generally, more skilfully, though not more _artfully_ practised than
ever before. It should therefore be of interest to all lovers of
architecture, in view of the increasing importance of ceramics in
building, to consider the ways in which these materials may best be
used.

Looking at the matter in the broadest possible way, it may be said
that the building impulse throughout the ages has expressed itself
in two fundamentally different types of structure: that in which the
architecture--and even the ornament--is one with the engineering; and
that in which the two elements are separable, not in thought alone,
but in fact. For brevity let us name that manner of building in which
the architecture is the construction, _Inherent_ architecture, and
that manner in which the two are separable _Incrusted_ architecture.

To the first class belong the architectures of Egypt, Greece, and
Gothic architecture as practised in the north of Europe; to the
second belong Roman architecture of the splendid period, Moorish
architecture, and Italian Gothic, so called. In the first class the
bones of the building were also its flesh; in the second bones and
flesh were in a manner separable, as is proven by the fact that they
were separately considered, separately fashioned. Ruined Karnak, the
ruined Parthenon, wrecked Rheims, show ornament so integral a part
of the fabric--etched so deep--that what has survived of the one has
survived also of the other; while the ruined Baths of Caracalla the
uncompleted church of S. Petronio in Bologna, and many a stark mosque
on many a sandy desert show only bare skeletons of whose completed
glory we can only guess. In them the fabric was a framework for the
display of the lapidary or the ceramic art--a garment destroyed, rent,
or tattered by time and chance, leaving the bones still strong, but
bare.

This classification of architecture into Inherent and Incrusted is not
to be confused with the discrimination between architecture that is
_Arranged_, and architecture that is _Organic_, a classification which
is based on psychology--like the difference between the business man
and the poet: talent and genius--whereas the classification which
the reader is