asked now to consider is based rather on the matter
of expediency in the use of materials. Let us draw no invidious
comparisons between Inherent and Incrusted architecture, but regard
each as the adequate expression of an ideal type of beauty; the one
masculine, since in the male figure the osseous framework is more
easily discernible; the other feminine, because more concealed and
overlaid with a cellular tissue of shining, precious materials, on
which the disruptive forces in man and nature are more free to act.

It is scarcely necessary to state that it is with Incrusted
architecture that we are alone concerned in this discussion, for to
this class almost all modern buildings perforce belong. This is by
reason of a necessity dictated by the materials that we employ, and by
our methods of construction. All modern buildings follow practically
one method of construction: a bony framework of steel--or of concrete
reinforced by steel--filled in and subdivided by concrete, brick,
hollow fire-clay, or some of its substitutes. To a construction of
this kind some sort of an outer encasement is not only aesthetically
desirable, but practically necessary. It usually takes the form of
stone, face-brick, terra-cotta, tile, stucco, or some combination of
two or more of these materials. Of the two types of architecture the
Incrusted type is therefore imposed by structural necessity.

The enormous importance of ceramics in its relation to architecture
thus becomes apparent. They minister to an architectural need instead
of gratifying an architectural whim. Ours is a period of Incrusted
architecture--one which demands the encasement, rather than the
exposure of structure, and therefore logically admits of the
enrichment of surfaces by means of "veneers" of materials more
precious and beautiful than those employed in the structure, which
becomes, as it were, the canvas of the picture, and not the picture
itself. For these purposes there are no materials more apt, more
adaptable, more enduring, richer in potentialities of beauty than the
products of ceramic art. They are easily and inexpensively produced of
any desired shape, color, texture; their hard, dense surface resists
the action of the elements, is not easily soiled, and is readily
cleaned; being fashioned by fire they are fire resistant.

So much then for the practical demands, in modern architecture, met by
the products of ceramic art. The aesthetic demand is not less admira