A Word for Architecture 
tion of rough stones covered with vines ? Of 
course I do not want to draw too close a 
comparison. A park is not a temple-enclos- 
ure ; the landscape near Athens is not like 
the landscape near Boston ; and he who 
looks from the Acropolis toward Salamis is 
not in the same mood as he who stands on 
a picturesque height and looks over Massa- 
chusetts fields and hills. But when a rule 
in art is fundamental, it holds good for 
broad application in all parts of the world 
and in all kinds of work. I think it is a 
fundamental rule that, while the art which 
really conceals art may be great, the art 
which tries to conceal what cannot be con- 
cealed is always mistaken. And architect- 
ural features cannot be concealed, cannot be 
made to look naturalistic, as may an artist’s 
manipulation of ground-surfaces, water-bor- 
ders, and plantations. 
Even for bridges rough, unhewn stones 
are now often used, and in bridges they are 
particularly inappropriate. How can an 
arch look well when it does not look stable? 
And how can it look stable when its vous- 
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