‘Then again, my opponent spoke of the stimulating, the encouraging effect produced on the speaker by architectural beauty. I should have said that the effect was rather dispiriting than otherwise: the speaker’s thoughts are scattered, and his confidence shaken, as he reflects on the disgrace that must attach to mean words uttered beneath a noble roof. There could be no more crushing ignominy; he is precisely in the position of a warrior in brilliant armour who sets the example of flight, and whose cowardice is only emphasized by his splendid equipment. To this principle I should refer the conduct of Homer’s model orator, who, so far from attaching any importance to externals, affected the bearing of a man that was altogether witless; his design was to bring his eloquence into stronger relief by the studied ungracefulness of his attitude.

‘The orator’s mind, too, is so engrossed with what he sees, that it is absolutely impossible for him to preserve the thread of his discourse; he cannot think of what he is saying, so imperatively do the sights around him claim his attention. It is not to be expected that he will do himself justice: he is too full of his subject.

And I might add that his supposed hearers, when they come into such a building as this, are no longer hearers of his eloquence, but spectators of its beauties; he must be a Thamyris, an Amphion, an Orpheus among orators who could gain their attention in such circumstances. Once let a man cross this threshold, and a blaze of beauty envelops his senses; he is all eyes, and to the orator is "as one that marketh not”;—unless, indeed, he be altogether blind, or take a hint from the court of Areopagus, and give audience in the dark.