In grand and minor proportions, in the disposition of triglyphs in the frieze, in mouldings and general sentiment, he perceived a remarkable freedom from the restraints of his school,a freedom which, so far from detracting from the grandeur of the architecture, gave to it a degree of life and refinement which his appreciative eye now sought for in vain among the approved models of the Academy.

They told him, never did such an absurdity occur in classic architecture as a triglyph on a corner!