" It may fairly be urged that most writing about the history and theory of architecture should be as modest in language and recessive in tone as the writing about its science. You can after all draw effective attention to something special or beautiful without making a song and dance about it. Nor should you try to edge it out of the picture you are drawing. But if Adrian’s notion is true, and buildings and words are complementary, there must be occasions when the writing rises to meet the architecture and does not stand too abjectly in its shadow. The reason why Ruskin and Nairn at their best or, to take two other examples at random, Goethe on Strasbourg Cathedral and Wordsworth on King’s College Chapel, Cambridge, are so exciting and moving is because they have the guts to try and respond to, even emulate, what they are talking about. "

― , Forty Ways to Think about Architecture: Architectural History and Theory Today