We do well to immortalise in atone the fading forms of nature; but artificial forms are often called for, and may not only be useful in expression, but conducive art instruments are graceful in form, and, while so, they are, though the work of man, also reflections of the work of God.

The representing literally the use of a building by means of sculpture or painting, with a view to rendering the work completely phonetic, good taste, I think, would not sanction: the phonetic quality is not called for or desirable in architecture. - nor are painting and sculpture higher arts than architecture, from being phonetic: if they were, the lowest branch of literature might claim precedence of it. The subject of Paul preaching at Athens, on the facade, or in the pediment of a building, would speak plainly enough of Christian worship; but this mode of expression would be more prosaic than poetical, and would remind us too much of the significant hat or boot of colossal dimensions, that project into some of our trading streets.

I observed above that one style is better fitted for expressing a given character than another. Now, this peculiar and exclusive fitness for one purpose, eminently characterizes the Gothic or pointed style of architecture,which deserves separate notice here. The Gothic system is not what many of the advocates of the classic styles have asserted it to be. - an incoherent style, unnatural and false to principle, devoid of all harmony and proportions. Nor is it full of inconsistencies and caprices, as contended by others. Inconsistencies and caprices appear only at first sight, and to superficial or prejudiced observers. The great monuments of this style evince the most striking intention of purpose, and a power of expressive grandeur and sublimity in harmony with that purpose, which no other system could have secured. But Gothic architecture, notwithstanding, will never become the universal style. It is only adapted to the expression of qualities analogous to sacred uses, and will be the more sacred in its associations from being exclusively devoted to such uses.

The cathedrals and churches erected during the Gothic period were exactly adapted to the Roman Catholic ritual - the form of devotion then in use, to processions and every other ceremony connected with the religious service of the day. Music, for example, was an important part of the service, and the cathedrals were built so as to give the finest effect to music: they were covered interiorly with sculptural and pictorial decoration in harmony with the spirit, and symbolizing the leading points of belief; and like the maze of material beauty in nature speaking also of the eternal splendor and sublimity. There was a completeness of adaptation, a conspiracy for the expression of one idea, perhaps never before or since exhibited. "Then," says Menzel, in his history of Germany, "the pile resounded and spoke, like God from the clouds, from its lofty tower, or alternately sorrowed and rejoiced, like man, in the deep swelling organ: the arts of the founder and musician were each devoted to the service of the Church." The Tudor style is suited to all buildings of a domestic character, but ecclesiastical Gothic, applied to civil or domestic purposes, is out of its natural element, and must present to the eye of taste inconsistency of the grossest kind.

It can have no harmony or sympathy with ideas and enterprizes of earth, which it seems to spurn. It speaks not home to men's "every day business and bosoms." It is all-aspiring, like the flame, heavenward; and finds a solution of its mystery only in the faith that points to worlds

"Far above the clouds and beyond the tomb."

In respect of mere sensuous beauty, it (Gothic architecture) cannot compare with the Greek, which possesses the most exquisite adaptation of form and style to every variety adapted; and I would have it respected like a thing set apart, and which nothing secular should profane. It must, however, he observed that for general purposes of expression, an architect need not fetter his genius to the particular mode or style of any age or country past or present. Indeed so fettered he cannot give suitable expression: his self-imposed manacles will be among the causes of his failure. On observance of distinct style beauty is not dependant, and an expressive character may be given without it: nay, architecture itself may be conceived of as distinct from style: style is the servant - an useful one - of architecture, but not its master. A building, I apprehend, might be so designed and erected as to exhibit no trace of any style known in the world', and yet be good architecture. - a real work of art.

The circumstances of climate and situation under which an edifice is to be built, and its destined use, may be so peculiar as to dictate a form of structure and style of decoration differing from any thing existing; yet an unbiassed attention to such dictation might result in an artistic and meritorious production. It belongs to the very idea of a fine art as distinguished from the mechanical arts, to yield the utmost scope to the inventive faculties throughout; and the remark applies to architecture as far as consistent with the prior demands of utility. - the first law. The critic should therefore be taught to judge of architecture independently of style, and in reference only to philosophical, i.e., abstract architectural principle. We should not consider whether two or more features we would wish to introduce into a design belong to one style, and were employed together in ancient examples; but whether they would naturally harmonize. With all due reverence for Italian architecture, I hesitate not to say, that as a style or system of architectural design, we have nothing to do with it. With its members, its mouldings, as with words, we have to do.

We have to resolve it into its original elements, taking due advantage of what Italy or modern design has contributed to the general stock as additional words enriching and swelling the antique languages, for the expression of English ideas. Using it otherwise, might remind one of a tradesman or shopkeeper going to his brother trader instead of the merchant for his goods. We might as well take the French architecture, or the Spanish modification of the classic: the error, different indeed in degree, would be the same in kind. Why use a translation when we can read the original? Or go to a derived system, when we can have access to the parent source?

But whatever the style, or whether we have style or not, the present purposes of our buildings, be those purposes what they may, must govern the form or plan, which should be precisely what the purpose requires. - adapted to situations and circumstances without reference to the associations of past art, or the requirements of deceased institutions. The signs of language or elements we use, must be employed not in repeating ancient thoughts, and feelings, and purposes, but in clothing the ideas of to-day with a material form. The purpose or destination is to a building what the subject or fable is to a poem, and like the subject in the poem, this purpose should thrill, as it were, through every part, and beam from every feature. The idea of its design must be conceived in accordance with our habits and manner of life, customs, worship, etc, according as it is public or private, and that idea of its use or destination must pass like a spirit into the building, and pervade and animate it. Art owns nature and reason, not precedent, for her law-giver; "it is not metre, but a metre-makine argument, that makes the poem." Nor is it columns and en