th. He says: "It is essentially that of an academic and classical professor, and one brought up not only in familiarity with the best examples of ancient art, but with the habit of mind which recurs to classic and especially to Greek originals, both as a standard of taste and as models for treatment of modern works. This feeling, which held sway in England in the day of Chambers, of Soane, and of Cockerell, has now almost died out from our practice and our literature. The works of the contemporary English and French writers on architecture, which are now widely known and read, proceed avowedly and unmistakably on a different basis. Such writings as those of Street or Scott, Viollet-le-Duc, and Ruskin breathe a totally different inspiration; while even the valuable series of architectural writings which we owe to the pen of Mr. Fergusson are too cosmopolitan in range and too impartial in tone for such a peculiarity as is here traceable to be visible in them."
The illustrations show some of the wear and