The New Style Of Architecture.

characters 1 , 120 years before our era—a quarter 0 f a century before the birth of the first king of Israel . Mayenco claims to have been the scene of the invention in the latter part of the fifteenth century , but both Mr . W . Y . Ottley ancl Mr . S . W . Singer admitted that wood engraving , whereby the original types were produced , was known to Europe in the thir-When Pharoah took tho

teenth century . ring from his hand and put it on that of Joseph , he entrusted him with the royal signet , just as if the Viceroy of Egypt of the present day were to give into the hands of a young Jeiv She seal he wears engraved with his style ancl title , and ivhich , when impressed or printed at the foot of a document one of his subjects is bound to obey . The

, every same slow progress from an origin too minute to be ascertained will be found to be the universal law of every art . Its beginning is lost in the mists of time , and the first mention we have of it ivill evidence its antiquity . jSevertheless , we can trace through the history of men the successive additions made to the knowledge which existed before them . Nothing more resembles its

development than the construction of a coral reef . Generations after generations contribute their minute quota , . and in good time the results of their labours rise to the surface of the waves ; but who can hope to discover the foundation on which the reef rests , or to ascertain the first particle of coral deposited ? Of late there have been in the artistic world much

foolish talking and writing about the possibility and ¦ desirability of introducing a new style of architecture , something quite fresh and original , which should satisfyall our modern requirements , and be illustrative of our age—in fact , Victorian architecture . One gentleman from Liverpool kindly condescends to inform us , that combination is the only method of creating a new style , and Avith equal courtesy and truth he stigmatizes as cowards and sloths all who concur in the belief that it is impossible to invent a new style , although how the

possession of certain assthetic opinions should involve the lack of moral qualities is not made clearly apparent . With those he does not think worth while to argue . He holds their opinion to be at variance with the nature of human progress , and denounces it as contemptible . It is very evident that this gentleman who discourses so glibly , in ex cathedra mode , has not the fairest idea of

ivhat constitutes style . He speaks of a combination of old parts affording the moans of erecting a new style , as if a jumble of Corinthian columns , Gothic windows ,, and Pagoda turrets would be a new style . The effect would certainly be novel ; that it would be pleasing or artistic Ave utterly deny , for style means a characteristic and peculiar mode of execution , but in hotch-potch

architecture there Avould be nothing characteristic , unless indeed it were the want of character and the existence of discordance . Eor a mode of execution to attain to the dignity of style it must be , as it ivere , homogeneous ; there must be evident harmony between the parts , and a general agreement between all . It Avas not chance , still less was it an industrious and courageous inventor , like

he of Liverpool claims to be , who comes forth to teach us , that created any of the styles with Avhich the world is familiar . Thoy were evolved gradually as fresh requirements were developed , and as man ' s perception of the beautiful became more acute . Should a new style be produced , its groAvth ivill follow precisely the same course . It will result from the elaboration and

adaptation of something already existing—nofc in the combination of old fragments with the mere view to achieve a novel look . If any doubt this , let him study % ^ tory of architecture , and he will derive the highest efforts of classical arfc from the rude mechanical contrivances of uncivilised tribes . He will trace the development of the wDOden post into the stone column , of the crossbeam into the lintel ; and in the ornaments of the Doric frieze he will discern representations of the ends of the rafters that carry the roof . In the land

The New Style Of Architecture.

which was tho cradle of tho human race , among the valleys of the Tigris and the Euphrates , arose the Ionic order , while the Doric was borrowed from Egypt . On both the Greeks bestowed their refining care , freeing them from their coarse features , and modifying tho harsher outlines into forms of beauty . Differences in the atmospheric conditions of Greece and Egypt , and

superiority in the material resources of one country over the other , led to the introduction of the sloping roof , and of other alterations which the taste of the Greeks converted into improvements . In the plains of Persia and Assyria the Greeks discovered the prototypes of the Ionic order . Here all the architectural parts had a wooden oriinand these forms became subsequentl

g , y petrified for tho sake of durability . The Eomans claimed the invention of the arch , bufc in the remains of the oldest European architecture recently discovered in Northern Greece , by members of the French academy at Athens , and which is called Cyclopean , the arch has been found , not builfc , but hollowed out from a single block like ivhat such workers iu stone as the Egyptians

might be expected fco do . The pointed arch has been discovered in Assyria , but its outline is such as might be suggested to dwellers in tents , who , when they settled in cities , were led to employ carpentry instead of masonry in tho erection of their dwellings , by reason of the lack of stone . When we look back , tracing the slow and gradual development by generations of men of the few

styles of art we possess , and noto hoAV small is the contribution of any one age , Ave are more than ever convinced that a new style of architecture is not to be created by any one man , nor hy a single generation of men . Such is noD the opinion of the new arfc-prophefc come out of Liverpool , for he claims to convince the world that it can be ; and another of the same faith modestly offers to

communicate his discovery of a really neAV style , not a compound of classic , mediaeval , or existing styles , for a pecuniary consideration . Here aro his terms borrowed from the columns of a contemporary : — " A NEW STXIE or AncniTECTijitE . —An architect , from long study , having discovered a nearly new style of architecture , not a mere compound of classicmediajvalor existing stles

, , y , hut an original germ or germs , giving birth to a new style of architecture , and with it a new style of ornamentation , suitable to and arising out of it , calculated to inaugurate a new class of sacred places of worship , of palaces , halls , and mansions , such as will place architecture equally iu advance with the sister arts and sciences of this eventful century , and give it an interest with the public that the present antiquated stles most

y certainly fail to effect . Any gentlemen ivishing to share its advantages , or its entire purchase , shall have a guarantee to double the amount as to the integrity and fairness of the offer , with draivings in illustration . " Ifc is a fit and proper climax to the absurdity of the agitation of a new style of architecture that it should culminate in the commercial speculations of an adventurer .

The Art Of Glass Making.

THE ART OF GLASS MAKING .

BY AUGUSTUS W . ERANKS , M . A ., DIR . S . A . * The art of glass maiding seems to have been practised from a very remote antiquity ; its processes are represented in the paintings of tho Egyptian tombs afc Beni-Hassan , ivhich are considered by antiquaries to have been erected at least 2000 years before fche Christian era ; and a lass bead has been preservedbearing the

g , name of an Egyptian monarch , who is presumed to have reigned 1450 years B . C . Tho workshops of Egypt were very productive , and attained great variety " and brilliancy of colour in their wares . They seem to have been especially skilled , in the Ptolemaic period , in making very minute glass mosaics , composed of filaments of various colours fused together . Tinder the