Importance Of Detail In Architecture.

core , will not admit ; of artistic treatment , and should bo discarded at once ; but it is not so , as numberless buildings stand in majesty and beauty to attest . Witness the many Continental Town-halls , unbroken in the long lines of their facades , asserting boldly and impressively their right to a high place in art , their great beauty and force resting in the simplicity of their principal

arrangements , and the masterly application of their minor parts as enrichments . Let us , therefore , seek the proper foundation of our subject , and we find it in the Grecian Doric , which stands alone in ifcs massive proportions a shining beacon on the sea of art , whose mariners will never be misled by its liht . In ifc is embraced all those points of composition

g we would wish to enforce in all works ; and although ifcs use is almost discontinued , the fact of excellence will still remain . A monumental arfc like architecture could never have a better exponent ; the boldness of ifcs parts , and yet the tender delicacy of ifcs detail , are truly sermons in stone preached to all art students . The ornament is

used like costly gems , attesting the wearer ' s high estate , and not like tawdry gear , to hide lean poverty . The whole ofthe Greek orders have their detail treated in this delicate and thoroughly artistic manner , but they lose in simplicity what the } ' gain in elaboration ; the balance , consequently remains with the Doric . Nevertheless , in lightness aud adaptability to modern uses and

utilitarian views , the Ionic and Corinthian assert a greater influence , The licentious use of ornament , as time wore on , swallowed up the true principals of arfc , until in the time of Louis the Fourteenth the lowest stage of debasement was reached . In the Gothic of our own country the same falling away took place . Commencing wifch its present phase iu the fourteenth century— -we eannofc call

, the earty English the purest—it was merely transitional . We see the fungi attaching themselves year after year , perverting the good tree , until we can recognise it no longer in the flat roofs , flat windows , and flat insipid profusion of enrichment ; only capable of raising our astonishment , as did the painting of our friend the pre"Baphaelite . —Bu- ' ddiiigfNews .

Architectural Progress.*

ARCHITECTURAL PROGRESS . *

On such occasions as the present our view naturally ranges over a somewhat broader horizon than that which closes round our own sphere of action . We remember thafc wo are an institution of respectable age , especially if age is to be reckoned by the march of events and the progress that has been made in our profession since we

were established ; in which progress we have had an active and useful share . But while we congratulate ourselves on the past , and present , cur business is with the future . The architecture of to-day has been determined by events some of which are now long past , and whose influences will far outlast our time ; but the

architecture of the future will be in a great measure what wc shall make it . We begin , then , by urging upon our members the acquisition of a thorough knowledge ofthe arfc of pasfc ages as a preparation for future progress . We strongly advocate fche study of professional practice as it now exists ; but we do not profess to remain satisfied with it- if we didour association must soon cease

. , to be . There is little room in the world for societies intended to maintain things as they are : every body of men must have an active principle as a bond of union , and cannot properly seek to remain unaffected by external or internal influences . We desire to cultivate a habit of looking somewhat in advance of fche present

time , both in the projects of public usefulness , in which we are called upon to assist , and in fche quality of arfc which we are expected to produce . It is necessary to avoid leading our younger members into a morbid desire for novelty ; but ifc is not less desirable to preserve them from the opposite error : lead them , while they are studying the arfc as they find it now , to expect thafc

practice and opinions will change considerably -during a very few years , aud to be prepared to take au active part in the labours and responsibilities thafc such changes involve .

To those who are able to remember several of our annual meetings , it is interesting to call to memory the different subjects thafc were prominent in our minds , year after year ; and to note the alteration in our views and feelings , thafc the lapse of a few years can produce . If we look afc the many excellent drawings in the Architectural Gallery , iu the International Exhibition , —still more

if we look back in our illustrated periodicals , —we are struck by the wonderful change in taste that has taken place amongst the more active minds in the profession . New ideas thafc once caused some excitement have ceased to be novelties , and have been absorbed in modified forms into the practice of design . They may have been simply reproductions from ancient lesbut being new to

examp ; us , they have to some extent satisfied our desire for change , and have certainly infused variety and life into the particular class of arfc to which they belonged . Por many years pasfc such a process as this has been going on ; nor do I think it has come very near its conclusion . The present is an age of discovery ; in which , although

niuch ground has been thoroughly examined , much has been left comparatively untouched . We are far from being able to say that we know all the beauties of the Gothic arfc ; while the discoveries of late years amongsfc Classical remains have been very valuable , and hare done much to provide that kind of variety which was afc one time so greatly needed . Ifc is natural

to avail oneself first of the ideas which come readily to hand , and which are of acknowledged excellence ; " and nofc till new discoveries become rare , and a pressure for original invention arises , is ifc likely to greatly prevail . The invention which is now exercised by the professors of the different styles is of a far more healthy kind than in years past ; ism is less encouraged caunot so

copy ; you frequently as formerly point to a whole building , or part of a building , as taken from a particular example . The architect works freely in his chosen style ; he does not justify a fault by appealing to his copy ; but says very fairly , " This is my design , —let me bear the praise or blame . "

This may be very far from what some of the more advanced theorists upon architecture desire to see ; but let them not be too impatient ; forces are in operation which will allow nothing to stagnate , and will turn even the slowest of arts into a channel in keeping wifch the feelings of the age . We have had a comparatively quiet period for the study and revival of ancient stleswe are

y ; probably entering upon a period of activity iu architectural matters for which we are scarcely prepared . It has happened that Gothic art , which has been so largely used in our new churches , has answered very admirably the demands made upon ifc ; but ifc can hardly be so wifch all staples , when we apply them to the great variety of demands to which advanced civilization and wealth have

given rise . In our own country , these demands are rapidly increasing ; and at the same time new materials are being brought into use , which must increase the powers of the architect in matters of construction , and even in design also . I hojie to see amongst those architects who are celebrated for skill in design a much stronger disposition to avail themselves of new materials wherever their

adaptability in point of economy can be fiirly proved . Not until continued efforts have been made fco treat anew material artistically should the attempt be abandoned ; and we should never abandon ifc when , by so doing , we