In places of worship in particular, the entrance doors should be prominent, rendered by ornament conspicuous and inviting, and much wider than they generally are, in order to avoid unseemly thronging and disorder, during the discharge of a congregation. Many instances of insufficient means of egress might be cited, causing the exercise of devotion frequently to end with a scene too much resembling a Bartholomew fair. Windows are susceptible of great beauty, great copiousness, and truthfulness, and nice inflexion of significance; but in a religious or other building where a solemn or sublime effect is contemplated or sought to be obtained, windows might with great propriety be omitted, or confined to internal courts or gardens, leaving the exterior effect to those grandest of arhas assuredly never been so applied as to fully exhibit its intrinsic beauty in modern European design.

Towers, though no longer needed for defence, are useful in expression - they signify strength and durability, and 'may be used to indicate a purpose that is deep-laid in our nature, paramount and indestructible. Colonnades are indispensable to the production of the more elegant and magnificent qualities. Gables, roofs, and chimneys are not to be forgotten or neglected. Every necessary part or feature may become a valuable element of expression and power. Order and style of architecture are means of expression; we are no more bound to one style than to one of the ancient orders of architecture. One is generally better for indicating a given purpose than another. I believe that one indissoluble chain unites all true styles of architecture wherever they have been developed - which are but a harmonious variety of one type. Those who suppose that only the picturesque Tudor will be a favorite in England for domestic purposes, forget the flexibility of the human mind.

Rustication must also be considered as architectural language; and the prohibition of its use would be an unnecessary and irrational limitation of the means of variety and significance. Rustics were much used by the Romans, among whom they were chiefly devoted to the grottoes of the rural deities; and among us they may be made the means of beauty and power. They give vitality to a wall or pier, and are susceptible in themselves of many shades of expression. They secure relief to adjacent pilasters, and give brilliancy, and delicacy, and value - by means of contrast - to the upper portions of edifices, when employed in basements, to which, as they suggest ideas of strength, they are peculiarly fitted. If stones can be put together in a beautiful or expressive manner, and that they can be and have been, none I think will deny, there appears to me no harm in making that manner so prominent as that attention will be drawn to it.

The character of a building depends on the choice of material employed, whether brick or stone; or its description, as texture, color, quality; and its disposition or arrangement. Quality of workmanship is also something towards indicating a building's destination. Character may be modified by the manner of executing details, individual mouldings, and other members. Purely geometrical ornament is expressive and poetic, and presents a wide field for imagination: an advantage of such decoration is, its not being seen elsewhere. We may have forms by drawings upon geometry perfectly unique, that do not exist entire in nature; and a new creation, so to speak, is thus called up - - An independent world. Created out of pure intelligence."

All purposes of buildings cannot be expressed by equal beauty. The comprehensiveness of our nature enables us to embrace every shade of character and every phasis of beauty, and fits us to sympathise with truthful manifestation of thought and feeling wherever seen. The arrangement, as well as the choice and design of ornaments, is an important point. Concentration is an element of power, but whether ornament be concentrated On particular and important features, or dispersed over the whole facade, depends upon the invariable laws of composition and design, and the influence of the idea that seeks to be expressed. The two sister arts of Painting and Sculpture, in their higher manifestations, are also among the architect's due resources for characterising his productions; for statuary, bassi relievi, or pictures, when properly applied to the embellishment of architecture, are part of the building, which would be incomplete without them, and therefore they are architectural members or features, in not too broad a view of the art: used as far as they are demanded by the architect to carry out his idea, they are architectural embellishments: part of the language of the art.

Whatever else Painting and Sculpture may claim to be, they are handmaids of architecture: one of their offices is to administer to architecture: they are both something apart from this ministry - something on their own account. - but assuredly that is one of their provinces: they are the architect's auxiliaries, means of expression and power which he has a right to avail himself of, in giving the higher tones of expression to his design. AH ceiling, mural, and other paintings introduced into the different apartments of a public edifice. - all sculptured subjects, bassi relievi, or other works, placed interiorly or exteriorly, should be so chosen and adapted as to further set forth its character and purpose; and if they be so chosen, and harmoniously associated with the building, and illustrative of its use, they may, I think, be considered as architectural ornaments; as no less a part of the whole than a modillion or dental of the cornice. Sculpture originated in combination with, and in subordination and subserviency to architecture; and the secret of the great success of the Greeks, as also of the mediaeval builders, may be found, I think, in the assistance which each art rendered to the other. - their union for the purpose of giving greater force and significance, like the different organs of life, which, when united, to borrow a simile, expressed the idea no single part could represent.

S.H