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commit the person who gives them) to the misleading; of the artist himself. You invite me, however, to give my opinion, and having freely stated the difficulties of the undertaking, I begin with more confidence.
What then, with a view to your individual taste, is the style I would recommend as most suitable for the intended situation and purpose? And if such a question is now become not an uncommon one, you must allow that, sixty years ago, no one would have thought of proposing it to an architect for his consideration. Every architect would then have at once answered it by saying, "In that style which is in general use, and according to my own particular views of it." Or during any of the various epochs of the art, would any one have thought of suggesting to a Greek, an Italian, or native of the north of Europe, &c. to build in any other style than that belonging to their respective countries? It ought also to be borne in mind, that if we occasionally meet with an intermixture of styles, it is only in buildings of transition periods, during the change from one mode to another; and such periods were of only short duration, because the previous style had already outlived itself. Circumstances are now totally altered. We recognize and practically adopt various styles indiscriminately: nor is it difficult to explain how it happens that we now employ one and then another. For this, two reasons may be assigned: the first (a very meritorious one) is, that we with a generalizing view, anxiously study and investigate the most difficult examples of art. The second reason however, is of a very unsatisfactory nature, which is that in our weak hands no style has been so naturalized among us as to constitute a permanent canon by which to regulate the modifications of any and every architectural purpose. This is the cause of that indecision of style which manifests itself more or less in modern edifices, and of that changeableness of taste which has hitherto hindered us from establishing the art upon fixed principles, regulated according to the high requisites which our modern cultivation requires.
We seem to be of opinion that variety of character is attainable only by variety of style: hence our Museums are classically antique, our churches after the mode of the middle ages, and so forth, according as the buildings happen to belong to the class in which any particular period was most distinguished for buildings of that class. The character of such examples strikes us by its expressiveness; nor do we find it difficult, with models before us that we are now acquainted with and understand, to produce the same kind of effect and expression by merely copying their physiognomy and style. He, however, who is well grounded in the study, is aware that at different
