392 Sloan's Architectural Review and Builders' Journal. [Dec but even that is finished in a very slovenly manner. A railway embankment is far more regular, for" the material of which it is composed is seldom interfered with, and consequently it remains stationary at the angle of repose ; but even the chance for beauty in that natural ar- rangement is not here allowed. Even a sod bank may be artistically designed, as well as artistically executed : here it is neither : the corners are rounded off, and the breadth contracted at the most salient points; the slope is very unequal in its angle, and the finish decidedly tawdry; the whole unhappily conceived and carelessly executed. The surroundings of this massive structure suggest a feeling of insecurity, nothing, apparently, to prevent it from pressing out its foundation, or sinking into the grassy bank. The style of architecture prevailing in the building is that, which above all others requires, and indeed demands an appropriate connection with its sur- roundings, by means of the decorative accessories of geometrical gardening. We allude more particularly to the west front, and the ends of the building. The eastern or main front is apparently finished, so far as relates to ground levels and elevations ; and — however unfortu- nate it may be, that it is considered com- plete — it is rather improbable that any alteration will be made in that direction. But with reference to the west front, its present unfinished and unsatisfactory condition allows encouragement for sug- gestions ; and I fear no contradiction in asserting, that it presents the best op- portunity on this continent for an ex- ample of the highest style of elaborated architectural terracing, and the exhibi- tion of works of art, and for the fol- lowing reasons : First. As a means of properly con- necting the building with the grounds, replacing the present bank of unsup- ported soil, by strong retaining walls of substantial masonry. Second. It is apparent to every in- telligent observer, that the relative pro- portions of the building to the dome is very deficient. The height of the latter is relatively too great. Like a classic vase set on a grass plat, without a pedestal, it lacks a fitting base ; the elevation of the massive structure does not present sufficient support, artisti- cally considered, for the dome; and to bring out the true beauty of the com- position requires a greater elevation and more massive extent of base. This can be secured by terracing the west front and ends, in three or more platforms, each platform being distinct in its ornamentation and details, with appropriate statuary, &c, placed on the piers of the balusters ; the whole pro- ducing a grand scenic effect, and giving the much-needed additional elevation to the mass of the building proper. Third. This architectural foreground, while it forms the only artistic mode of finish allowable in a structure of this style and character, will afford a much- needed opportunity of displaying such works of art as statuary, vases, urns, wall fountains in alcoves, Grecian pavillions, terrace steps, and balustrades. These last affording great latitude for refined taste, both in design and application. All of which will be in the most correct and refined harmony with the stjde of architecture of the building. Indeed, without these accompaniments, it must be considered imperfect and unfinished. The refining influence of the study and contemplation of the fine arts upon communities has long been acknowl- edged, and is thus alluded to by Ware, in his admirabty finished Sketches of European Capitals: " Sculpture should help to dignify all our public buildings, and soon it will do so. As once, in Athens and throughout Greece, it will not be private wealth, so much as that of the state, that will honor itself by leaving everywhere proofs of an exalted and elegant taste, as well as of intelligence in the administration of public affairs. No piece of architecture
