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of parts and perfect plainness to the highest elaboration of detail and greatest magnificence. From certain peculiarities and characteristics, which have been observed in the mediæval or Gothic architecture, it has been generally divided into three styles, called the Early or Lancet Gothic, the Decorated, and the Perpendicular. This nomenclature is far, indeed, from being settled; but it will serve our present purpose sufficiently well.
In selecting from these styles I would say, that in which a Church ought to be built depends upon several considerations—such as the necessary size of the building, its locality, the materials accessible, and the funds that may be calculated upon. It is obvious, for example, that the features of a large Church, compressed into a small building, form a mere caricature; and, on the other hand, the features that would be perfectly suitable in a small Church, being increased in their dimensions, to accommodate them to a large building, produce a monster in art. The materials should likewise affect the style of architecture. Many features—such as deeply-sunk mouldings, and traceried windows—which are easily worked in sand and free stones, cannot be produced in our granites and limestones. The site should also influence the architectural design. The great elevation and ample windows which city and large town Churches demand, are not needed—on the contrary, are objectionable in country districts. Even in country situations, the building which harmonize with a fertile plain, or wooded valley, would be out of place on a rocky height, or standing on the sea coast. In fact, the resources of art are so illimitable, that the artist who yields himself obediently and intelligently to the demands and resources of nature, never will repeat himself. This is the secret of the variety of form, and unity of idea, of the works of the
