BOOKS RECOMMENDED: As before, Fergusson, Statham. Also, Chandler, _The Colonial Architecture of Maryland, Pennsylvania, and Virginia_. Cleaveland and Campbell, _American Landmarks_. Corner and Soderholz, _Colonial Architecture in New England_. Crane and Soderholz, _Examples of Colonial Architecture in Charleston and Savannah_. Drake, _Historic Fields and Mansions of Middlesex_. Everett, _Historic Churches of America_. King, _Handbook of Boston_; _Handbook of New York_. Little, _Early New England Interiors_. Schuyler, _American Architecture_. Van Rensselaer, _H. H. Richardson and His Works_. Wallis, _Old Colonial Architecture and Furniture_. +GENERAL REMARKS.+ The colonial architecture of modern times presents a peculiar phenomenon. The colonizing nation, carrying into its new _habitat_ the tastes and practices of a long-established civilization, modifies these only with the utmost reluctance, under the absolute compulsion of new conditions. When the new home is virgin soil, destitute of cultivation, government, or civilized inhabitants, the accompaniments and activities of civilization introduced by the colonists manifest themselves at first in curious contrast to the primitive surroundings. The struggle between organized life and chaos, the laborious subjugation of nature to the requirements of our complex modern life, for a considerable period absorb the energies of the colonists. The amenities of culture, the higher intellectual life, the refinements of art can, during this period, receive little attention. Meanwhile a new national character is being formed; the people are undergoing the moral training upon which their subsequent achievements must depend. With the conquest of brute nature, however, and the gradual emergence of a more cultivated class, with the growth of commerce and wealth and the consequent increase of leisure, the humanities find more place in the colonial life. The fine arts appear in scattered centres determined by peculiarly favorable conditions. For a long time they retain the impress, and seek to reproduce the forms, of the art of the mother country. But new conditions impose a new development. Maturing commerce with other lands brings in foreign influences, to which the still unformed colonial art is peculiarly susceptible. Only with political and commercial independence, fully developed internal resources, and a high national culture do the arts finally attain, as it were, their majority, and enter upon a truly national growth.