So long as Normandy and England were ruled by the same sovereign, the continual intercourse created by this union caused a similarity in their architecture, as in other arts and customs; and therefore the two earliest styles of architecture run parallel in the two countries, each furnishing the counterpart of the other. Whether or not the _decorated_ style was transmitted to England from the continent, is a question which cannot be solved, until our collections of continental architecture shall become more extensive. After the reign of Henry VIth, our intercourse with Normandy wholly ceased; and, left to ourselves, many innovations were gradually introduced, which were not known to the French architects, who, with nicer taste, adhered to the pure style which we rejected. Hence arose the _perpendicular_ style of pointed architecture, a style sufficiently designated by its name, and obviously distinguished from its predecessors, by having the mullions of its windows, its ornamental pannelling, and other architectural members and features, disposed in perpendicular lines. Finally, however, both countries discarded the Gothic style, though at different æras. The revival of the arts in Europe, in consequence of the capture of Constantinople and of the greater commercial intercourse between transalpine Europe and Italy, gradually gave rise to an admiration of the antique: imitation naturally succeeded admiration; and buildings formed upon the classical model generally replaced the Gothic. Italian architects found earlier patrons and earlier scholars, in France, than amongst us, our intermediate style being chiefly distinguished by its clumsiness. I will not detain you by any attempt at a comparison between the relative beauties of the Gothic and Grecian architecture, or their respective fitness for ecclesiastical buildings. The very name of the former seems sufficient to stamp its inferiority; and perhaps you will blame the employment of a term which was obviously intended at the outset as an expression of contempt; but I still retain the epithet, as one generally received, and therefore, commonly understood. It may be added, that the modern French seem to be the only _Goths_, in the real and true acceptation of the word. They, to the present day, build Gothic churches; but, instead of confining themselves to the prototypes left them, they are eternally aiming at alterations, under the specious name of improvements. Horace was indignant that, in the Augustan age, the meed of praise was bestowed only upon what was ancient: the architects of this nation of recent date seem under the influence of an opposite apprehension. They build upon their favorite poet:-- "Loin d'ici ce discours vulgaire Que l'art pour jamais dégénère, Que tout s'éclipse, tout finit; La nature est inépuisable, Et le génie infatigable Est le Dieu qui la rajeunit."