pedestrian character of his problem only in the design of the scholarly and rather ornate entrances. For the rest, the architecture is but the expression of the structure, which is expressed clearly and with vigor. The longer front shows the odd notion of emphasizing the centre by withdrawing it, a procedure apparently irrational, which has, however, the compensation of giving value and detachment to the entrance at its base. The problem was much more promising than that of the Lumber Exchange, seeing that here, with an ample area, there are but six stories against ten, and it is out of all comparison better solved. The four central stories are grouped by piers continued through them and connected by round arches above the fifth, while the first and sixth are sharply separated [Illustration: CORNER OF BANK OF COMMERCE, MINNEAPOLIS.] in treatment, the former as an unmistakable basement, with a plain segment-headed opening in each bay, and the latter as an unmistakable attic, with a triplet of lintelled and shafted openings aligned over each of the round arches. The fronts are, moreover, distinguished, without in the least compromising the utilitarian purpose of the structure, by the use of the architectural devices the lack of which one deplores in the other building, insomuch that the difference between the two is the difference between a building merely [Illustration: THE “GLOBE” BUILDING, MINNEAPOLIS. E. Townsend Mix, Architect.] blocked out and a finished building, and suggests again that the Lumber Exchange must have been designed under pressure. The building of the “Globe” newspaper, in Minneapolis, is a vigorous composition in Richardsonian Romanesque, excessively broken and diversified, doubtless, for its extent, but with interesting pieces of detail, and with a picturesque angle tower that comes in very happily from several points of view of the business quarter. The emphatic framing of this tower between two plain piers is a noteworthy point of design, and so is the use of the device that emphasizes the angles throughout their whole extent, while still keeping the vertical lines in subordination to the horizontal. [Illustration: ENTRANCE TO “PIONEER PRESS” BUILDING, ST. PAUL. S. S. Beman, Architect.]