Phillips Memorial Church to develop a composition out of his subject in favor of these scraps of quotations, and of quotations neither fresh nor very pregnant! He might answer that the church in which we admire at least the effort was a somewhat untamed and obstreperous fabric, and that the present edifice is much more chastened and subdued. It is tame, no doubt, and Mr. Robertson’s talent, when he works in Queen Anne, is subdued-- “subdued To what it works in, like the dyer’s hand;” but, upon the whole, it is difficult to see how the architect, comparing the earlier with the later work, could fail to feel that the attempt to express something, however crude and so far unsuccessful the attempt might have been, was a more manly and artistic employment than this elegant trifling, in which the highest attainable success has an element of puerility. In truth, it is gratifying to remark that the argument by which we have supposed the architect to have solaced himself for the result of his ecclesiastical labors in Queen Anne does not seem to have convinced himself, and that a later work still, a sandstone church farther down the same avenue, is a much more serious piece of design, being an attempt to develop the architecture out of the structure itself. It would be especially unjust to misapply to Mr. Robertson’s Queen Anne church the saying that the style is the man, for the church last mentioned shows that Mr. Robertson is a man of talents, when he gives his talents a chance.