expression of its own, the most successful piece of Gothic design that has been done in New York since Mr. Withers designed the Jefferson Market Court-house. In Queen Anne, as we saw, Mr. Haight’s work was not very distinguishable from the work of a very different architect. With a vocabulary limited to fifty words, not much can be expressed. But when he permits himself the use of language, it is seen that Mr. Haight can express thoughts. In composition and in detail these buildings are thoroughly studied and thoroughly effective. In the earlier, a street front of a whole block on Madison Avenue, the designer has resisted the temptation to diversify his building into unrest, but has built a wall of three stories in red brick and light sandstone, the broad and quiet aspect of which is enhanced by the grouping of the openings, and not disturbed by the chimney-stacks and the oriel and the turret which animate the composition. The later building, of the same materials, has been built for the library of the college, and the large hall which contains this is in effect the building. This is treated with equal skill, and to the same result of cloistral repose, of harmony and dignity and grace. These vigorous and refined works show, if the showing were needed, except by the architects of the new departure, that vigor does not necessarily involve bowlders, nor refinement microscopic mouldings, and that these short-cuts to architectural effect are rather sorry and shabby substitutes for faithful and skilful design. That these works of Mr. Haight’s are grammatically “correct” Gothic is not, to our mind, either a merit or a defect. But it shows how wide is the range of expression possible in the architecture of the Middle Ages, and of its pliability to modern uses, that without a departure from precedent the needs of an American college in the nineteenth century can be completely answered in that architecture; for there is no innovation in Mr. Haight’s work, unless we include the iron roof, which is partly visible from the floor of the hall. There are one or two “survivals” of forms which have lost their functions, as the unpierced pinnacled turrets at the angles of the library building and the crenellated parapet of the porch in the quadrangle. But, upon the whole, the result upon which the college and its architect are to be congratulated has been attained by following the advice of the sculptor who informed his pupil that the art was not difficult: “You simply take a piece of marble and leave out what you don’t want.” Mr. Haight has taken what he wanted in Gothic architecture for the uses of Columbia College, and with the trivial exceptions we have noted has left out the rest. And what is true of this work is equally true of an unpretending and picturesque piece of late Gothic, erected from Mr. Haight’s designs for St. Thomas’s School, in East Fifty-ninth Street. [Illustration: ORIEL IN W. K. VANDERBILT’S HOUSE, FIFTY-SECOND STREET.