By far the most successful, however, of all the recent commercial buildings is the Post Building, designed by Mr. Post, and executed, above the blue-stone basement, in yellow brick and yellow terra-cotta. The site is an irregular tetragon at the intersection of three streets, and the court, made necessary by the depth of the plot, instead of being a well sunk in the middle of the building, is made a recess in one of the long sides. This [Illustration: “POST” BUILDING. George B. Post, Architect.] arrangement is not only practically convenient, but, like every arrangement obviously dictated by practical convenience, is capable of becoming architecturally effective, and here becomes so. The openings are admirably well grouped between the powerful piers, and, what is a rare attainment in “elevator architecture,” there is abundant variety in their treatment, without the look of restlessness and caprice which generally attends an effort for variety in a many-storied building. The detail enhances the effect of this disposition. It is well adjusted to its function and position, nowhere excessive in quantity or in scale, and nowhere meagre, and it is in itself rich and refined. It is designed in “free Renaissance,” that is to say, the designer has undertaken to model the building faithfully, according to its plan and construction, in Renaissance architecture, leaving out all that he does not want. Mr. Haight, as we saw, was able to achieve that result without transcending the lines of academic Gothic. Mr. Post has put his academic Renaissance into the alembic of analysis, and where the analysis has been complete his Renaissance architecture has volatilized and disappeared. We are very sure that he had no real use for the imitations in terra-cotta of protruding key-stones, for example, and these are almost the only badges left his building of the style with which he started, except the capitals of the pilasters, and the Ionic capitals of the very pretty shafted arcade which forms the attic. But for these comparatively trivial incidents of his work, Mr. Post’s free Renaissance would have to be classified as Gothic, if it were really necessary to classify it at all, except as good architecture. Mr. Post, in fact, has done on his own account what the Romanesque builders did. They, too, were doing “free classic.” They began with classical Roman architecture, and, steadily leaving out what they did not want, they arrived at Westminster and Amiens and Cologne.