not excessive string courses which traverse it and mark the division of the stories. It is questionable whether this massiveness is not carried too far, but everybody will admit that an excessive weight of wall is a “good fault” in the street architecture of New York, and that of the two, a dwelling is more dignified which approaches the solidity proper to a prison than one that emulates the precarious lightness proper to a greenhouse. The depth of the porch and of the recessed balcony over it in the central division of the avenue front assists this expression of solidity, and helps the building to wear its burden of decoration “lightly, like a flower.” The richness, as we have said, is almost unexampled in New York. Of strictly architectural decoration--that is, of members and details which are usually designed by the architect of a building--there is a copiousness which is only saved by the means just indicated from becoming an embarrassment of riches. All this work is exquisite in execution. In design it is generally interesting and scholarly, though there is common to all of it the defect of being too small to be thoroughly well seen and thoroughly effective. The uniformity of this defect of scale seems to prove that the architect erred in estimating the effect of his design in the colorless material employed. The decoration of the recess of the balcony, too, loses effect by being entirely unrelated to the construction, and the stone trellis with which the turret at the angle is overlaid is equally irrelevant to the object to which it is applied. Architectural decoration ceases to be such when it ceases to be a development of the structure; and these exceptions, by their comparative ineffectiveness, confirm the wisdom of the rule by which elsewhere throughout the building the ornament is used to emphasize the structure, and thereby gains greatly in impressiveness and in charm.