century before our era, or to the engineer of a bridge in Western Europe in the thirteenth century of our era. The utilitarian treatment of our monument is as striking and as characteristic a mark of the period as its utilitarian purpose. It is a noble work of engineering; it is not a work of architecture. The most strictly scientific of constructors would scarcely take the ground that he did not care how his work looked, when his work was so conspicuous and so durable as the Brooklyn Bridge, and he must be aware that a training in scientific construction alone will not secure an architectural result. It is more probable that he looks upon the current architectural devices as frivolous and irrelevant to the work upon which he is engaged, and consoles himself for his ignorance of them by contempt. Architecture is to him the unintelligent use of building material. Assuredly this view is borne out by a majority of the “architecturesque” buildings that he sees, and he does not lack express authority for it. Whereas the engineer’s definition of good masonry is “the least material to perform a certain duty,” Mr. Fergusson declares that “an architect ought always to allow himself such a margin of strength that he may disregard or play with his construction;” and Mr. Ruskin defines architecture to be the addition to a building of unnecessary features. An engineer has, therefore, some warrant for considering that he is sacrificing to the graces and doing all that can reasonably be expected of him to produce an architectural monument, if in designing the piers of a chain-bridge he employs an unnecessary amount of material and adds unnecessary features. But if we go back to the time when engineers were artists, and study what a modern scientific writer has described as “that paragon of constructive skill, a Pointed cathedral,” we shall find that the architecture and the construction cannot be disjoined. The work of the mediæeval builder in his capacity of artist was to expound, emphasize, and refine upon the work he did in his capacity of constructor, and to develop and heighten its inherent effect. And it is of this kind of skill that the work of the modern engineer, in so far as he is only an engineer, shows no trace.