design of the towers of the Brooklyn Bridge. The ornament of the cathedrals, so far as it is separable from their structure, has nothing for the designer of the bridge even of suggestion. But to see how masses may be modelled so as to be made to speak, look at the modelled masses of the tower of Amiens, the stark lines of essential structure framing the screen of wall between them, in contrast with the uniform deadness here of buttress and curtain wall; the crisp emphasis of lines of light and hollows of black shade which mark the transitions between parts of structure in the west front of Rheims, in contrast with the lack of emphasis in the offsets of the bridge tower; the spirit of the gargoyled balconies that belt the towers of Notre Dame, and the spiritlessness of the parapeted balconies that encircle the tower of the bridge. And note, too (we are not now speaking of the decoration of the cathedrals), that all this transcendent superiority arises merely from a development and emphasis of the inherent expression of the masses themselves, which in the bridge are left so crude, and in the cathedral towers are refined so far. It need not, and indeed should not, have been carried so far in this architecture of reason and utility as in the architecture of a poetical religion. The mere rudiments of those works would have furnished all the expression that is necessary or desirable here. But these rudiments are wanting. What can we say but that the designer of the cathedral began where the designer of the bridge left off? If our New-Zealander should extend his travels, and come upon these monuments also, what would be his surprise at finding documentary proof that the bridge was built six hundred years after the cathedrals, and that the generation which built the bridge looked backward and downward upon the generation which built the cathedrals as rude and barbarous and unreasoning in comparison with themselves!