What we have said of the towers is true also of the anchorages. The bowlder which the Peruvian rolls upon the end of his rope to hold it down is here a mass of 60,000 tons. Scientifically it is adjusted to its purpose, no doubt, with the most exact nicety. Artistically it is still but a bowlder rolled upon a rope. It would probably be impracticable to exhibit the anchor plate which takes the ultimate strain of this mile and more of cable, though we may be sure that our Greek or our Gothic bridge-builder would not have admitted its impracticability without as exhaustive an investigation as the modern bridge-builder has given to the mechanical aspects of his problem. But it was certainly practicable to indicate the function of the anchorage itself, to build it up in masses which should seem to hold the cable to the earth, or a double arch like--or rather unlike--the double arch of the main tower, turned between piers which should visibly answer the same purpose. Instead of either of these, or of any technical device for the same purpose, the weight above is a crude mass, so far from being adapted to its function in its form, that one has to look with some care to find it from the street below, and to distinguish it from the approaches. What we have called the balconies at the level of the roadway are not “practical” balconies, since they open from the driveways, and not from the walk, and are not accessible as points of view. The purpose of a projection at this point is to secure as great a breadth as possible for the system of wind-braces under the floor of the bridge. This purpose is attained by the projection, but is only masked by the imitations of balconies, instead of being architecturally expressed, as it might have been unmistakably expressed, by the bold projection of a granite spur from the angle of the pier. There are, probably, few arches in the world--certainly there can be none outside of works of modern engineering--of anything like the span, height, thickness, and conspicuousness of those in the bridge towers which are so little effective. Like the brute mass of wall above them, they are impressive only by magnitude. The great depth of the archway is only seen as a matter of mensuration, not felt as a poetical impression, as it would have been if the labors of the constructor had been supplemented by the labors of an artist; if the shallow strips of pier had become real buttresses, and the jamb and arch had been narrowed by emphatic successions of withdrawal, instead of being merely tunnelled through the mass; if the intrados of the arch itself had been accentuated by modelling, instead of being weakened by the actual recession of its voussoirs behind the plane of the wall. [Illustration: SECTION OF TOP AND BACK OF ANCHORAGE. (SIDE VIEW.)]