Rude vigor characterizes as much the enclosed arcades as the enclosing walls, and becomes as much the predominant expression of the front of a dwelling of moderate dimensions as of the huge façades of the Field warehouse. Such modelling as is introduced tends rather to enforce than to mitigate this expression, for the piers of the lower arcade are squared, and the intercalated shafts of the upper are doubled perpendicularly to the front, as are the shafts of the colonnade above, so as to lay an additional stress upon the thickness of a wall that is here manifestly a mere screen. The continuation of the abacus of the arcade through the wall and its reappearance as the transom of the flanking windows is an effective device that loses some of its effectiveness from its introduction into both arcades. It scarcely modifies the impression the front makes of lacking detail altogether. The double-dentilled string-course that marks off and corbels out the attic is virtually the only moulding the front shows. Yet the need of mouldings is not less now than it was in the remote antiquity when a forgotten Egyptian artist perceived the necessity of some expedient to subdivide a wall, to mark a level, to sharpen or to soften a transition. For three thousand years his successors have agreed with him, and for a modern architect to abjure the use of these devices is to deny himself the rhetoric of his art. The incompleteness that comes of this abjuration in the present instance must be apparent to the least-trained layman, who vaguely feels that “something is the matter” with the building thus deprived of a source of expression, for which the texture given to the whole front by the exhibition of the bonding of the masonry, skilful and successful as this is in itself, by no means compensates. The sensitive architect must yearn to set the stone-cutters at work anew to bring out the expression of those parts that are especially in need of rhetorical exposition, to accentuate the sills of the arcades, to define and refine their arches, to emphasize the continuous line of the abacus, and especially to mark the summit of the sloping basement, which now is merged into the plane of the main wall, without the suggestion of a plinth. It is conceivable that an architect might, by the skilful employment of color, so treat a front, without the least projection or recess from top to bottom or from end to end, as to make us forget to deplore the absence of mouldings. Some interesting attempts in that direction have, in fact, been made, and complete success in such an attempt would be entitled to the praise of a tour de force. But when in a monochromatic wall the designer omits the members that should express and emphasize and adorn his structural dispositions without offering any substitute for them, his building will appear, as this dwelling appears, a work merely “blocked out” and left unfinished; and if it be the work of a highly endowed and highly