real attempt to supply the place of mouldings by modifications of the masonry, which in the other forms an unvaried reticulation over the whole surface. In this not only are the horizontal joints accentuated, and the vertical joints slurred so as to assist very greatly in the emphasis of length, but the courses that are structurally of unusual importance, the sills and lintels of the openings, are doubled in width, thus strongly belting the building at their several levels. Here again a device that needs only to be expressed in modelling to answer an artistic purpose fails to make up for the absence of modelling. The merits of the building as a building, however, are much effaced when it is considered as a dwelling, and the structure ceases to be defensible, except, indeed, in a military sense. The whole aspect of the exterior is so gloomy and forbidding and unhomelike that but for its neighborhood one would infer its purpose to be not domestic, but penal. Lovelace has assured us that “stone walls do not a prison make,” but when a building consists as exclusively as possible of bare stone walls, it irresistibly suggests a place of involuntary seclusion, even though minds especially “innocent and quiet” might take it for a hermitage. Indeed, if one were to take it for a dwelling expressive of the character of its inmates, he must suppose it to be the abode of a recluse or of a misanthrope, though when Timon secures a large plot upon a fashionable avenue, and erects a costly building to show his aversion to the society of his kind, he exposes the sincerity of his misanthropical sentiments to suspicion. Assuming that the owner does not profess such sentiments, but is much like his fellow-citizens, the character of his abode must be referred to a whim on the part of his architect--a Titanic, or rather a Gargantuan freak. For there is at least nothing petty or puerile about the design of these houses. They bear an unmistakably strong and individual stamp, and failures as, upon the whole, they must be called, they really increase the admiration aroused by their author’s successes for the power of design that can make even wilful error so interesting.