That romantic architecture is not inconsistent with the suggestion of a home, or with the conditions of a modern town-house, is shown, if it needed any showing, by a dwelling that adjoins the first of the Richardson houses, and that nobody who is familiar with Mr. W. K. Vanderbilt’s house or with the Marquand houses in New York would need to be told was the work of Mr. Hunt. It recalls particularly the Vanderbilt house, being in the same monochrome of light gray, and repeating, though with a wide variation, some of the same features, especially the corbelled tourelle. This is here placed to much better advantage at a salient instead of a re-entrant angle; it is more happily proportioned; the corbelling, not continuous, but broken by the wall of the angle, is very cleverly managed, and the whole feature is as picturesque and spirited as it is unmistakably domestic in expression. The house does not exhibit the same profusion of sculptural ornament as the earlier work it recalls, nor is there so much of strictly architectural detail. By this comparison, indeed, one would be inclined to call this treatment severe; but it is prodigality itself in comparison with its neighbor. This latter comparison is especially instructive because in the block, as a matter of mere mass and outline, Mr. Richardson’s composition, considerably simpler, is also pretty distinctly more forcible than that of Mr. Hunt, by reason of its central and dominating feature, and especially by reason of the completeness with which it is united by the simple and unbroken roof; whereas the criticism already passed upon the Vanderbilt house, that it grows weak above the cornice line, is applicable, though in a less degree, to its author’s later work. The various roofs required by the substructure, and carried to the same height, have been imperfectly brought into subjection, and their grouping does not make a single or a total impression. Taking the fronts by themselves, considering them with reference to the distribution of voids and solids, we must omit the minor front of Mr. Richardson’s work as scarcely showing any composition; but the principal front is much more striking and memorable, doubtless, than either elevation of Mr. Hunt’s design, carefully and successfully as both of them have been studied. Yet there is no question at all that the latter is by far the more admirable and effective example of domestic architecture, because the possibilities of expression that inhere in the masses are in the one case brought out, and left latent in the other.