to have proceeded from the conditions of the problem, and the effect is so far marred by the loss of the naturalness and straightforwardness that justify a departure from convention. For example, even in a galleried church the division into two stories can scarcely be considered the primary fact of the building, though this division is the primary fact of this design, and is emphasized by the torus that is the most conspicuous moulding. Nevertheless, there is much felicity in the general disposition and in the design of the features, especially in the open fenestration of the transept gable, and its strong contrast with the solider flanks of wall pierced only by the smaller openings that indicate the gallery staircases, the slope of which is also expressed in the masonry of the wall itself; and the low polygonal tower effectually unites and dominates the two fronts. The innovation in the treatment of detail, by which what is commonly the “wrought work” of a building in facile sandstone is left rough-faced, is a caprice that seems also to proceed from the pursuit of novelty, and that gains nothing in vigor for what it loses in refinement. A rough-faced moulding seems to be a contradiction in terms; yet here not only are the mouldings rough-faced, but also the columns and colonnettes, and the corbelled pinnacles that detach the tower and the gables, and it is only in the copings of these that the asperities of the sandstone are mitigated. Slovenliness is not vigor, and in the coarsening of this detail the designer, in spite of having produced a vigorous and interesting work, exposes himself to the critical amenity bestowed by Dryden upon Elkanah Settle, that “his style is boisterous and rough-hewn.”