For certainly the development has been attended with some results to which it is impossible to point with appreciation. Do we find an example of this in the Appellate Court in New York? Its exterior is profusely covered with sculpture; but can one truly feel that it is decorative? On the contrary, it may occur to some that the building would have had more dignity unadorned; that it is overloaded; its quiet lines disturbed by the flutter of forms against the sky; that the figures themselves lack the decorative quality, dryly formal in some instances and in others without sufficient reserve of line and mass; overpowering, in fact, the structure, while individually, at the distance from which they are seen, of not much moment. Civic pride, doubtless not uninfluenced by the discovery that there is a commercial value in esthetics, has led to the embellishing of office buildings and hotels with sculpture. With the former continually increasing their vertical direction, it has been no easy matter to devise for them a suitable kind of plastic decoration. Perhaps the most appropriate has been the flat ornamentation, occasionally burgeoning into rounded forms, which Louis H. Sullivan, a Chicago architect, has used. He has the advantage of being his own designer for decoration as well as for structure; and having a very logical mind he designs both with a strict regard for organic propriety, while his fecund imagination enables him to create freely forms of inexhaustible variety and full of the charm of vital freshness. In the case of many office buildings, especially those erected some years ago, the sculpture has the appearance of being added as an afterthought, so inadequate is the provision made for it. There is a conspicuous instance of this on lower Broadway, New York, four colossal figures in bronze by J. Massey Rhind being placed upon a projecting cornice some twenty feet above the level of the street. They have no structural relation to the building and thereby lose much of their effectiveness.