pictures, rare volumes, diaries, letters and state archives to link him up properly in historical succession and progression. We are covetous of our niche in history. We want to belong somewhere and to something, not to be entirely cut off by ourselves as stray atoms in boundless space either geographical or chronological. The human mind is a dependent thing and so is happiness. We may not, indeed, have inherited the house we live in; the chances are we have not. We may not remember that either of our parents or any of our grandparents before us, ever gloried in the quiet possession of as ideal a homestead as is illustrated in Plate I to convey the atmosphere intended; but for the sake of goodness--for the sake of making the world appear a more decent place to live in--let us pretend that they did, and that it is now ours. Let us pretend that God has been so good to us, and that we have proved worthy of His trust. With this amount of psychological preparation, I believe it is possible for every cultivated American man or woman to approach the subject of American Renaissance architecture--domestic architecture--in the true spirit of understanding. By American Renaissance I allude to no “American eclectic style.” That term “eclectic style,” which so frequently crops out in treatises upon architecture, were you to follow it up, would be found to signify, as a rule, merely American nonsense and aberration. And I suppose there is no nation which may show such an imposing array of architectural nonsense as the United States during the last fifty years of their independence. Certainly no nation has evolved a national style of architecture, intentionally, as is constantly urged upon American enterprise. Such a thing could have no historic value, while it could not escape being vulgar and monotonous. Characteristic architecture is of very slow development, and although there have been building epochs of remarkable activity, in none is the progress appreciable from year to year. American Renaissance differs from that of other countries only as it has been affected by the local conditions and requirements of America. Good Renaissance--I regret there is a sight of building that is bad--is like good-breeding, pretty much the same the world over, differentiated only by local color or custom. PLATE II. [Illustration: DOORWAY, WASHINGTON SQUARE NORTH, N. Y. CITY.]