In glancing back over what I have written, I find yet another class of architects and another theory of architecture to which no credit has been given. I refer now to that class of architects who publish books of readymade plans, and who advertise for clients in the periodicals, and to their theory of architecture which does not allow that the artist enters into the proposition. This is as I understand it, at least, from one of their advertisements, which reads, “Plans made _not_ by an _artist_, but by an _architect_.” Bored nearly to death by having to listen to unwelcome PLATE XCV. [Illustration: GARDEN GATE AT WYOMING, N. J.] [Illustration: WINDOW OF A DINING-ROOM.] [Illustration: THE EDGAR HOUSE, NEWPORT.] art discussion which to them does not seem either necessary or practical in what they consider a purely utilitarian business for housing the people, they have conceived a positive aversion to architecture as a fine art. I do not know exactly what they mean by the affectation and exaggeration they exploit if it is not intended to be artistic; but it is quite possible they deprecate all that, themselves, as the necessary amount of tawdriness the American people will have, feeling the while unequal to educating such hopeless material. For it may be that I do these wholesalers of printed plans a great injustice--it may be they realize, as do other architects, only too keenly, that architecture is the cubic measure of art, and requires an artist of the third power to fuss with it successfully, in which case I fancy I recognize even greater method in their madness. THE END INDEX Alexandria, Va., 71, 72; Fairfax house, 71; Carlyle house, 71. Alice in Wonderland, reference, 31. Alison, Archibald, historian cited, 108. American Notes, Dickens’ criticisms in, 89-91. American Renaissance explained, 17-20; its local color, 21-27; sincerity of, 21-23; various observations concerning, 21-27; its derivation, 25-27; outraged by modern Romanesque, 27-29; Andrew Jackson’s influence upon, 41, 48-50; early architects of, 42-44; designing a farmhouse in, 46-48; modern farmer’s knowledge of, 40, 49, 50; not taught in schools, 35, 49, 50; contrasted with architecture of England, 51-53, 77; restoration of an old house, 55-57; various motives, 57-60; roofs, 60; development under aristocracy, 62-78; Washington connoisseur of, 73; originality of, 76, 77; in Annapolis, 62-64; in Bristol, 81, 82; in Salem, 82, 83; in Middletown, Conn., 84, 85; in Philadelphia, 85-88; influence of Ruskin Gothic, 95-97; influence of Civil War, 108-17; of Centennial Exposition, 118-20, 125; Colonial revival, 128-31; adaptations, 132; criticised by writers, 132-34; apprenticeship of, 140-41; injured by financiers, 131, 166; traditions of, 40-42; legislative buildings, 134. Amplification, modern, houses injured by, 75. Annapolis, Md., 62-65, 68, 70, 82. Anne Arundel Town, 62.