Having disposed of two grand categories of mistakes and absurdities in house-building, viz., lightness of structure and badness of material, we shall now address ourselves more particularly to the defects of Arrangement and Form, or, as an architect might term it, to the discussion of Plan and Elevation. The former task was ungrateful enough; for therein we had to attack the cupidity and meanness, and the desire for show and spurious display, which is the besetting sin of every Englishman who pays poor-rates; but, the present undertaking is hardly less hopeless, for we have to appeal to the intelligence, not only of architects and builders, but also of those who commission them. Now, there is nothing drier and more unprofitable under the sun, nothing more nearly approaching to a state of addle, than a builder's brains. Your regular builders (and, indeed, not a few of your architects) are the sorriest animals twaddling about on two legs; mere vivified bags of sawdust, or lumps of lath and plaster, galvanised for a while, and forming themselves into strange, uncouth, unreasonable shapes. A mere "builder" has not two ideas in his head; he has only one; he can draw only one "specification," as he calls it, under different forms; he can make only one plan; he has one set of cornices always in his eye; one peculiar style of panel; one special cut of a chimney. You may trace him all through a town, or across a county, if his fame extends so far; a dull repetition of the same notion characterises all his works. He served his apprenticeship to old Plumbline, in Brick Lane; got up the _Carpenter's Vade-Mecum_ by heart; had a little smattering of drawing from Daub the painter, and then set up in business for himself. As for Mr Triangle the architect, who built the grand town-hall here, the other-day, in the newest style of Egyptian architecture, and copied two mummies for door-posts, and who is now putting up the pretty little Gothic church for the Diocesan Church-and-Chapel-Building and Pew-Extension Society, with an east window from York, and a spire from Salisbury, and a west front from Lincoln--why, he is the veriest stick of a designer that ever applied a T-square to a stretching-board. He has studied Wilkins's Vitruvius, it is true, and he has looked all through Hunt's Tudor Architecture, but his imagination is as poor as when he began them; he has never in his life seen one of the good buildings he is pirating from, barring St Paul's and Westminster Abbey; he knows nothing finer than Regent Street and Pall-Mall, and yet he pretends to be a modern Palladio. It will not do, all this sham and parade of knowledge; we want a new generation, both of architects and builders, before we shall see any thing good arising in the way of houses--but as this new progeny is not likely to spring up within a few days, nor even years, we may as well buckle to the task of criticism at once, and find out faults, which we shall leave others to mend.