The practical divorce of Art and Utility has told nowhere more disastrously than in the building of churches. Gothic buildings with 'long-drawn aisles and fretted roof,' designed and adapted for the processional and ritual worship of the Romish Church, have for three centuries been the dreary reverberating theatres of Protestant reading and preaching. Perhaps few of us could recall a more comfortless ideal than a rural parish church in winter, half the congregation excluded from seeing, and the other half from hearing the monotonous reader of prayers and sermons. Nonconformists, while rightly deeming that the Episcopal Church had no monopoly of Gothic architecture, have not been always wise in their appropriation of it. They have built the old Gothic church with its nave, two aisles, transepts, and chancel, its clustered stone pillars and clerestory, utterly unmindful of the fact that of all styles of ecclesiastical building it was the most unsuited for their worship and preaching. Their dignified discomfort led to the substitution of iron columns, as incongruous, and, in artistic effect, as ugly as anything that could be imagined--'a mediæval church,' as Mr. Cubitt says, 'in the last stage of starvation.' If we must have nave and aisles, as he justly remarks, we seem shut up either to bad arrangement or bad architecture. Fame and fortune await the architect who can create a new order of buildings for Congregational worship which shall avoid both. Mr. Cubitt seems ambitious to attempt this, and he breaks a lance with old conventionalism with great courage and skill. The type that is required, he says, 'does not present itself in the ordinary nave and aisles plan, whether its nave-piers are thick or thin; but it may be hopefully sought in either of these two ways--'by designing our churches without columns at all, or by designing them with substantial columns placed where they will cause no obstruction. The former system is already adopted in small buildings, and there are some signs of its future employment on a larger scale. It allows great variety of form. Its plans may be oblong, cruciform, circular, or polygonal; or still better, a fresh combination of three different elements. On the latter system the columns may be few in number and far apart, or they may be placed so near the side walls as to obscure, not the seats, but only the passages leading to them. We may thus have either the wide nave with narrow side aisles, or the ordinary nave with very wide bays, or both together. We may plan a grand open space before the pulpit and communion table--surely a natural arrangement for a Protestant Church--and we shall find ample scope for architecture in its external and internal treatment.' The subsequent chapters are virtually a development and illustration of these ideas. The writer advocates the admission of the dome into Gothic architecture; he has much to say on behalf of the