the experience of painting a matter of the visual, for the most part; that of architecture is a very curious combination of the tactual and muscular with certain respiratory and vaso-motor functions. Words, in each of the cases, are at the second and third remove from the actual appreciation; and moreover architecture shares with music, except where figure-sculpture enters in, the supreme condition that representation merges in presentation, that form and content coincide. The love of thirteenth century France flowered in the beauty of Street’s designing; the knowledge of Catalan city churches bore fruit in the frequent use of the lofty nave arcade, which barely marks the aisle off, and opens all the church to sight and hearing of the preacher; the long acquaintance with Italian brick construction led to his perpetual endeavour by bands of colour to lighten the monotony of English stone. But marbles under a southern sun will fade and stain and modulate together, where other material and other skies will not effect the combination, and while I feel that some of Street’s essays in colour have been less happy than his other audacities, I feel stronglier yet that the fault lies more with the material at hand than with the shaping spirit of imagination. He is supposed to have been at his best in designing middle-sized churches for general use, like All Saints’ at Clifton, and S. Margaret’s, Liverpool. I know he felt that he never worked more to his own mind than when he built his own church at Holmbury. The American churches in Paris and Rome, the English churches in Rome and Genoa, the Anglican churches at Lausanne, Vevey and Mürren are all his. The list of his buildings published in his son’s _Memoir_ stretches from Constantinople to Trinidad. I notice that at the time of his death some called the new nave of Bristol cathedral his most entirely successful work. That may in a way be reckoned as restoration, if one likes, and remain equally characteristic, for Street did much work of restoring, and the list of original work is followed in the _Memoir_ by a longer list of ancient work to which he lent a reverent hand. Against any restoration but the most reverent he protested, both generally and in such particular cases as that of the Lincoln doorways. He was a member of Morris’s “Anti-scrape” society, though once at least that body fell foul of him. The mere ecclesiologist in this case is again disposed to admit that if, to keep a church above ground, some restoration must be done, it had better be in such hands as his.