=Hunt and Richardson.=--The former, younger brother of W. M. Hunt, the painter, was born at Brattleboro, Vermont, in 1828; while Richardson, ten years his junior, was a native of Louisiana. Both received their training in the Ecole des Beaux Arts in Paris, and by their influence established the vogue for that celebrated school which has so strongly affected architectural progress in America. When they returned home--Hunt in 1855 and Richardson in 1865--they brought back a thoroughly scientific training, already reinforced by practical experience in Paris. And the genius of the one complemented that of the other; for while both had a personal force that commanded attention and compelled respect, Hunt’s special faculty was executive and organising, while Richardson’s was more specifically that of the artist. Thus between them they established in the public mind the understanding of architecture as, not merely a process of building, but one of the Fine Arts, and also set the profession of architecture on a sound basis. For in 1885 Hunt took a prominent part in founding the American Institute of Architects, of which he was the first president. Among his most important works are the =Theological Library= and =Marquand Chapel= at =Princeton University=; the =Divinity College= and =Scroll and Key House= at =Yale=; the =Lenox Library, New York=, since removed; the =New York residences= of =W. K. Vanderbilt= and =Henry G. Marquand=; George W. Vanderbilt’s country house at =Biltmore= and some of the palatial “cottages” at =Newport=, including “=Marble House=” and “=The Breakers=.” He also exhibited his genius for planning in the laying out of the =Metropolitan Museum of Arts= in =New York=. Richardson took as his model the Romanesque of Southern France, but used it with so much freedom and adaptability that, it has been said, he came very near creating a style of his own. It is seen to best advantage in those examples in which he was unhindered by outside interference, especially in the =County Buildings= in =Pittsburgh= and =Trinity Church, Boston=. Both of these are distinguished by structural significance; dignity of mass, fine correlation of parts to the whole and by a decorative distinction that avoided alike the flamboyance of some of his earlier embellishment and the baldness of simplicity that characterised the work of some of his imitators. Other notable instances of his art are: =Sever Hall= and =Austin Hall=, =Harvard=; the =City Halls= of =Albany= and =Springfield=; the =Public Libraries= of =Woburn=, =North Easton=, =Quincy=, =Maiden= and =Burlington= and the =Chamber of Commerce, Cincinnati=. While Richardson’s artistic seriousness and refined taste left a lasting impression, his selection of the Romanesque style, although it obtained some following, was abandoned in favour of the Roman and the Renaissance; the change being due to the way in which the subsequent American students of the Ecole des Beaux Arts reacted to its teaching.