We have seen that America received her colonial methods of building directly from England; but here the connection ceases, except in sentiment; and a careful comparison of a number of English and American designs for country-houses will, I think, sustain the assertion that in reviving a taste for Queen Anne composition the architects of the two centuries have adopted different ideals as to the logical present and future development of their eclectic system. In short, the situation may be summed up in the query, How "Free" may our Classic become and not offend good taste and common sense? The Englishman, naturally conservative, clings rigidly to the old systems of domestic planning, and, although varied and often enriched in detail, the exterior of his Queen Anne houses is, in the generality of cases, simply a reflection of earlier works designed for the School Board of London. The planning of these houses is irregular in the extreme, symmetry and balance of parts are ignored, and the communication between the various apartments is complicated and often tortuous. Their long and narrow corridors, and the infrequent use of the furnace or steam-coil as a means for procuring an equitable diffusion of heat, necessitate the screening of doors by placing them in out-of-the-way angles and around corners, to prevent draughts. The humid climate of England renders the veranda objectionable, and the windows, rarely fitted for blinds, are grouped together and divided by light and graceful mullions,--a relic of Tudor practice. The American architect starts upon his revival with less precedent and conservatism either to assist or to hinder him. He can therefore adopt any system he pleases, or, by combining several styles, compose a thoroughly eclectic design; and he is apt to take full advantage of his opportunities, for his "Free Classic" is free indeed.