"And smudges of candle-smoke everywhere, and grease, and all that sort of thing. Well, here's the dormitory; that's in yellow brick, with white ones, and red ones, and so on, intermixed at random. Magnificent!" The tower he proposes to treat in an equally artistic manner. "I shall go in for building it quite rough on purpose, and have it washed over with something--that's a matter of detail, you know--to produce fungus, or moss, or lichens, or whatever you choose to call it; and I shall plant things in the crevices as we go up,--wall-flowers, and houseleek, and ferns, and couch-grass, and all that kind of thing, you know." "But what is all that for?" "What is it all for?" says Master Georgius, dropping his glass. "Why, what could it be for? To give authenticity to the tower, of course." With all this so-called aestheticism and crude speculation upon the proper development of architecture as a fine art, I believe the reformers of the Queen Anne school have honestly attempted to improve and elevate the standard of our domestic buildings. At all events, they have brought into the ranks of the profession life and nerve, elements absolutely necessary to an honest development of art-methods. The sentiment for art pure and simple will gradually expand into a greater veneration for the scientific elements of their professional career, and the necessity of clearly demonstrating to the uneducated comprehension of mechanics the practicability of their designs will induce those habits of thought and investigation which, if honestly pursued, will elevate the standard of professional attainments. As a natural result, their designs when executed will give us edifices artistic in conception and detail, well planned, and built by the best-known methods of construction.