execution contributed in the most permanent and satisfying way to the distinction gained by their employers. If they themselves are unknown to fame, or are forgotten by all but students of building, their genius is imperishable. Later generations of architects and craftsmen have supplied the best of all epitaphs, that of emulation. Whether John Thorpe built this or that house, whether Inigo Jones did or did not design portions of famous buildings, the questions afford pleasant exercises in deduction and attribution. But the sum total of achievement is the main thing to be considered. So far as domestic architecture is concerned the lessons of the past have been put to good use in England. One of the most ancient buildings illustrated in the present volume is Haddon Hall (Plate I), which dates from Plantagenet times, or earlier. Alterations and additions were made subsequently, and the building affords an almost unrivalled opportunity to study the ideals of various periods. It is of the castellated type and was evidently built for defence, but the later work is of equal importance. Sir George Vernon, known as the “King of the Peak” on account of his magnificent style of living, was responsible for considerable additions in the sixteenth century, while the Long Gallery and parts of the garden are to the credit of his daughter, Dorothy Vernon, who married Sir John Manners, second son of the first Earl of Rutland. This old house, situated so picturesquely on sloping ground, is associated with many legends, including the supposed courtship and elopement of the celebrated Dorothy, a pleasant fiction which is too generally believed to be exposed. Haddon would lose some of its attractions if the “Walk,” the “Door,” and other features associated with the popular heiress were removed, but even without them the building would be of romantic interest. Mr. Henry James, in one of his refreshing essays, has recognised “the inevitability of a Dorothy Vernon and a Lord John,” which sums up the prevailing sentiment of the place. It seems made for an elopement, and if in reality one did not take place, then it was the fault of the people and not of the house, which lent itself so admirably to such a purpose. Cattcrmole, like many other artists, loved to paint here and to conjure up delightful visions. Haddon was for a long time a favourite place or residence of the Earls of Rutland, but towards the end of the eighteenth century much of the movable furniture was taken to Belvoir. Since the days of general travel the tread of visitors, often on their way to Chatsworth, has been incessant, and if the chief interest has been popular and sentimental rather than architectural, it is not surprising under the circumstances.