the features of the face, and the configuration of the eye, and we shall find in all these more minute, more finished, and more centrical productions of the mineral, the vegetable, and the animal kingdoms, reigns the nicest symmetry of outline and correspondence of parts. And if art, which can only be founded upon, only spring out of nature; if art, I say, should ever only be considered as the further development of nature’s own principles, the complement of nature’s own designs, assuredly we best obey the views of nature, and best understand the purposes of art, when, leaving total irregularity to the more extended, more distant, and more neglected recesses of the park, we give some degree of symmetry to the smaller and nearer, and more studied divisions of the pleasure-ground. This principle of proportioning the regularity of the objects to their extent, the Greeks well understood. While in the Medici Venus the attitude of the body only displays the unsymmetric elegance of simple nature, the hair presents all the symmetry of arrangement of the most studious art; and unless this principle also become familiar among us there is great danger that unable to make the grounds harmonize with the mansion, we attempt to harmonize the mansion with the grounds, by converting that mansion itself into a den or a quarry. REMARKS ON FIRE-PROOF CONSTRUCTION. A PAPER READ BEFORE THE NEW YORK CHAPTER OF THE AMERICAN INSTITUTE OF ARCHITECTS, APRIL 6TH, 1869. BY P. B. WIGHT, F. A. I. A. MR. PRESIDENT AND GENTLEMEN:—A distinguished member of this body not long since remarked that a fire-proof building was easily defined: “It is a building which cannot burn, and which contains nothing that will burn.” Admitting the definition, I do not propose to dispute with the gentleman, neither do I intend to enter into an elaborate and scientific investigation of the subject; to do so would be to essay a task far beyond my powers, and one which might result in stultifying myself and wearying you. The best I can do is to collect some of the scattered results of thought and observation, into what I trust you will consider to be but a rambling dissertation upon a subject which is of great interest to all of us. It is, therefore, less with the desire to display any erudition, than to introduce the subject, and call forth the views of those assembled here, that I have chosen to address you some remarks on fire-proof buildings. In so doing it is possible that I may enter the field of criticism, and may comment upon the works of some who are here present; but whatever I may say in that direction, allow me to assure you, will be said with justice and candor, and an endeavor to follow Matthew Arnold’s definition of criticism—to find the best ideas in everything. I will look to those whose experience has been more extended than mine, for a continuation of the discussion of what I may only hint at.