whichever one prefers to call it, were not of common occurrence it is pleasant to record. They were the exception, and served to lend point to the really excellent and creditable things that were achieved at a time when a decorous formality went hand in hand with cultivated taste and not a little vigour of thought. The mutation of architectural style from the Georgian mode to that of the Classic Revival was virtually synchronous and correspondent with the sway of the Empire styles in furniture, the decorative arts and personal attire. The Classic Revival style is altogether post-Colonial in date and its exotic impetus and inspiration, derived from the France of the First Napoleon and grafted upon a Georgian stock, cannot be regarded as essentially a part of the logical process of architectural evolution which had hitherto progressed by gradual and, for the most part, well nigh imperceptible steps from one traditional form to another. The vigorous classicism of the Georgian period, thanks to its filtration through Renaissance channels, was elastic and appropriate in its application. Even the elegancies and refinements of the Adam school of Georgian expression, though drawn direct from the store of classic antiquity, were judiciously adapted to current needs by masters of the art of discrimination. But the type of classicism exemplified in the Classic Revival was deliberately transplanted bodily and _de novo_ from the ancient world by Napoleonic fiat, in like manner with the designs for furniture and the patterns to dominate the products of the other decorative arts. The transplanters sometimes showed a predilection for heavy Roman forms rather than for the delicacy of Greek refinements, and the transplanting was occasionally done in a clumsy way with little apparent regard for fitness or the principles of sane adaptation. With all the wealth of antiquity to draw from, it would have been strange indeed if the fautors of revived classicism had not produced much that was both exceedingly worthy and beautiful. As pointed out before, whatever defect or weakness characterised the expression of the Classic Revival style, viewed in the aggregate, is not to be attributed to the forms employed but to the manner in which those forms were sometimes misapplied and forced into uses or combinations to which they were ill suited.