The way out of this quagmire is first of all to avoid confusion of aim. What is this that we are building? If it is a monument, let us seek only to make it beautiful. But if it is a house, let us always keep in mind that the appearance of it, being really secondary, must be seen to have been held so throughout. Else we shall not, in the long run, escape bad taste. Bad taste is not mere failure, but failure to do something which ought not to have been attempted. For instance, among the most frequent occasions for deformity in modern houses are the dormers, the windows that rise above the roof. In the Gothic buildings these are among the most attractive features. The reason is that the tendency of the outline to detach itself from the mass of the building furnishes to the Gothic a culminating point for the distinct legitimate aim at beauty of expression that pervades the whole; but to the modern builder, whose aim, as regards expression, should be wholly negative, it is at best an embarrassment, and often a snare. The chief obstacle to a rational view of the present position of architecture comes from the number of clever men who devote their lives to putting a good face on our absurdities, and by all sorts of tricks and sophistries in wood and stone prevent us from seeing our conduct in its proper deformity. They dazzle and bewilder us with beauties plucked at haphazard from all times and ages,--as much forgeries as any that men are hanged for,--and then, when the cheat begins to peep through, they fool us again with pretences of thoroughness, consistency of style, genuineness in the use of materials, etc., as if the danger were in the execution, and not in the main intention. So they fool us for a while longer, and we praise their fine doings, and even persuade ourselves there is something liberal and ennobling in their influence. But we tire at last of these exotics. A million of them is not worth one of those sober flowers of homely growth where use has by chance, as it were, blossomed into beauty. This is the only success in that kind that can be hoped for in our day. But it must come of itself; it cannot be had for the seeking, nor if sought for its own sake. The active competition that goes on in our streets is not the way to it, unless negatively, by way of disgust and exhaustion. For some help, meantime, I commend the opinion of an architect of my acquaintance, who said the highest compliment he ever received was from a drover, who could not account for it that "he had passed that way so often and never seen that _old house_." Nobody expects his house will be beautiful, do what he will; why pay for the certainty of failure? Not to be conspicuous, and, to that end, to respect the plain fundamental rules of statics, of good construction, of harmonious color, and to resist sacrificing any solid advantage to show, these are our safest rules at present. MR. AXTELL. PART III.