Comparing the list of 1899 with that of 1885, the progress of our national architecture in fourteen years becomes very evident. The United States Capitol and the Trinity Churches in New York and Boston are the only buildings common to both lists. Six of the buildings on the BROCHURE list were, in 1885, either incomplete or not yet begun: these are the Boston, Congressional and Columbia Libraries, the Madison Square Garden, St. Patrick's Cathedral and the Biltmore residence. The Cathedral, however, wanted only its spires; but its appearance on the BROCHURE list is undoubtedly due to the spires more than any other element in its design. In 1885 Mr. H. H. Richardson was the one bright and particular star on the architectural horizon in the United States: one-half of the "1885" list of buildings were his work. Only one of these remains on the new list,--Trinity Church in Boston, doubtless on the whole his greatest work. The style which he made his own, and which was then at the height of popular favor, borne on the wave of admiration for the real strength and originality of his works, has waned, as all fashions must wane which are not the result of a spontaneous movement of taste, but ride into favor on the back of some passing whim or on the merit of the achievements of some one person or coterie. No architectural period can be truly great that depends upon one man or set of men for its great works. It is perhaps not amiss to say a few words regarding buildings of secondary merit and of minor importance in cost and size. These may be as significant criteria of architectural taste and progress as those most conspicuous for grandeur and beauty. It is quite possible for the architectural energy of one place or period to be concentrated on a small number of great works, and for an equal amount of energy and ability in another place or period to be expended on a larger number of less important buildings. The average quality of our architecture, and the quality of our ordinary every-day architecture, are perhaps as important as that of the ten most beautiful buildings; and the fact that the west and south have so small a representation in the BROCHURE lists by no means argues a corresponding deficiency of good architecture. Yet after all, when all is said, the great and noble buildings, the highest and grandest triumphs of architecture are the only ones which profoundly affect the imaginations and kindle the artistic aspirations of men; and when a community becomes so pervaded with the artistic spirit that works of art furnish the readiest, most natural and complete expression of its ideals and enthusiasms, great works will result whenever there are enthusiasms and ideals worthy of monumental expression. From this point of view the Columbian and Omaha Expositions, and the New York Naval Arch of Triumph--which, owing to their transitory and temporary character, no doubt, have found no place