reaches Spain: or to a reflection in the water, whose wavy surface occasions some little difference of appearance; and in fact we behold both styles united together in the amphibious city of Venice." This simile would be more literally appropriate had the uses to which the two styles were applied been more nearly alike. [1] As regards _Arabian architecture_, the parent art may be said to have been entirely childless, depending entirely on its own resources, discarding all representation of animal life, whether in painting or sculpture. With respect to modern architecture, it may be said that it has quite rejected the services of the other two arts, and, as I fear, greatly to its own detriment; while these latter arts, notwithstanding the eminence they have attained apart from architecture, are not so solidly united as they otherwise would be, nor capable of so completely developing their powers, had the union of the three been complete. It is well known that, owing to the fetters imposed upon them in Egypt by the religion of the people and its priesthood, it was only in Europe that sculpture and painting could at different epochs attain to maturity. But it is not perhaps so generally known or considered, that it is one characteristic mark of European architecture, that it has at all times, whether those of its progress and advancement, or its decline, availed itself of natural forms, both vegetable and animal, for purposes of decoration; while the Asiatic styles were confined to geometrical figures for the ornaments. The above cursory glance at the history of the art, may at least serve to shew how incumbent it is upon the architect of the present day to make himself acquainted with the creative power and processes of his art, by studying them as they actually manifest themselves at different epochs, and according to the different views and purposes to which the art was applied. By so doing, however, he is in some danger of being worked upon by conflicting impressions, occasioned by the diversity of styles and the opposite tastes they exhibit. Yet, unless I am greatly mistaken, the whole system of the art, as developed in the different styles, must henceforth have considerable influence upon our modern architecture.