This last subject would be an interesting and fertile one to investigate, and would throw considerable light on the development of the human mind throughout Europe. Such consideration, even confined merely as regards architecture, would be one too far from the present subject now to discuss. Since, however, the Gothic as well as the revival of the antique principle have extended over all Europe, in order to attain a knowledge of either, we should not confine ourselves to isolated specimens of particular countries. It is only by taking a survey of the entire field of Gothic architecture, that we can rightly comprehend its varied powers. Is it possible I would ask, from the mere acquaintance with English Gothic to imagine, or from its elements to compose a tower like that of the Minster of Freiburg in Brisgau, or a loggia of similar character to that called the Loggia da Orcagna, at Florence? On the other hand an acquaintance with continental Gothic alone will furnish no idea of the peculiar character of the English perpendicular class. The Renaissance style which is fraught with so much plasticity and variety, springs also but from one root. In like manner as it is impossible for a botanist to understand all the species of one particular family without tracing all that are found in different parts of the globe; so too, is it impossible to become acquainted with the power of any one style of architecture without a similar comparative study of all its specimens, as exhibited in the works of different nations which have adopted it. To the north of Europe must justly be allowed the merit of having exhausted the whole circuit of Gothic architecture, and the application of its principles; this was certainly not accomplished in Italy. It is therefore on this side of the Alps that we observe many of the motives and principles of the Gothic retained to a very late period not disturbed, as was the case in Italy, by types from the antique. At the same time it must be admitted, that when the style founded upon this latter, began to find its way northwards, the two sister arts, painting and sculpture, though they followed in the train of architecture, did not strike root very deeply, but were for the most part treated capriciously and mechanically as mere handicrafts; and this was especially the case in England. It is therefore remarked with some truth, that the Renaissance style is characterized in Italy by greater delicacy and beauty than elsewhere; in France and the Low countries by greater richness, and in England by capriciousness and extravagance. Lest, however, the term itself, Renaissance, should be thought too loose and vague, it may be proper to define it as used to signify "that style which everywhere succeeded immediately to the Gothic."