The vast increase in population during the last two hundred years has accentuated the division of the course of design into two streams; one directed by the highly trained architect, the other by the workman trained only in the use of his tools and the knowledge of his materials. Could the two streams be brought into one channel they might flow on into ideal conditions. But the very complexity of modern life has a tendency to resolve itself into the simplicity of specialisation. [Illustration: FIG. 317.--Chimney-Piece at Belcombe.] [Illustration: FIG. 318.--Chimney-Piece in the Dining-Room, 25 Bedford Square.] [Illustration: FIG. 319.--THE DRAWING-ROOM, KEDLESTON HALL, DERBYSHIRE.] Since the beginning of the eighteenth century the course of domestic architecture has been conditioned partly by the nation becoming too large and complex to admit of a single expression in national architecture; partly by the tendency, common to all the arts, for ideas to pass into excess in one direction and into tenuity in the other. A wider outlook over the civilised world, a greater knowledge of the achievements of foreign countries, led inevitably to the disappearance of a truly national style, such as that which we call Gothic. On the one hand the homes of the wealthy grew in splendour and in fidelity to theories of architecture expounded in books, with the result that use and convenience were largely subordinated to grandiose effects. On the other hand, richness of architectural thought declined in smaller houses through the stages of dignity and comfort down either to a consistent plainness of character or one only marked by individual caprice. Such caprice, schooled by a study of bygone styles, led to the eclectic imitativeness of the nineteenth century. But the last twenty years have seen many signs of a new beginning. Based upon actual needs, and striving after beautiful expression, domestic architecture is slowly progressing on lines characteristically English. Sooner or later this movement will accelerate, and will eventually reach heights as great as those upon which we now look back with admiration and delight. Architecture, like other arts, is immortal; the qualities of proportion, ornament, and fitness can never long be disregarded, for no building is quite complete which is not beautiful to look upon. APPENDIX I SIR ROGER PRATT The foregoing pages had already passed through the press when the contents of the note-books of Sir Roger Pratt were placed at my disposal by the courtesy of his descendant, Edward Roger M. Pratt, Esq., of Ryston Hall, Norfolk.