[Illustration: FIG. 10.--Normanton Park, Rutland, _cir._ 1780.] As the century grew older the severance from the traditions of mediæval times grew wider. Those traditions, indeed, were lost, and although a few attempts were made--by Horace Walpole and others--to revive the late Gothic style, they only served to show how superficial was the current knowledge of Gothic architecture, and how futile it is to apply imitations of a departed style, merely by way of ornament, to buildings which have no affinity to those from which inspiration is sought. These attempts at revival were not numerous, they lay outside the normal course of design, which steadily followed the classic lead which had been first given whole-heartedly by Inigo Jones. But the virility of Jones, Wren, and Vanbrugh had gradually declined, and domestic architecture had become correspondingly tame. It was highly respectable, much of it was refined, all of it was safe and rather uninteresting. To us it is so correct and well-meaning that it escapes the fate of much that succeeded it--the exciting of violent dislike. Indeed, after the lapse of more than a century, interest in it is reviving, and it bids fair to acquire enthusiastic admirers. It was otherwise when it was in full possession of the field, for in spite of its excellent qualities it roused the fury of Pugin and his followers, and was overwhelmed by the Gothic revival. [Illustration: FIG. 11.--Gwydyr House, Whitehall, London, 1796.] There was no essential change in the general treatment of houses all through the last half of the eighteenth century, as may be seen by comparing Gwydyr House, Whitehall (Fig. 11), which was built in 1796, with Wolterton Hall (Fig. 8), built in 1736; that is, the general effect is obtained by the same means. The windows are carefully proportioned, and the eaves cornice is the only important shadow-producing feature. At Gwydyr House the attic story is a later addition. The windows in both cases are plain, unornamented oblong openings. In the house No. 32 St James’s Square (Fig. 12), which was built in 1815, and is the last of this particular series of illustrations, while the main effect is the result of the window proportion and the eaves cornice, some additional interest is given by the form of the first floor windows, by the arches in which they are placed, and by the balconies. [Illustration: FIG. 12.--No. 32 ST. JAMES’S SQUARE, LONDON, 1815.]