The first class of designs is not very numerous compared with the second. This might have been partly accidental, but it probably was due in great measure to his own fertility of resource, and the keen eye which he had for the capabilities of existing buildings. As he seldom admired any building unreservedly, so he seldom despaired of any, even of those which most men would have condemned as hopeless. When he was consulted therefore by public bodies or by private individuals, who needed additional accommodation, or desired greater architectural effect, he could generally strike out some plan of alteration which satisfied both requirements, while it appeared less costly than the erection of a new building, and preserved something of the charm of old associations. It may be questioned whether more real originality is shown in the design of what is absolutely new, than in the power of impressing a new character on old materials. But he used to regret the comparative fewness of his opportunities of erecting new buildings, unconscious that it was in some degree due to his remarkable power of giving fresh life to the old. (A). It is, however, in his original buildings that his principles of Italian design can be most clearly traced. Those principles remained essentially unaltered. No competent eye can ever fail to recognise his hand. But he had certainly different “manners,” and these are most distinctly impressed upon the Italian buildings which he erected _de novo_. The first manner is that of his Travellers’ and Reform Clubs, and to it belong the new wing which he erected at Trentham and the Manchester Athenæum. The second is marked in Bridgewater House. The third is distinctly seen in one of his last designs, the design for the erection of the Halifax Town-hall, which was carried out after his death. It must, of course, remain uncertain how far it would have been modified in process of execution, had he lived to see the work complete. * * * * *