“This was the last of Sir Charles Barry’s works, and is in many respects one of the most interesting. Its interest arises not from the size or importance of the building, but from the evidence afforded by its design of the results of a long experience in the mind of its architect. “In the design of the Reform Club, and still more remarkably in the design of the Travellers’ Club, he had adopted that type of Italian architecture which aims at producing grandeur of effect by the symmetry of its parts, the regularity of its arrangement, and the simplicity, verging on severity, of its details. Ornament is sparely applied in these buildings, and is in all cases subordinate to the strict regularity which governs the design. The only exception to this regularity, viz., the position of the entrance door to the Travellers’ Club, was always regarded by the architect as a blemish, only to be justified by its absolute necessity, and forced on him by the nature of the site. “When, many years afterwards, Bridgewater House was designed, Sir Charles Barry had evidently changed his views in some degree; for this building, although preserving the rhythm and symmetry of a stately Italian palace, relies more on its ornamentation than either the Reform Club or the Travellers’. “In it, as in the alterations to the Treasury Buildings in Whitehall, which were proceeding at about the same time, we see indications that Sir C. Barry had begun to give to his Italian architecture a character differing considerably from that which marked his earlier productions.