It does not concern us to discuss the abstract merits of this gradual change of Italian style, visible in Sir C. Barry’s works. But it is certainly interesting in itself, and if it illustrates, as probably is the case, a tendency in the architecture of the present day to break down the rigidity of conventional divisions, and vary established styles by greater freedom of treatment, it will serve to illustrate the remark made in the first chapter, that his mind was one eminently plastic and progressive, and one which therefore would partly guide, and partly follow, the general movement of architectural taste in the country. Holding, as he did, most strongly, the opinion that the styles which divide the architectural profession into two rival camps, had each their characteristic excellences, it is not surprising that he allowed their influences to interpenetrate and modify each other. It still remains to be seen whether his practice does not represent a tendency, which will be more fully exemplified hereafter. (B). The second class of Sir C. Barry’s designs includes those which had for their object the alteration of existing buildings. In this work his skill was proverbial and almost unrivalled. Possibly his sanguine belief in the capabilities of the materials at command may at times have even misled him into attempting alteration, where demolition and reconstruction would have been little less difficult and much more satisfactory. But as has been said, it is doubtful whether his originality and power of resource were not manifested at least as much in this kind of work as in the erection of new buildings. In many cases, not only the fronts, but even the openings of the windows, would be preserved, and yet the building would become new under his hand, and what was plain and commonplace would start into richness and beauty. Like a masterly translation, the design bore the appearance of unfettered originality.