As R. M. Hunt had the last word on the cast-iron front, so he had the first on the modern sky-scraper, a peculiarly American production; the walls of the Tribune Building, however, carry both their own weight, and that of the floors, being built before the days of the methods of steel skeleton construction. Hunt was trained in Paris, as was Richardson, and had assisted in the design of the Pavillon de Flore under Lefnel, and he showed his appreciation of the Neo-Grec movement in his design for the Lenox Library. It is somewhat unusual for an artist to do his best work in his latest years, but surely no better work of its kind has been done in modern times than the residences which he designed for three members of the Vanderbilt family at Newport, in New York city, and at Biltmore, N. C. The design which he left for the Fifth Avenue front of the Metropolitan Museum, now being carried out by his son, is a magnificent Corinthian order, whereas much of his other work is late French Gothic. That he was called upon to design the base for Bartholdi’s Liberty in New York Harbor, and the Administration Building at the International Exposition of 1893, and that a portrait bust has been erected to his memory, all testify to the appreciation in which he was held by the profession. To McKim, Mead & White, of New York, we are greatly indebted for their influence upon secular architecture, and their Casino at Newport, built in 1880, was probably more far-reaching in its effect upon country houses than any other building at that time. Among the other work from their office may be mentioned the Boston Public Library, the Madison Square Garden (reproducing in its tower the Giralda of Seville), the Library and other buildings for Columbia College, the Metropolitan and University Clubs, the Agricultural Building (of staff) in Chicago in 1893, now being reproduced in marble for the Brooklyn Institute, the Tiffany, the Villard, and other city houses, and a host of country houses at Newport, Lenox, and elsewhere. There is another architect whose talents should be acknowledged; for about 1880, when the shingle house had just begun to take shape, there was none more clever at that sort of thing than W. R. Emerson, of Boston, and his resources seemed endless in harmonizing form and color with conditions of seashore or mountain, as shown in his houses at Bar Harbor, Milton, Newport, and many other summer resorts.