The sky-line has entirely changed; the spire of Trinity is lost in such surroundings as the Bowling Green, Empire, Washington Life, and American Surety buildings, and in the vicinity where the Tribune tower was once conspicuous, now the St. Paul Building rises twenty-five stories, and the Ives Syndicate Building even higher; further and further up Broadway, and to the right and left of it, these monster buildings continue to rise. But among them all there is not one which shows a more masterly handling of the problem than the Surety, where the architect, Bruce Price, has emphasized the entrance with a colonnade and six figures of much dignity and grace, and has concentrated the ornament about the upper part of the building, crowning it with a fine cornice, which is more effective from the simplicity of the four walls beneath. This building holds its own among such others as the Washington Life and St. James buildings, New York, or the Ames Building, Boston, Harrison Building, Philadelphia, Schiller Theatre, Chicago, Wainwright Building, St. Louis, or Examiner Building, San Francisco. It is impossible, in so brief a survey of the field, to enumerate more than a very small fraction of the buildings illustrating the progress of the architecture of the century; and aside from the residences, apartments, and hotels where we live winter or summer, and commercial buildings in which our working hours may be occupied, there are very many examples of churches, schools, colleges, libraries, and museums, donated, equipped, and endowed for our instruction, theatres and music halls for our entertainment, railroad stations for transportation, storage warehouses for the safety of valuables, and armories for the use of our militia. Besides these, there are engineering works of considerable importance, such as the Eads Bridge, at St. Louis, or the Roebling Bridge, between New York and Brooklyn, and the works of the sculptor St. Gaudens, the Washington Arch by Stanford White, the Farragut and Lincoln statues in New York and in Chicago, which should surely be mentioned, since monumental works are the poetry, whereas the secular and commercial works are but the prose of architecture. As we review our productions, we should certainly feel encouraged to believe that if we continue to meet and solve each problem in the same direct, honest way that we have been doing for the last quarter of the century, there need be no misgivings as to the future of architecture in these United States. THE CENTURY’S PROGRESS IN CHEMISTRY BY HARVEY W. WILEY, M.D., PH.D., LL.D., _Chief Chemist Agricultural Department, Washington, D. C._