of their lives and i would whether it be not a greater to t a towering of timber and for the of performing an office which you will not it to perform than to lay the covering of your at an inclination to keep it dry yet not fo lofty as to dwarf the of the building or withdraw the eye from what is more ornamental the high roof is a feature to which the italian has never been reconciled the roof of the italian palace has a pitch lower than our own the white marble which the office of on the covering of the cathedral of might have been at a greater height at even a reduced if the italian eye could have reconciled to the like outline there is a general but that the light and brilliant of the frenchman his on the contrary the of o our architecture france of the northern provinces of the and this in a degree in its roofs at one time the appeared to have from the influence and in the end of the combined a roof of italian proportions with the charming front which to turn away in dignified from the of the but in the he has allowed the element in his once more to and now the huge old not only triumphant over the efforts of regular art in paris but is as it would appear to off the of let us hope that the will be before reaching the pavement and detained in proper behind a such being the of regular art in relation to our let us a rapid glance on the condition of art the interior was that which the italian revival found adapted to receive its method of treatment and retaining the arched roof and it the it above the range of the arches on attached to the and making amends for the of the old modes of wall by a liberal ufe of in variety of colour the was a circle within the formed by the of the and it enlarged into a dome was the circle de our architecture i about that under great all the interior was united and the mind of the at once uplifted and expanded by arrangements the features of st peter s have been brought together with if st paul s in london had at all approached its in beauty of interior regular art might have retained its in but there are certain features in s which from the unity of the t and the of colour gives a air to the of the its the and forms of the and back through various efforts of imitation and until within the quarter of a century the revived has been in its as well as its forms but in the effort after new even the pure of the twelfth century fails to the of the age it is as we have in of its details open to from which the and modes are comparatively free are now on our with much of and influence of example here we fee a there a there a and the variety becomes daily more fo that as regards our we may be to at the moment in as a as with to our in ordinary and building there our as might be a more here the excellent good and of the french people have them from a into which the of the character us under their great roofs they to an elegant of fabric always under whatever amount of and the to whatever extent imparted always of the definite national type in one often than we they cultivate their privacy and a large proportion of ornament on their garden fronts i would willingly this theme but time me to my of the more art in to for many generations and tell the coming ages what were the of beauty and grandeur which the men of were able to on their palaces and temples an has that out of the crowd of placed before us new and of the age might be this hope which was very generally indulged at the time of the of the palace does not to have any l of fulfilment iron and together too for union acres of ground may be covered in with a roof on pillars or hung like the of a bridge from curves but the will be an not an it indeed as if we can now as little a new method in building our architecture we can a new in and that as all into the old of long and fo the at our will not group into cover from the weather than in of i modes already by who have preceded and when we that the new which ve modified the of greece and rome have ly with the of new bloody through the medium of wc may well reconcile to the probable that lies before us of having to from types that form in which our to the future let us review the as they them for our choice there are the three modes of regular � the italian french and the dignity of the italian is owing to the large portion of wall to window incident to a mate we may how the too imitation proportions in one of the club london reminds us of our difference latitude as we come northward the windows be larger and to this the principal of the three modes are to be to for their breadth of wall the and rely on a greater of their main difference is as we have ti in their roofs and if your judgments have gone ng with mine on that head you will probably that of the three regular modes our own much f our architecture is the one to our notions of beauty propriety and utility of the modes there are three kinds and many varieties the 