Tis a strange time to seek the colonel," murmured the man in a tone of doubt.

"It is so," said Sebastian, "but not more strange than the occasion is important. Can you conduct me to him?"

"No, I am here on duty."

66 But you can point out the track."

"I will, but you are weary, drink a little of this," said the mountaineer, producing a flask. "God's pity, we had need of a companion such a night as this. How far are you come?"

Sebastian gratefully accepted the rough hospitality of his new acquaintance, drank of the spirit which the flask contained, and soon felt renewed vigour buoying every limb.

"Friend," said he, "I thank you-do not think me churlish if I pray you not to question me further just now. My business with the Count requires haste. Shew me the road and I will hereafter requite you."

"Since it is so," replied the man, "proceed under this ledge of rocks to the right,—a good quarter of a mile will bring you to a clump of pine trees,—there turn suddenly downwards till you come to the banks of the river, where it falls in a cataract some hundred palms deep-you are then sure to be challenged by one of my comrades. And hark, one word before we part-not a word to the Colonel of where you found me, I just stepped from aloft there to shelter me from a drenching under this rock, and you have had proof that I was on the look out.-Farewell, Signor."

66

Farewell, friend," said Sebastian, smiling, "and fear me not." Sebastian followed the route pointed out, and soon discerned the group of pines, which marked the commencement of his descent to the river, from whose rugged brink he beheld the swoln and now mighty stream plunging with terrific force into the abyss beneath. On a small knoll, within a few yards of the cataract stood the dusky figure of a man, dilated by the gloom to gigantic proportions. The stranger, at the approach of Sebastian, calmly observed, "You are late in your rambles, friend—are your goats wont to stray in this direction."

The sarcastic tone and deep stern voice of the speaker immediately decided the traveller's reply. "It is a lamb, not a goat, that I am in search of."

"Beware the wolf," said the stranger. "Already is the knife raised that shall pierce him. Enough, we are understood,-Sebastian !" "The same, and you, if I mistake not, are Colonel Leonforte ;" in the next instant their hands met in mutual welcome.

"Blessed be our holy St. Theobald," said Leonforte, "for enabling us to remember the absurd jargon of his votaries, and especially for guiding you hither, and at a moment like this-but you need both rest and refreshment, no less than myself, for I too am but just arrived, so come along."

"Yet one word 'ere I think of repose," said Sebastian. "Stir not to night I bear tidings which must check your enterprize for the present." "What meanest thou?-But be it so that smile bodes no ill, and you are exhausted, so haste with me to our mountain fortress, and you shall relate your adventures over such fare as the times have left us—a

D

So saying,

cup of good Diamante shall not be wanting-follow me." he led the way among the tangled thickets and shaggy cliffs of the glen, until suddenly halting he pointed out to the amazed Sebastian a fissure in the rocks, through which, the latter followed his conductor, and the next moment no mortal intruded upon the lone converse of the mighty spirits of flood and fell.

(To be continued.)

REMARKS ON THE PRESENT STATE OF ARCHITECTURAL TASTE AND PRACTICE IN OUR LARGE TOWNS.

I. GENERAL PRINCIPLES OF ARCHITECTURE.

The state of architectural taste in this country is confessedly very low and imperfect, and does not receive that degree of attention and regard which from its nature and importance it deserves. As the subject of taste does not touch our personal comforts and wants, it is apt to be regarded with indifference by many who have means and opportunities of encouraging the art and influencing its practice. It would not be right to say that the majority of such individuals disregard this subject from the direction of their habits and tastes lying altogether, or chiefly, in personal gratification; but, I believe, there are many individuals who, having made it the business of their lives to acquire wealth, and, from association and circumstances, been led to regard material comforts and ease as the chief end of their every-day life, have had no favourable opportunity or stimulus to the cultivation of those refinements of sense and feeling, which embody themselves in the productions of the fine arts. It is true mental endowments are possessed and cultivated in a very high degree by people of all classes, and the present age is immensely superior to any previous one, if not in the profundity, at least in the variety and almost universal diffusion of its scientific acquirements; but this eminence is almost entirely intellectual: it evinces little refinement of taste or feeling, or lively perception of the beautiful.

I do not intend the above remarks to apply, by any means, universally; but they apply, I think, equally to all classes. The middle and lower classes have not the opportunities which are possessed by the upper, of testifying their taste in architecture, but as far as I am able to judge, the latter do not evince that superiority, which from their position might have been expected. There are indeed many distinguished exceptions. There are many who have a very high appreciation of excellence in this art, but still that the censure deservedly applies to us generally, cannot, I think, be denied.

Without attempting to account for this state of taste, I merely remark that the effect is in some degree aided, in manufacturing towns at least, by the fact of the mind becoming habituated to the contemplation of works of mere utility in the shape of mills, warehouses, &c., and that the principles which determine their character are unconsciously, but very improperly, applied to works of a totally different nature.

The art as well as the literature of the present day is too much a subject of fashion and caprice, and depends too much on the particular taste of the public which may happen to predominate at the time: this remark applies especially to architecture. It may, perhaps, be said that such has been the case in the best ages of antiquity, but it will be found on examination that the changes which were always going on in style, among the Greeks for example, took place when the art was advancing towards perfection, and were the result of a deep study of its principles and capabilities, and of the variations which are always going on in the manners and customs of a partially civilized people. Our architecture, on the contrary, wants character, and application to the circumstances of the times. A building ought to grow without effort and almost unconsciously out of the wants which call it forth, and should be the result of these, produced under the direction of taste. It is this which makes the remains now existing in Greece, Egypt, &c. so interesting and valuable, as monuments of the past history of those nations; and it is only by working on these principles that we can give our buildings either character or interest.

We must go back to first principles, and apply them to our wants and circumstances. Such is our want of character that if half-a-dozen of the principal public buildings, which have been erected in this country within the last half century, should be examined a thousand years hence, without accompanying history or tradition, it would be a more puzzling question than has ever yet been proposed to the antiquary, to determine the character, civil or religious, of the people who could raise monuments so various and anomalous. Fortunately the doubt is as to their surviving one century instead of ten. In addition to this prevailing ignorance and indifference to architectural excellence, the architecture of the present day is subjected to the pernicious influence of what is called by some economy, but which is often more akin to meanness. It has been said by an eminent living architect," Economy is the bane of architecture;" but it is only false economy that architecture has to dread; and I cannot but think that true economy, properly directed, would exercise a very beneficial influence on works of architecture. How often do we see individuals and committees, in attempting to avoid the charge of economy, falsely so called, and to acquire a reputation for liberality and taste, actually commit a much more egregious error than the one they seek to avoid. The result in such cases is often little better than ostentation and a paltry regard for appearances; the works are sure to be all outside, and what little enrichment they do possess, is invariably in the most conspicuous places, to catch the eye of every casual observer. A glance is sufficient to show all the beauty or interest they possess, and when once seen, little desire is felt for a second inspection. How few of our modern buildings offer any temptation to explore and examine their beauties. What have we to

compare with our old Cathedrals, Abbeys, or even small country Churches, where almost every visit reveals some new beauty, or tends to deepen the impression of former ones; and this, independent of all interest, arising from association ?

The ignorance from which all these evils spring is unfortunately not confined to the public generally, who cannot be expected to possess any profound knowledge on the subject, but is very prevalent among even professional men. It is much to be wished that some standard of proficiency were established, by which the competence of all desiring to enter the profession might be tested; for it is notorious, that comparatively few of those practising as architects, in some of even our inost important towns, are really competent by talent or education, to do credit either to themselves or to the profession. That this opinion is founded on jealousy or ill will, I think no one who looks round on the different buildings in the neighbourhood of Manchester or Liverpool for instance will assert. With few exceptions, all the buildings in those towns which display real taste, or evince originality of conception, are by non-resident architects; but it would be invidious to remark further, than merely to mention the fact, as regards these localities. Happily this wide-spread ignorance is now beginning to disappear before an increasing zeal for the cultivation of the art, and investigation of its principles; and it may very safely be prophesied, that the more it is studied and understood, the more will its claim to a high place in our regard be acknowledged.

I do not consider it necessary to say anything in defence of the fine arts in general, or of architecture in particular. The time is gone by for its being looked upon as an art merely of utility; and there are few now who will venture to deny its beneficial tendency to elevate the mind to the perception of refined and intense pleasure. I may remark, however, that if taste be important and worthy of cultivation in the fine arts generally, it is particularly so as regards architecture, as the productions of this art are costly, and their influence, whether beneficial or otherwise, lasting as themselves. Besides, buildings of some sort or other cannot be dispensed with, and, being open to the view of all, must have a very extensive influence on the public taste.

I propose first to lay down, and explain as familiarly as I can, some of the chief fundamental principles of the art, including nothing but what may be called the postulates, or self-evident truths, which are really very few and simple, and on which it will be my endeavour to found all the subsequent remarks I may have to make. The chief difficulty in the way of the free reception of the truth of these principles, and the propriety of their application to our every-day circumstances, is that of divesting the mind of prejudice, or that effect of long habit in viewing objects of a particular character as perfect, or at least without at the time feeling conscious of their defects. Almost the whole of architectural rule may be comprized in one idea, which applies equally as a test of excellence in all the arts, viz. :-Fitness or Propriety. It is unnecessary to adduce any proof or even illustration of this, as it would obviously be useless to argue with one who would deny that a thing is good or excellent, in proportion as it serves the purpose for which it was intended, without redundancy or deficiency,

This prin

and as it accords with propriety of feeling and character. ciple applied to works of architecture, ought to enable a competent and unprejudiced mind, on viewing a building, to ascertain at once, or at least to form a tolerable conjecture, as to its purpose and destination.

This fundamental principle may be considered under three heads, viz-1st, Convenience,-2nd, Construction, and 3rd, Character, including Form and Enrichment. All these departments are of course modified and controlled by economy, and also combine with and control one another.

We shall consider first, Convenience, which will determine the number, size, and arrangement of the different portions of the edifice, according to their use and purpose. These considerations are so vari ous and extensive, that it would be both tedious and out of place to enter into an examination of them now. I may, perhaps, at a future time notice some few instances in which our practice is defective. When this distribution, depending on convenience, is determined, the next subject demanding attention, and which is, perhaps, the least regarded, is Construction. This includes considerations of material, climate, and durability. As to material, that is obviously the most proper to be used, which possesses in the highest degree the requisite strength, durability, and resistance to climate. There are three classes of materials commonly used in buildings,-1st, those which are best adapted to resist compression, as brick, stone, &c.-2nd, those best adapted to resist cross strain, as wood-and 3rd, those which resist tension, as iron. Now, it is important to remark that from the totally different qualities of these three classes of materials, they require in construction, a totally different mode of treatment; thus, the 1st class are obviously best suited for external and internal walls, those parts of the fabric in short, on which all the rest must depend ;-the 2nd class are best adapted for horizontal and oblique bearings, as in floors and roofs, and the 3rd are calculated for ties, and for various other minor purposes. Of course, there are peculiar circumstances in which the application of these materials may vary, but the above are the general and obvious uses to which they are best applied. climate also exercises (or I should say ought to exercise, for in this country it does not) a very considerable influence, not only on the material employed in building, but also on the forms and features, as pitch of roofs, &c.

The

Now these general principles, simple and obvious as they may seem, and indeed are, are very often disregarded in practice, which is one cause of so much incongruity and want of character in our architecture. I may also mention now, in connexion with propriety, another very important fundamental principle, forcibly expressed by Pugin in his "True Principles of Christian Architecture," and a disregard of which is a chief source of error in this country. I mean that "the construction of a building should avow itself:" there should never be any attempt to conceal the real structure, by a sham apparent one. This every unprejudiced mind will allow; it is, in fact, only a consequence of our first rule of fitness. The mind must be satisfied on this point before it can derive pleasure through the senses: for let an object be ever so beautiful in form and enrichment, if there be any misapplication