the possibility of inventing some entirely new style, adapted in some 

 yet unknown manner to all modern requirements. No style was ever 

 invented. Each has been the growth, by slow degrees, from some simple 

 and often very crude materials, the ultimate fonn under which it may 

 have appeared depending on circumstances of climate, material, 

 mechanical skill, and comparative refinement, in which no two nations 

 will be ever found entirely to coincide. 



The wholesome course for modern architects is a plain, but I do not 

 say an easy one ; it is pursued more or less by several, both in this 

 country and on the continent, particularly in Germany, and with greater 

 or less results, in proportion to the amount of independence of mind and 

 purity of taste possessed in each particular instance. Taking the most 

 complete view in our power of the styles with which we are acquainted, 

 let us inquire studiously under what aspects of art and of society they 

 were developed ; let us compare those aspects with the present, and let 

 us endeavour to avoid the adoption, for mere fashion, (an influence no- 

 where more powerful than in the path of architecture,) of any styles or 

 features of a style which have originated in causes evidently without 

 influence among ourselves ; let us examine the points of connexion 

 between seemingly difl'erent and distinct schools of architecture, and 

 regardless of the common outcry against innovation, let us adapt freely, 

 but feelingly, whatever we find suited to our present need, distinguish- 

 ing always between those styles in which the original character, generally 

 sufficiently distinct, remains pure, (however it may have been dilated,) 

 and those corrupt modes in which that fashion, of which we are to 

 beware, has led to the inharmonious union of the characteristics of 

 entirely distinct styles. As regards construction, let no bigoted ad- 

 herence to ancient example lead us to neglect the invaluable resources 

 of modem science, but gratefully adopting them wherever they may 

 avail us, let us work with them as the authors of our original or deduced 

 styles might have done, and in the spirit of true art let us seek to dis- 

 cover in what manner such appliances may enhance the special character 

 at which we are aiming, and how the influence of that character may 

 give new forms and new interests to the novel materials at our com- 

 mand. 



In all this I suppose no deviation from those general laws which apply 

 alike to all fine art ; nor is such departure ever really needed ; and 

 should we find ourselves falling into such a course, we may rely upon it 

 that the fault lies in our own imperfect perception of the true direction 

 for our efforts. 



Having said thus much generally on what I conceive to be the true 

 position of modem architecture and architects, I would enter more par- 



