MEMOIR. 



and some are still in manuscript.* But short of this formal 

 statement, it may prove not uninteresting to note some 

 characters of his work which impressed us. 



Following no systematic order, we note first his pro- 

 found sympathy with ancient work, and with ancient work 

 of all periods that might be called periods of living Art. 

 He never lost an opportunity of visiting and intently study- 

 ing ancient buildings, sketching them, and measuring them 

 with extraordinary care, minuteness, and patience. " On 

 one occasion," writes Mr Lethaby, " when we were hurried 

 he said, ' We cannot go, it is life to us.' " A long array 

 of sketch-books, crowded with studies and memoranda, 

 remains to bear witness to his industry. In spite of 

 this extensive knowledge, and copious record of old work, 

 he never literally reproduced it. The unacknowledged 

 plagiarisms of Art were in his judgment as dishonest as 

 plagiarisms in literature, and as hopelessly dead. " He 

 used old forms," writes Mr Longden, " in a plastic way, and 

 moulded them to his requirements, never exactly repro- 

 ducing the old work, which he loved to draw and study, but 

 making it his starting-point for new developments. This 

 caused great difference of opinion as to the merit of his 

 work, very able and skilful judges who look at style from 

 the traditional point of view being displeased by his de- 

 signs, while others who may be said to partake more of the 

 movement of the time, admired his work." 



His latest and most important work, the Church of 

 the Holy Trinity, Sloane Street, is a case in point. It has 

 drawn out the most completely opposed judgments from by 

 no means incompetent men ; denounced by some, it has 

 won the warmest praise from others, as, for instance, from 

 two men who stand in the very front rank of those who 



* It is much to be wished that these Lectures and Addresses 

 should be collected and published. '' 



