much injured by fire in 1135, which consumed all of the building that was combustible. The enterprise of the age was not, however, to be repressed, even by such repeated disasters; for, in 1221, the central tower was finished, and in 1229 Bishop Niger undertook to rebuild the choir in a new style of architecture and with enlarged dimensions; this was completed in 1240. This edifice, previous to James I., had been twice struck by lightning and had undergone many changes and repairs; but in his reign it was found to be in a dilapidated condition, and, though large sums of money were collected and material provided for its repair, nothing was done till the reign of Charles I., when Inigo Jones was appointed to superintend the work, which was begun in 1633, and in the course of nine years a magnificent portico was erected on the west front, and the building newly cased in stone. During the time of Cromwell, however, the building was nearly ruined by being converted into stables and barracks. The regular government of the church being restored with the succeeding monarch, the Dean and Chapter proceeded immediately, under the direction of Sir John Durham, to remove all traces of the encroachments begun in 1663. Three years later, this unfortunate building again fell a prey to the flames, which consumed the roof, and so weakened the walls that they were deemed incapable of repair. It was determined to erect a new building, which was commenced in 1675, and in 1710 the last stone was laid by Mr. Christopher Wren, son of the architect. Thus, through a series of most unexampled misfortunes, this church was completed in thirty-five years, under the direction of one architect, and, by a remarkable coincidence, of one master mason, Mr. Strong, and under the auspices of one bishop of London, Dr. Henry Compton.

Of all Wren's pupils, only one attained great eminence, Nicholas Hawksmore, one of whose churches, that of St. Mary, Woolworth, is of considerable merit. The next architect of note, practising this style, was James Gibbs, the architect of St. Martin's-in-the-Fields and St. Mary's-le-Strand, both of which present many good features. Passing by many architects of less note, we may mention Sir William Chambers, who greatly excelled his contemporaries, and many of his predecessors of this school. His greatest work is Somerset House, a description of which we regret being compelled to omit.

Meanwhile, the French Renaissance was brilliantly developing itself in innumerable palaces and churches and civil buildings. In the palaces, especially, are displayed the most original invention and profoundest knowledge of the art of design ever lavished upon the Renaissance. It would be impossible to enumerate and detail all the examples of this era in France, but we would especially signalize the royal chateaux and palaces of Blois, Chambord, Chinonceaux, Fontainebleau, the Tuileries, and the extensions of the Louvre.

The London club houses exhibit some of the most happy attempts at Italian architecture, and are far preferable to ecclesiastical edifices built in this style; a fact arising not so much from the respective merits of the architects employed, as from the better adaptation of the style for that particular class of buildings. It has also of late been adopted for private mansions, both in town and country, for which it seems particularly fitted; but for ecclesiastical structures, colleges, &c., the Gothic designs are rapidly superseding the Italian, while for public buildings for government, and other secular purposes, the Grecian is generally regarded as preferable, though in the great Parliament Houses of London the Perpendicular style has been imitated by Sir Charles Barry.

any stand, or re

Architecture, in our own country, has never taken ceived especial attention till within the past few years. But in this brief time it has made unprecedented progress, and bids fair to advance at a much more rapid rate, so that before another century rolls by we shall undoubtedly be able to show an architecture which will be capable of taking its stand by the side of the great historical architectures of the world. To attain this end, we must not be mere copyists of those who have gone before. While we cull from the structures of all ages and countries those features which are applicable to our requirements, we must reject those which to us are without meaning or use, and, at the same time, add whatever may be suggested by the necessities of climate, habits, and education.

To us, then, architecture becomes the most important of the arts, as by it we are destined to express in monumental language our worthiness to occupy a place among the civilized nations of Christendom, and by every consideration, therefore, we urge that it receive, in our colleges and schools, that attention and cultivation to which it is eminently entitled. A knowl

edge of this art is abroad deemed no less essential than, among us, is that of music or any accomplishment. In England, the youth who could not tell what style of architecture prevailed in any given country would be regarded as we would regard the American lad who is ignorant of an important era or event in our history.

Thus have we, briefly as might be, attempted some description of the rise and progress of this important art. Its details are far too extensive to be more than glanced at in our space, and our only object has been to maintain and illustrate the idea that architecture is an art which, as its foundations are laid in utility, is eminently progressive. A retrospect of its history cannot fail to impress the thoughtful student with the idea that its triumphs under so many and great difficulties demonstrate most satisfactorily its manifest destiny to continue its majestic growth and expansion, as we grow and expand in all the arts of peace and prosperity. Conscious of our own inability worthily to display the beauties of our subject, we shall be amply repaid if by our effort any degree of attention may be attracted to this subject and, in the mind of our reader, our original position sustained, however imperfectly-that "architecture is the first and noblest of the arts."

ADVANTAGES OF A COUNTRY LIFE.

In this country, like those of Europe, more especially that portion inhabited by the Anglo-Saxon race, the inclinations of the people, save where perverted by unwholesome education, seem decidedly in favor of a rural life; already there are many families of culture and refinement who spend all their days in their country homes, or, if they leave them, they do so only for a few months in winter, when nature, disrobed of her more pleasing ornaments, with scourges of snow, and sleet, and bitter cold, drives even her most constant votaries to seek the social comforts of the city. But it is a source of rejoicing when they are reached by the march of spring from the dissipation and the artificialities of town life to the simpler and purer pleasures which she gives. There is another class, which, though compelled to spend the business hours of the day in the city, gladly hasten when these are over to peaceful homes, removed from the bustle and turmoil of the crowded town. This manner of living is becoming very popular, especially among the business community; and now that we have so many and ready means of communication between cities and their suburbs for many miles around, and at so trifling an expense, it is rather to be wondered at that more do not adopt it. The objection that too much time is thus lost in travelling to and fro is not well founded, since it actually requires but little more to reach a country place twenty miles from town than to go from an office in Wall Street to a residence in the upper part of the city.

It seems scarcely necessary at this day to bring forward any formal arguments in favor of country life. It has beeen the favorite theme of

philosophers and poets in all times. Its pure and elevating influences, its comfortable ease, its simplicity and cheapness, have been urged again and again in grave essays and pleasant pastoral and bucolic meditations. Yet there is one consideration to which we, by permission, wish briefly to draw the attention of our readers. We refer to that of health. It is often declared that the human race, at least in this country, is degenerating; and there appears to be some foundation for this remark as applied to our large towns. We look at a tall, muscular, well-developed form, in all its rare physique, rather as the heritage of some heroic past than an expression of life such as we now lead, which seems rather to produce a weak-eyed, narrow-chested race, with sallow complexions, weak constitutions, and, in short, but little physical force. We rather run to brains, and are content to read the exploits of Achilles and Hector in our classics, rather than emulate their strength and prowess. We touch with delicate hands the great, rude armor in the Tower, and wonder at the huge-limbed generation which wore it as we do our silk and broadcloth. We are thus forced to inquire why so marked a deterioration has taken place. It has been said that we Americans are not acclimated in this New World; that this decline has been constantly going on from the days of our forefathers. But we need not go back far in time or deep in science to account for this change. The secret lies in our artificial lives. We do not breathe enough of the pure, fresh air of heaven; the little exercise we take is spasmodic and business-like; and, worse than all, we are irregular in our habits, imprudent in diet and exposure, and indulge too freely in the well-known dissipations of city life. In many cases, perhaps in the majority, the leaving of town in the summer is but another phase of the same life, with simply a change of scene from the city to some fashionable watering place, with a repetition of the routine of dress, suppers, and late hours. Such life is unnatural and injurious, simply because it is artificial. If, then, we would leave the city, not for fashion, but for prudence; if we would really recuperate our strength and energies, we must seek the repose of a genuine country home, and those remedies which nature provides with a lavish but never-failing hand.

Let us presume that, influenced by these and the many other considerations which will suggest themselves to the intelligent reader, it is decided