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occupation is not fully understood, and the labors of a professional man are to be peddled like a lot of merchandise, concerted action on the part of educated professionals become imperatively necessary.

The practices of ignorant and unscrupulous pretenders must be met with united, intelligent and persistent efforts of a thoroughly organized association, to place the profession before the general public in the dignified standing to which it is justly entitled.

It becomes the architect to stand before the public as a man, educated to follow a profession which makes demands for talent and attainments second to none in existence, for while it is necessary that we acquire a thorough knowledge of the principles of construction, and keep abreast of the times with reference to all new improvements made in the mechanical branches connected with the profession, there are also those aesthetical studies connected with the builder's art, that require much time and application in order to become proficient, and to keep up with the spirit of the times.

If the practice of architecture were simply to supply the ordinary wants and comforts of man, without cultivating the mind for an artistic taste, the same would cease to rank with the fine arts, and would descend to the level of an ordinary trade. Besides providing for the physical wants and comforts of our fellow-beings, it is for us also to satisfy those desires of a refined intellect, that move beyond the materialistic wants of every day life. Not to forget however, that the effects of beauty can therefore in no manner be that of shallow sensualism, but that of a true, moral spirit. We can never obtain the desired efect upon the beholder, unless the entire of our work, together with all its details, be so treated as to express a certain deep and earnest signification in the outward appearance of the design, as well as in its interior decorations and arrangements. By imprinting upon our work the prevailing ideas of intellectual taste, we create and further develop the peculiar styles that characterize the spirit of the age.

Monuments left by past generations teach use the history of people gone before us, and mark their progress in culture and refinement; they give us an insight to their religious views, and to the peculiar habits and customs existing in their time. The history of architecture as a fine art begins with the temple, the house of God, which in its various orms and details has furnished ideas that have led to further developments for the adornment of public buildings, and the decorative features of our homes.

In order to acquire a proper knowledge of the various architectural styles, and a correct understanding of the many different forms therein employed, at various times, the reason of their origin and their purpose, we must trace back the history of architecture and become acquianted with the prevailing ideas and views of the people in this connection, that have led the old masters to the development of these peculiar forms and compositions. As we do this, we find that in many cases one style has served as a basis for the gradual development of another, and as the peculiar ideas of taste, and of the grand and beautiful become more developed in certain directions, we are able to follow up the progress of the architectural styles from their origin to their highest state of perfection. Those of the profession who are so fortunate as to enjoy travels in older countries abroad, to view the monuments left by the old masters, at different periods of history, and also the grand works of modern times, derive the greatest benefit and the most valuable assistance in their studies of this kind.

That the same are of great importance, no educated architect will deny; they are essential to the designer in order to fulfill the first requirement of a design properly executed, which is that a building as a mass, shall at a glance impress the mind of the beholder with is importance, and disclose to him the purposes for which it was erected.

It has always appeared to me absurd, that public buildings like courthouses, post-offices, etc., at this age of steam cars and electricity, should be of such antique architectural styles as to remind us of the dark days of the inquisition, and of the carrier pigeon. Of that hideous nightmare, the so-called modern Queen Anne residence, perhaps the least said the better; and perhaps also of the peculiar misapplication of the misunderstood Byzantine and Moresque forms, in which some of the younger brethern of the profession seem to take a special delight to show their ignorance in architectural style and aesthetics, and which to a great degree may account for the deparved taste displayed in much of our modern architecture.

The arts of painting and sculpture are closely allied with that of architecture, and have at all times lent a helping hand in embelishing and decorating important works.

It is therefore required of the educated architect, to show good judgment and taste in employing the assistance of these kindred arts. They have been developed hand in hand with that of architecture. Mark the difference in the manner of employing them at different periods of history in connection with the architectural styles then in vogue, and compare