instances of young men having formed those intimacies among their own countrymen abroad, which have subsequently proved most productive at home; and certain it is, that he who has enriched his portfolio with evidences of his industry in Rome, Florence, and Venice, will find an advantage in its mere possession as a credential, though otherwise it may serve him but little.

[The studies of the architectural tourist whose means are limited may now be more profitably directed to the northern side of the Alps. The exhaustive works and photographs published illustrative of Roman art; and the doubtful value of Italian Gothic, which has recently received an undue impetus, and has been so profusely illustrated, render trans-alpine study of less importance to the student who would confine himself to the more direct and practical advantages of travel.]

The truth is, there is no longer any occasion for him to risk his neck in clambering the arcades of the Coliseum, or to spend his time in measuring the portico of the Pantheon. So far, at least, as it regards the details of Egyptian, Greek, Roman, Gothic, Moorish, and Byzantine architecture, his work is already done. for him. If he cannot possess himself of the books themselves, he may have ready access to libraries in which every important feature of these varieties of design is elaborately and truthfully delineated. It is his sketch and note book, rather than his measuring-rod, which should occupy his foremost attention. He requires less to fill his paper with dimensions than his mind with ideas. He now wants feelings rather than facts [it would be juster to say the student wants principles rather than facts]; correctives rather than corroborations; motives rather than materials; speculative freedom rather than academical precision. This is the time for him to cultivate

the poetry of his art, ever attentive to those high and catholic principles of design, which, though the same in essence, develop themselves in different forms suitable to the climate, the manners, the religious or social state of the different countries through which he successively passes. He will by no means confine himself, as was the case formerly, to antiquity. He will take observant cognizance of the numerous illustrations of medieval modification; and still more of all examples of more modern excellence. In two instances only will he remain exclusive in his devotion; viz., to ancient sculpture and the old masters of historical art. Let him remember, that Architecture raises the temple which Painting and Sculpture are to occupy as their own loved home; and that, as he may have to co-operate with the painter and sculptor in the production of "one entire and perfect" work, it is a duty he owes to his fellow-labourers to cultivate an adequate feeling for their respective portions of it. He alone, who is in some degree a painter and sculptor (i.e. critically), can be competent to the honour of their copartnership. If the young architect be inclined to carry it further than criticism, the period of his travel is the time for his operations. Then may he well vary his pursuits with drawings from the antique and with sketches from the grand frescoes of Raphael and Buonarotti; but, especially, with exercises in water colour from Italy's own Nature, in her combinations with architectural forms. Highly advantageous is it for every architect to become a correct and ready sketcher, a master of eye-perspective, and a creditable performer with his brush and colours. The fascinations of smart and lightly managed effects of sun, shadow, and tint, will some day "tell" in his favour; and he may now be engaged in preparing for his future drawing-room

pictorial decorations, which shall also be of important service to him as so many official insignia, "flags and signs of the love he bears to the profession he has adopted.

[Though our author's advice was well intended at a time when academical precision absorbed so much of the young architect's mind, it is less needful at the present day when the scientific and practical demands made upon the profession necessitate on the young practitioner's part some abatement of his taste for the antique and merely decorative.]

His more practical drawing will be well applied to choice selections from the architectural fragments which may excite his admiration in the several great Italian museums, all of which are prodigal in the exhibition of decorative art. The experience already acquired at home will teach him where such things may be hereafter suitable for application; and his employer will not be the less pleased on learning that the vase on his balustrade or the frieze in his chimney-piece are facsimiles of some valued importation from the "Museo Vaticano."

ITALIAN GOTHIC.-Italian Gothic he will carefully eschew at least as a model. [Since these "Hints" have been published, Italian Gothic has received an amount of popular adoration which would have justly shocked both our author and his contemporaries.] To the great cathedrals of Germany, France, and Normandy his continental Gothic studies will be confined; nor will he forget, even in perusing them, that England is, after all, more especially the school in which Gothic architecture develops itself with the most essential truth. In Normandy, the Norman Gothic is unquestionably better and more fully illustrated than with us; and in many of the foreign pointed examples he will see certain individual parts of a far

greater magnitude and more elaborate richness than any he can meet with at home; but it is still from an untiring study of the cathedrals, churches, and old mansions of England, that the true principles of Gothic design, the laws of its proportion, and the most effective results of its combinations, are to be deduced.

The growing feeling in our country for the palatial style of mediæval Rome and of Venice, and for the villa of modern Italy, will, of course, direct him to give more than common attention to such examples as best exhibit them; so that he may co-operate with his numerous improving contemporaries in working out a worthy Anglo-Italian school of design. Scientific and literary professors, travellers, High Church conservatives, and others, have all built their club-houses in pursuance of the aim started by the Buonarottis and Palladios. The Palladian palace of Stowe, and the grand piles of Blenheim and Castle Howard, still maintain their ascendancy over all modern attempts at the castellated or Tudor mansion. [The castellated and Tudor styles here alluded to have given place to a less pretentious and extravagant species of domestic Gothic. Here, as in ecclesiastical Gothic, however, there is a tendency to mimic literally peculiarities and quaintness of feature and to affect mere "picturesqueness," a common vice of the ultra-Gothic school which should be steadfastly resisted]; and, while the Church Architectural Societies are effecting much good in the restoration of a pure and correct taste for Christian Pointed Architecture as applied to churches and other buildings ecclesiastically connected, there can be little doubt of the propagation and continued durability of a reviving love for the modifications of Greek and Roman design. [The hope here expressed will, at least in the direction of secular

buildings, be realised to a greater extent than of late years, when the present fever of Medieval ultraism in taste has abated.]*

TIME OCCUPIED IN TRAVEL.-As to the time which should be occupied in travel, two years should be the utmost; while one, employed with devotional industry, may be sufficient. [Six months, if studiously devoted, will now suffice.] At all events, a longer period than the former may too much interfere with the business habits of a young architect who only has his profession to depend upon. The writer of these "Hints" was limited in time because limited in means. Impressed with the fear of debt, and anxious to relieve those by whose kind aid he was advantaged, his "travel's history" scarcely filled the twelvemonth. The cost of his travelling, lodging, and other incidentals, did not exceed ninety-two pounds, about twenty more having been expended in books and other articles of professional utility. To him the pleasures of society (save those he enjoyed at the common mess-table of his brother-artists) were denied. Excursions of relaxation and mere enjoyment were out of the question. He witnessed one opera at Milan, because it was his duty to inspect the grand Scala theatre; and made pleasure and profit tell together in seeing at once the interior of a French theatre and the acting of Talma. But he feared the expense of venturing south of Rome; forfeited the desired gratification of seeing Vesuvius and the disentombed cities of its vicinity, the gay beauties of Naples, and the solitary grandeur of Pæstum; and, after all, returned home with as much preserved cash as would have enabled him to accomplish what he had not dared to attempt.

Since this note was added, a reaction of taste towards a more Renaissance feeling has taken place-a species of "Queen Anne" style.