and that a day will
come when they will be made clearly legible to us, and when we shall see
added together, on one side of the account book, a great sum, the
certain portion, whatever it may be, of this thirty-five years'
spendings of the rich English, accounted for in this manner:--

To wooden spoons, nut-crackers, and jewellery, bought at Geneva, and
elsewhere among the Alps, so much; to shell cameos and bits of mosaic
bought at Rome, so much; to coral horns and lava brooches bought at
Naples, so much; to glass beads at Venice, and gold filigree at Genoa,
so much; to pictures, and statues, and ornaments, everywhere, so much;
to avant-couriers and extra post-horses, for show and magnificence, so
much; to great entertainments and good places for seeing sights, so
much; to ball-dresses and general vanities, so much. This, I say, will
be the sum on one side of the book; and on the other will be written:

To the struggling Protestant Churches of France, Switzerland, and
Piedmont, so much.

Had we not better do this piece of statistics for ourselves, in time?

FOOTNOTES:

[93] Ed. Venetis, 1758, Lib. I.

[94] Compare Appendix 12.

[95] L'Artiste en Batiments, par Louis Berteaux: Dijon, 1848. My
printer writes at the side of the page a note, which I insert with
thanks:--"This is not the first attempt at a French order. The
writer has a Treatise by Sebastian Le Clerc, a great man in his
generation, which contains a Roman order, a Spanish order, which the
inventor appears to think very grand, and a _new_ French order
nationalised by the Gallic cock crowing and clapping its wings in
the capital."

[96] The lower group in Plate XVII.

[97] One of the upper stories is also in Gally Knight's plate
represented as merely banded, and otherwise plain: it is, in
reality, covered with as delicate inlaying as the rest. The whole
front is besides out of proportion, and out of perspective, at once;
and yet this work is referred to as of authority, by our architects.
Well may our architecture fall from its place among the fine arts,
as it is doing rapidly; nearly all our works of value being devoted
to the Greek architecture, which is _utterly useless_ to us--or
worse. _One_ most noble book, however, has been dedicated to our
English abbeys,--Mr. E. Sharpe's "Architectural Parallels"--almost a
model of what I should like to see done for the Gothic o