m done with a brush of paint, you know, or
scratch them with a screw-driver, and so on. I call that real art."

"So it is, George."

"And smudges of candle-smoke everywhere, and grease, and all that sort
of thing. Well, here's the dormitory; that's in yellow brick, with white
ones, and red ones, and so on, intermixed at random. Magnificent!"

The tower he proposes to treat in an equally artistic manner. "I shall
go in for building it quite rough on purpose, and have it washed over
with something--that's a matter of detail, you know--to produce fungus,
or moss, or lichens, or whatever you choose to call it; and I shall
plant things in the crevices as we go up,--wall-flowers, and houseleek,
and ferns, and couch-grass, and all that kind of thing, you know."

"But what is all that for?"

"What is it all for?" says Master Georgius, dropping his glass. "Why,
what could it be for? To give authenticity to the tower, of course."

With all this so-called aestheticism and crude speculation upon the
proper development of architecture as a fine art, I believe the
reformers of the Queen Anne school have honestly attempted to improve
and elevate the standard of our domestic buildings. At all events, they
have brought into the ranks of the profession life and nerve, elements
absolutely necessary to an honest development of art-methods. The
sentiment for art pure and simple will gradually expand into a greater
veneration for the scientific elements of their professional career, and
the necessity of clearly demonstrating to the uneducated comprehension
of mechanics the practicability of their designs will induce those
habits of thought and investigation which, if honestly pursued, will
elevate the standard of professional attainments. As a natural result,
their designs when executed will give us edifices artistic in conception
and detail, well planned, and built by the best-known methods of
construction.

The Queen Anne revival, viewed apart from the incongruities which have
been engrafted upon it, is a movement of great interest to the
architectural fraternity. Although a worn-out and debased art was the
foundation of this renaissance, the movement has given to us, in the
works of its best masters, much that is beautiful and honest in theory
and in real domestic comfort. It may be said to be the picturesque art
of a hitherto unpicturesque time and people. Let us, then, cultivate the
principles of Free-Classicism honestly and logi