t is not, be it said, to the credit of its projectors.

THE END.

_Appendices_

I

_The Architectural Divisions of France_

It is quite possible to construct an ethnographic map of a country from
its architectural remains,--but there must always be diverse and varying
opinions as to the delimitation of one school, as compared with another
lying contiguous thereto.

One may wander from province to province, and continually find
reminders, of another manner of building, from that which is recognized
as the characteristic local species. This could hardly be otherwise. In
the past, as in the present, imitators were not few, and if the adoption
of new, or foreign, ideas was then less rapid, it was no less sure.
Still, in the main, there is a cohesiveness and limitation of
architectural style in France; which, as is but natural to suppose, is
in no way more clearly defined than by the churches which were built
during the middle ages, the earliest types retaining the influence of
massive forms, and the later again debasing itself to a heavy classical
order, neither a copy of anything of a pre-Gothic era, or a happy
development therefrom. Between the two, in a period of scarcely more
than three hundred years, there grew up and developed the ingenious and
graceful pointed style, in all its fearlessness and unconvention.

Political causes had, perhaps, somewhat to do with the confining of a
particular style well within the land of its birth, but on the other
hand, warfare carried with it invasion and conquest of new sections, and
its followers, in a measure, may be said to have carried with them
certain of their former arts, accomplishments, and desires; and so grew
up the composite and mixed types which are frequently met with.

There are a dozen or more architectural styles in what is known as the
France of to-day. The Provencal (more properly, says Fergusson, it
should be called "Gallia Narbonese,") one of the most beautiful and
clearly defined of all; the Burgundian, with its suggestion of
luxuriance and, if not massiveness, at least grandeur; the Auvergnian,
lying contiguous to both the above, with a style peculiarly its own,
though of an uncompromising southern aspect; Acquitanian, defining the
style which lies between Provence, the Auvergnat and the Pyrenees, and a
type quite different from either. The Angevinian, which extends
northward from Limoges to Normandy and Brittany, and northeasterly
nea