nsive. After the reign of Henry VIth, our
intercourse with Normandy wholly ceased; and, left to ourselves, many
innovations were gradually introduced, which were not known to the
French architects, who, with nicer taste, adhered to the pure style
which we rejected. Hence arose the _perpendicular_ style of pointed
architecture, a style sufficiently designated by its name, and obviously
distinguished from its predecessors, by having the mullions of its
windows, its ornamental pannelling, and other architectural members and
features, disposed in perpendicular lines. Finally, however, both
countries discarded the Gothic style, though at different aeras. The
revival of the arts in Europe, in consequence of the capture of
Constantinople and of the greater commercial intercourse between
transalpine Europe and Italy, gradually gave rise to an admiration of
the antique: imitation naturally succeeded admiration; and buildings
formed upon the classical model generally replaced the Gothic. Italian
architects found earlier patrons and earlier scholars, in France, than
amongst us, our intermediate style being chiefly distinguished by its
clumsiness.

I will not detain you by any attempt at a comparison between the
relative beauties of the Gothic and Grecian architecture, or their
respective fitness for ecclesiastical buildings. The very name of the
former seems sufficient to stamp its inferiority; and perhaps you will
blame the employment of a term which was obviously intended at the
outset as an expression of contempt; but I still retain the epithet, as
one generally received, and therefore, commonly understood. It may be
added, that the modern French seem to be the only _Goths_, in the real
and true acceptation of the word. They, to the present day, build Gothic
churches; but, instead of confining themselves to the prototypes left
them, they are eternally aiming at alterations, under the specious name
of improvements. Horace was indignant that, in the Augustan age, the
meed of praise was bestowed only upon what was ancient: the architects
of this nation of recent date seem under the influence of an opposite
apprehension. They build upon their favorite poet:--

"Loin d'ici ce discours vulgaire
Que l'art pour jamais degenere,
Que tout s'eclipse, tout finit;
La nature est inepuisable,
Et le genie infatigable
Est le Dieu qui la rajeunit."

But they overlook, what Voltaire makes an indispensable