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From this unerring and satisfactory adjustment of parts in structure arises that impression of equilibrium which is essential to the appearance as well as to the existence of repose.

Another quality which is always attained in mediæval architecture is a sense of due subordination between essentials and non-essentials in structure. The mediæval architect never fails to draw the spectator's eye, first, to that which should be first seen; and subsequently, to direct his attention to whatever may seem essential to convey to him a sense of the minor beauties by which he may be surrounded.

Want of time will not permit me to dwell more upon this subject. Your own natural tastes and the monuments which constantly demand your attention cannot do otherwise than lead you to an investigation of principles easily to be gathered from those monuments; and which it is impossible to convey any idea of within the limits of a single lecture.

In looking for the "ultima ratio" of the original revival of ancient art I fear we shall find that sensual delight was somewhat of a prime mover. Every addition to man's knowledge of the arts or literature of the ancients furnished suggestions for the introduction into the contemporary social system of epicurean ministrations to the enjoyments of this world.

The especial struggle made by the Renaissance architects developing out of Gothic architecture was towards the increase of domestic enjoyment, through the hall, the hearth, and the home; while the tendency of the Italian Renaissance architects developing out of culture direct from classicality, was towards that semi-public domesticity which took the form of the more stately palace.

That modification of the later Italian architecture which became popular in France from the time of Louis XIV. onwards, was essentially aristocratic and courtly. Vast in extent, but poor in proportions, the architecture of the Frenchman of