. La maison anglaise, comment juger de ses périodes et styles. st comme Shakespeare l'a fait, mais theiraccent est nationale. Pour qu'ils ont beaucoup d'Gothicfeatures, oriels, bay-windows, meneaux, les impostes, dripstones,barge-boards et des pignons, delightfulgateways, et que l'air pittoresque d'alertnesswhich les Anglais n'ont jamais aimé quand loyalto eux-mêmes. Parfois, sans aucun doute, dans le travail de la période élisabéthaine, cette dernière qualité est excessive ; et il y a plutôt trop de détails également dans le ornamentationof beaucoup de chambres. Ces lacunes, encore provethat travail élisabéthain, comme Tudor, pourrait améliorer, et ont fait dans un mûris

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. The English house, how to judge its periods and styles. st as Shakespeare did, but theiraccent is national. For they have many Gothicfeatures, oriels, bay-windows, mullions, transoms, dripstones, barge-boards and gables, delightfulgateways, and that picturesque air of alertnesswhich Englishmen have ever loved when loyalto themselves. Sometimes, no doubt, in Elizabethan work, this last quality is rather excessive ; and thereis also too much detail in the ornamentationof many rooms. Still, these shortcomings provethat Elizabethan work, like Tudor, might havebeen improved, and made into a ripened style.Its carving and sculpture, above all in thehuman figure, was poor ; and, of course, therecan be no perfect architecture without excel-lent sculpture. Indeed, an architect shouldremind us of a musical composer, who needs forthe interpretation of his ideas an orchestra ofassistants, artists one and all, and happy to worktogether in complete accord. Much of thiscombination we do find in Tudor and Eliza-bethan houses, where the same feeling for style. iliHlUAi., HAKIlinM VA|jiR>.l^ lLH.Sl!;y. Tudor Half-limbered Architecture, Early Years of Henry VHI.s Reign. Siepage 153. GOTHIC AND TUDOR HOMES 151 passes from structural things to details of furni-ture, and thence to the costumes worn by menand women. Too much praise can never begiven to this orchestration of style throughouta home. Yet English architects went away from theirTudor homeliness and their Elizabethan romance.Possessed by the spirit of the Renaissance, theywished to build in styles copied from deadtypes of society. Even men of great genius, like Inigo Jones and Sir Christopher Wren, helped to import a new architecture, discard-ing a native one sanctified by long use and bysplendid memories and achievements. Wren, who died in 1723, said one thing and didanother at odds with it, for he believed, cer-tainly with justice, that building ought tohave the attribute of eternal, and is thereforethe only thing incapable o

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