VOLVME XXXV

NVMBER III

HE architectural critic
is usually confronted
with buildings of
which the design is
based upon some given
precedent among the
historic styles, and for
this reason a design
which cannot be defi-
nitely pigeon-holed as
"Italian" or
"Geor-

gian," or what not presents unique properties for consideration.

The historic styles are not difficult to recognize, and with even a small amount of discrimination one may say if a building is a complete study in a given style, or if it is an adaptation, or if it is a failure. In such consideration there are only two broad questions-first: Is the style selected an appropriate one for the

given building? and second: If the style be an appropriate one, is this style rendered in terms at once scholarly, consistent and convincing?

Proceeding along these lines, an intelligent and competent sort of architectural criticism cannot fail to result, but when the critic leaves the sheltered enclosure of "historic style" his responsibility is far greater, and any valuable critical estimate can result only from general discrimination.

If the type of house identified with current English domestic achitecture has not yet been definitely registered in the archives of the history of architecture. as a "style," one feels almost at liberty to do so, in that it resembles exactly no other type of design.

In considering the country house recently designed and built for J. A. Garver, Esq., Öyster Bay, L. I., by Stephen