What would be thought of a book-collector who took to standing inkstands or pepperboxes on the tops of his tallest volumes by way of adornment? Yet domes on business buildings are every bit as appropriate. A choice collection of those monstrosities graces Park Row, one much-gilded offender varying the monotony by looking like a yellow stopper in a high-shouldered bottle! How modern architects with the exquisite City Hall before them could have wandered so far afield in their search for the original must always remain a mystery.

When a tall, thin building happens to stand on a corner, the likeness to an atlas is replaced by a grotesque resemblance to a waffle iron, of which one structure just finished on Rector Street skilfully reproduces' the lines. The rows of little windows were evidently arranged to imitate the indentations on that humble utensil, and the elevated road at the back seems in this case to do duty as the handle. Mrs. Van Rensselaer tells us in her delightful GOEDE VROUW OF MANA-HA-TA that waffle irons used to be a favorite wedding present among the Dutch settlers of this island, and were adorned with monograms and other devices, so perhaps it is atavism that makes us so fond of this form in building! As, however, no careful HAUSFRAU would have stood her iron on its edge, architects should hesitate before placing their buildings in that position, as the impression of instability is the same in each case.

After leaving the vicinity of the City Hall, the tall slabs that like magnified milestones mark the progress of Architecture up Broadway become a shade less objectionable, although one meets some strange freaks in so-called decoration by the way. Why, for instance, were those Titan columns grouped around the entrance to the American Surety Company's building? They do not support anything (the "business" of columns in architecture) except some rather feeble statuary, and do seriously block the entrance. Were they added with the idea of fitness? That can hardly be, for a portico is as inappropriate to such a building as it would be to a parlor car, and almost as inconvenient.

Farther up town our attention is arrested by another misplaced adornment. What purpose can that tomb with a railing round it serve on top of the New York Life Insurance building? It looks like a monument in Greenwood, surmounted by a rat-trap, but no one is interred there, and vermin can hardly be troublesome at that altitude.

How did this craze for decoration originate? The inhabitants of Florence and Athens did not consider it necessary. There must, I feel sure, be a reason for its use in this city;American land-lords rarely spend money without a purpose; perhaps they find that rococo detail draws business and inspires confidence!

I should like to ask the architects of New York one question:

Have they not been taught that in their art, as in every other, pretences are vulgar, that things should be what they seem? Then why do they continue to hide steel and fire-brick cages under a veneer of granite six inches thick, causing them to pose as solid stone buildings? If there is a demand for tall, light structures, why not build them simply (as bridges are constructed), and not add a poultice of bogus columns and zinc cornices that serve no purpose and deceive no one?