out as an attractive, quiet suburb, and the late lord at least lived to
see it covered with leasehold residences, many of them--indeed a very
large number of them--of considerable value and importance. When these
leases expire, as some of them will now before many years are over, and
the noble ground landlord begins to draw in his net, what a big haul he
will make in the way of reversions of the properties that have been
built upon his land!

Some of these Edgbaston houses are not only large and commodious, but
are architecturally handsome and artistic. Birmingham has been fortunate
during the last thirty or forty years in having two or three local
architects who have not only possessed professional skill but also
taste. The old square, solid, "money box" houses, so much esteemed by
our fathers, are rarely erected now, but in their place residences of a
more attractive design and artistic type.

The Gothic revival has spread to domestic architecture, and the old,
dreadfully-symmetrical brick and stuccoed house, and the hybrid Italian
villa, make way for residential structures with gabled roofs, pointed
arch windows, red tiles instead of dull-coloured slates, and attractive
detail and ornamentation. In looking at such houses, one can hardly fail
to be struck by the difference that may be effected by using the
simplest materials--but using them with discrimination and taste. One
architect may plan a house which will be plain to ugliness, the bricks
laid in the most severe and commonplace fashion, and the outlines of the
design--if design it can be called--devoid of any grace or variety. No
projections to break up the dull flatness and give light and shade; no
attempt to relieve the unmitigated square, hut-like appearance of the
building. Another puts a pointed roof to his house, pierces it with
pretty windows that have form without diminishing the light. He runs