beautiful specimens of
metal-work. The house of Mr. Cornelius Vanderbilt, a little farther
up the avenue, with its red brick and slates, and its articulations
and dormers of grey limestone, is a good example of an effective use
of colour in domestic architecture--an effect which the clear, dry
climate of New York admits and perpetuates.[26] The row of quiet
oldtime houses on the north side of Washington Square will interest at
least the historical student of architecture, so characteristic are
they of times of restfulness and peace to which New York has long been
a stranger. Down towards the point of the island, in the "city"
proper, the visitor will find many happy creations for modern
mercantile purposes, besides such older objects of architectural
interest as Trinity Church and the City Hall, praised by Professor
Freeman and many other connoisseurs of both continents. Among these
business structures may be named the "Post Building," the building of
the Union Trust Company (No. 80 Broadway), and the Guernsey Building
(also in Broadway). At the extreme apex of Manhattan Island lie the
historic Bowling Green and Battery Park, the charm of which has not
been wholly annihilated by the intrusion of the elevated railway. Here
rises the huge rotunda of Castle Garden, through which till lately all
the immigrants to New York made their entry into the New World. Surely
this has a pathetic interest of its own when we consider what this
landing meant to so many thousands of the poor and needy. A suitable
motto for its hospitable portals would have been, "Imbibe new hope,
all ye who enter here."

As I have said, there is no lack of good Americanism in New York. Let
the Englishman who does not believe in an American school of sculpture
look at St. Gaudens' statue of Admiral Farragut in Madison Square, and
say where we have a better or as good a single figure in any of our
streets. Let him who thinks that fine public picture galleries are
confined to Europe go to the Metropolitan Museum of Art,[27] with its
treasures by Rembrandt and Rubens, Holbein and Van Dyck, Frans Hals
and Teniers, Reynolds and Hogarth, Meissonier and Detaille, Rosa
Bonheur and Troyon, Corot and Breton. Let the admirer of engineering
marvels, after he has sufficiently appreciated the elastic strength of
the Brooklyn Suspension Bridge, betake himself to the other end of the
island and enjoy the more solid, but in their way no less imposing,
proportions of the W