Peter F. Anson, in his article “Modern Catholic Architecture in Scotland” (The Dublin Review, April, 1937), and in his book “The Catholic Church in Modern Scotland”, published in the same year by Burns, Oates & Washbourne, Ltd., has supplied with characteristic clarity and completeness an account of the heritage of ecclesiastical architecture and art upon which the Catholic artist of Scotland has to build. And, as he observes in the closing paragraph of his article, it is not a very inspiring retrospect. For all that, it will one day have—already begins to have—a distinct archaeological value, not unlike that of those early Christian Sarcophagi executed in the late Roman manner. For this nineteenth century art had likewise been designed in a style borrowed from the past, and was executed in a technique long since rendered alien to its origins by adaptation to the servile requirements of the neo-classical style: our good Scottish Freestones, for example, polished to look like marble or stucco, by masons for whom “blind” uncomprehending precision was the best guarantee of a job. Such a combination of archaistic design, largely the work of aliens, and of debased technique, could only give Birth, at best, to quaintness. We look upon these buildings, nevertheless, with gratitude and affection and venerate them as landmarks in the heroic task of bringing back the Faith to our country. Also, they provide a wealth of object lessons in “how not to do it”!