so remarkable in itself, as in its similarity to a painting by Raffaele of the same subject, and in working it out according to his own ideas. The figure of our Saviour in both is excellent, Garofalo's has but one arm elevated pointing to Heaven, which opens over his head; Raffaele's with both arms half elevated. I do not remember ever to have heard of this similarity before: it is striking.

SCIARRA. Another painting by Garofalo. The Woman at the Well (Samaritan), the open, innocent loveliness of this face, I have never seen surpassed, her figure is grace itself. Had this man lived some years later when the mechanism of his art was more advanced, he would still, I am convinced, have shone amongst its brightest stars. The landscapes of the Dutch Masters, usually cabinet, are full of poetry, and indicative of the highest perception of the beauties of nature. I have remarked this everywhere; there are some interesting specimens of Claude's first style here, more sketchy, but still evincing Nature's pupil. Blessed be the hands that have thus brought Nature in her most hidden and delightful charms to our very firesides, who draw her out of shadiest recesses and hiding places, presenting such faithful, such refreshing portraits of her to the thirsty gaze of the dwellers in cities, the merchants, lawyers and men of business, who otherwise would know her not.

DORIA. -In the collection at this palace are some magnificent Claudes, amongst them a fellow-one to the large landscape with dancers in the National Gallery. Garofalo still keeps my high opinion, and Ludovico Caracci is excellent in his faces: but, above all, Breughel has struck me as most extraordinary; his Air, Earth, and Water, with the Creation of the World, Adam naming the living things. To say nothing of the wonderful work bestowed on them, the leafing of the trees, the exactitude of his drawing and the almost miniature finish-they possess the merit of imaginativeness of poetry-and are striking in their effect; look at them closely, you will never be tired of admiring his industry; see them 50 feet off, and all the minutiae being lost, you get another idea-almost another picture, with masses of light and shade of a depth I have never seen equalled. Two landscapes by Domenichino, according to the guide, full of rural feeling. The light in this gallery

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proceeding from one side only, is the worst imaginable, it is necessary to hinge the picture facing it, and those on the window-side are totally obscured.

VILLA BORGHESE.-The statuary (antique) is very good here. There is one room of landscapes after the manner of Poussin, by a man called "Orrizonte," they might have been dubbed Poussin, and yet I never heard of the name before coming to Rome.

CAPITOL. The peculiarity of this celebrated bronze statue of Marcus Aurelius is to be seen best by a back view, he is apparently almost sliding off one side of his horse, yet it is barely enough for that idea, since the disposition of his limbs is so artistically managed that, such an unpleasant trifle is evidently not to occur, although out of the perpendicular in its centre of gravity, it is yet perfectly gravitated. The feeling is on seeing it in this position, that he must in a moment decline as much to t'other side, and it is this gives the impression of actual motion or life. Sir J. Reynolds in remarking on this subject, mentions a chariot in the work of some celebrated painter, which is one-sided and in the act of making a curve, thus picturing to the eye and impressing on the mind, the most forcible idea of actual progress. When will our sculptors leave off chiseling monumental statues with pokers through them?

VILLAS.-The Pamphilia Doria, good as it is, would be much improved by a more irregular and picturesque plan of the whole; instead of terraces running in a straight line, I should prefer them more corner-loving, with little nooks here and there, shady grottoes, and fountains of a less strictly architectural character; light and shade give every charm in these buildings, more particularly than any other. The Villa Borghese is better, but is so divided as to make more a museum than a summer retirement. The Villa Albani has a good façade. All these plans would require great alteration to render them applicable in our climate. They are formed for coolness, and are very cold.

DIMENSIONS OF ROOMS.-With regard to "beauty," says Chambers, "all figures from a square to sequialteral may be employed for the plan." Inigo Jones and others, sometimes extended the plan to a double square, but the disparity in length and breadth, renders a heighth pro

portionable for each difficult to be obtained. (Alberti on the proportion of Rooms, Book ix. vide.) A room of beautiful proportion built by Inigo Jones, in Lincoln's Inn Fields, is 30 by 20 ft., height 18 ft. The style of Bramante at the Cancellaria and Torlonia's Palace, Rome, though from the slightness of all projections, such as pilaster, cornices, &c., not good for light and shade, and presenting a poor appearance in front, yet when seen in perspective it has a very good effect. The windows with greater projection would tell very well.

CENCI.--The palace once belonging to this family is of good architecture, but bears the stamp of desolation. The portraits of Beatrice and her mother, are at the Barberini Palace the first with a face too lovely for a mortal, sweetly feminine, with a dash of melancholy madness in the eyes; the mother cool, dark, calculating, wicked looking-not that I know any ill of either from the history. Breughel again extraordinary.

PANTHEON.-The interior every time you enter, still bewilders you. I never had this feeling of losing myself in the grandeur of a room before, it seems to have no beginning or end, which arises from its circular form, it is the true feeling of infinity.

VATICAN. The frescoes here that are on a blue ground have it many tints less deep than that of the Farnesina. The figures consequently lose much of their effect-the one is the light or sky of twilight even to night, the other of open day.

NICHES.-Between two arches a circular perforation of the wall is good to contain a bust or statute, the relief being much greater than in the usual way.

UNIFORMITY.-The Cancellaria is a proof that edifices need not be perfectly uniform to be good; it would not be seen without some observation that there is a door and some windows at one end more than the other.

ROME. In the different styles of architecture at Rome, although there is much to admire, there is perhaps more to denounce. The ancient buildings are all more or less in good taste, but the same can scarcely be said of the modern ones; and who could compare St. Peter's to the Pantheon? Concerning the ancient examples of this art, I shall say nothing more than that the use of the arch was

evidently introduced and admired in every possible form of vaulting, doming, &c., and that the remains some more perfect than others, but nevertheless, the very foundations of a ruined wall speak of a race in every way superior to the present inhabitants of the soil. In modern Rome, the best buildings are the palaces, but even many of these are tawdry beyond measure, as the Doria. The works of Bramante at least, avoid this fault, and are moreover as far as proportion goes admirable, but there is a thinness and littleness of character in the projections and ornament which detracts much from its excellence; this defect was remedied by his immediate successors, who still preserving his method, altered it thus, instead of the narrow streaky lines used by him for rustication to the first floor, they substituted bold well-defined rustic, forming a strong base for the work above it; this rustic usually contains a large well-formed window and a mezzanine; they used half engaged columns or pilasters thrown well forward for the next story, the projections of the windows being still more advanced, and the next story panelled, of less projection, surmounted by a handsome cornice; sometimes a frieze also containing windows. Another style is rusticated throughout, the openings usually circular; it is in good taste and massive looking, there are no columns or pilasters applied; another style is the Farnese, the cornice of which is too large to please me. The most celebrated palaces in Rome are all after this manner: the tawdry style succeeded, amongst which, the Doria for size and ornament surpasses all, it is characterised by moulded panellings of all eccentric forms with intermediate rustication. Balusters turned topsy-turvy or every other only in its proper form, it only remains to apply the columns also head downwards to make this style a perfect chaos of every architectural feature. The churches of Rome whatever architectural merit they possess, are so murdered by the hands of the decorator and the priesthood, that they are eyesores rather than otherwise, a perfect mine of "barbaric pearl and gold." St. Peter's is externally a great failure, unless one could walk on the tops of the neighbouring houses, or be always at the Vatican; the interior also is little deserving of praise, except the dome, which is indeed a master-piece; one would also be better pleased

with the semicircular colonnade, could any use be made of it. Its great recommendation is its immensity, a very poor one to my mind, and more so from the fact, that unless one were told the measurements, you would never imagine it so large. The Fountains of Rome are all good, more especially the Tartarughe, the Farnese, and the St. Peter's. The modern architecture of Rome in those works which are built now-a-days, are as far as house or street architecture goes, better than that of London, the Grecian detail is applied to the old palace forms, and tells very well, the only fault is a certain finickiness and want of boldness in general character. The Argentina Theatre at Rome is very handsome, and has six tiers of boxes. The Valle not so good. The Tordenone I did not see.

ARCH OF JANUS.-This form would come in well in an arcaded composition, or for the basement of a tower, having rooms over the arched openings, the interior as it is is of excellent proportion, the breadth of piers in middle of die 18 ft., height from base to cornice of die 11 ft. In the original there is no room for columns, but a restoration by Pinelli, at the Corsini Palace, in which they are introduced, is of good effect.

MASONRY.-Equal layers of brick and stone slightly different in tint, look very well in the old cathedrals of Italy, the black and white marble is of too striking a difference in colour.

NAPLES. The palace here is nothing very extraordinary, it has about thirty-six windows lengthwise, and twentytwo in front. The palace of the Ministers of State has eighteen windows in front with three large arched entrances, one the police, another an arcade, and another a church. All the architecture I have yet seen here is very common-place. The domes are often ornamented externally by a covering of painted tiles, which has a very oriental effect. These tiles are used in every way here, and always look well. The Theatre of St. Carlo is handsome, but it does not quite suit my taste, there is too much of an Academy design about it; it is a true Regent-street looking affair. The fault in modern architecture appears to me to be a want of nobility, massiveness, liberality, of firmness, the proportions also of windows, &c., have become altered by fashion till they are all long and lankey in character, that