much some of the dishes, with fish and eels, &c., in them in full relief, by Palissy. Plates to have at diagonals, indents for mustard and salt. How was the brown shot with gold got? It has a metallic appearance.

Introduce well known pictures and sterling; colour is as important in earthenware as form, and here, as in stained glass, strong rich colours are most ornamental. For want of this, the designs in white by Summerly, &c., are deficient. Proof of this, take the common pattern (drawn at Louvre), and change the deep claret into a light green, or any delicate tint, and see its loss. Moreover, polish is serviceable to all earthenware with colour, but not so important, if even good, where the ware is unglazed. Form is not so important as colour in china, papers, stained glass, enamels, &c. Proof, the rough work of the middle ages, Dutch and Italian, and much china. Nor in iron work, ivory and wood ornamental carving, where fancy and grotesqueness are more taking. Proofs the same.

ROOM.-For a room with a balcony round it, consult the Alfajeria, Saragossa.

COLOUR. For earthenware, &c., observe butterflies and shells particularly; for is it not reasonable that in observing with pleasure the great beauties our good Creator has spread around us, we should learn also to put them to some tangible use.

CHINA. Put globular earthenware into osier bands and handles; the effect is very taking, the pattern through bars showing very prettily. Also in a steel cincture, with chain or other handles. There is a very pretty specimen at Cluny, emerald green jar in worked steel chains. In place of having the spout opposite handle, it would be as convenient to have it at side, for milk, &c. The ware in metallic reflexion of white and gold looks well with a blue centre and gold stars. The clear gold is not nearly so fine as the metallic reflex. A cocoa nut, in steel lace cover, like old sword handle, a shark's head for spout. Don't be afraid of making dish rims too wide; it adds much to their appearance.

FURNITURE. Small ivory or marble groups or figures look very well on an ebony ground and gold frame, or in a plain ebony frame and hung on walls, dark wood furniture may well be inlaid with marble, not too much.

SAINTE CHAPELLE.-Fine but over done, too much colour and too gaudy to please me. New buildings emasculated and neat, a good model for an iron building, thin piers, all the rest glass.

WARE.-Jugs, &c., in dark stone or marble, cut, inlaid, slightly gilded at mouldings, enamelled or encameod, look very handsome; single deep red, large and simple pattern on gold grained ground looks well on paper, why not on china? look at birds for arrangement of colours.

TO DO.-Plan for the improvement of London; plans for county aggregate Institutes, model poor houses, ateliers for artists, designs for furniture, earthenware, and stained glass; designs for builders, designs for scene painting, roads through Hyde Park and St. James's, connecting north and south; flower, fish and meat suburban markets.

FURNITURE.—Small ivory figures in dark wood furniture look well, all wood work for chairs, &c., is best dark.

CHINA.-Large jars of clouded colours very handsome, as a deep claret at foot gradually dying off at top and clouded. The borders of plates only need colour, with a centre ornament, leaving a white ground to eat off. Cameos are very handsome left as cut on the shell, other shells besides the usual ones might be tried. A globe made of primroses or other flowers very pretty with device at top. For straight jugs and stems, see Roman candelabra. Design a dish for small fruit, almonds, raisins, &c., in compartments. The enamel (black and white) of Limoges, I like better than all the gaudy paintings at Sèvres, a little colour may however be introduced. I do not like much the imitation cameos at Sèvres, and the modern work generally is too coloured, too delicate, too fine; if extreme care in execution made china good, these would be perfect. For arrangement of colours observe broken flints.

Why not employ regular artists for earthenware, stained glass, &c., this is done in France, and Delacroix, Deveria, Vernet, &c., have designed much for stained glass; it is to this they owe much of their superiority. Thus too the greatest artists of old worked, Cellini, Julio Romano, Aldegrever, Albert Durer, Cousin, &c.

Nothing looks so clean as white ware, the white should. not be too cold, a very slight pattern may be used in

wa w she colour at edges, and

initials, or crest, &c.
The women at the Halle sit in the centre of their stalls,
the water continually is running into the troughs. I could
not make out how it escaped, the troughs being always
full the passages between troughs too narrow and always
we this might be avoided; the fish are also kept in tin or
rot cases wired over, the troughs have wires in framing
then also which open and close

Make a new plan of London: fresh streets, widen thoroughfares and make cross lines, fresh bridges commencing at Westminster, quays to river sides, narrower

at deeper channel What has become of Pearson's plan for central station Fresh parks, Lambeth remodelled, Holywell Street, Clare Market, Petticoat Lane, expurgator manufactures isolated, markets re-arranged, slaughter houses and cattle markets, public baths and wash-houses, cemeteries, Cremorne a park, churchyards made open and playgrounds: connect Notting Hill, Hammersmith and Fulham: re-grouping of boroughs with town halls to each; no vestry, every parish its mayor and corporation, fountains and schools

ARCADE-In a circular roofed gallery springing from a cornice, grooves may be made on each side on top of cornice to receive the wheels of a light iron bridge or scaffolding, which can thus run easily over the whole length, and from which glass may be repaired and cleaned.

Couture told us to-day, how attention was necessary to Bee hidden beauty. He said that one day he went for a trip into the country and was hanging over a little bridge that spanned a still river, his eye was caught by the insects which play on the surface of the water, their actions were so pretty; but in looking at them his ve perceived first a water, until tree, then a cloud, then a bird reflec bending more over and looki whole mysterious fairy-like le and this thoroughly absor the little insects whi

placed on them in the Expositions-just and useful-many French emigrated because not thus recognised.

Couture says, "in drawing keep in view the 'grande ligne dominante” same in colour, same in light, I would add.

ENAMELS.-Let Limoges enamel into coffers, it looks very well; best ground purple madder, high lights, white flesh only slightly coloured. Pictures copied in this way look very well

PRINTS.-The Hotel de Ville, Paris, is from the designs of Domenico Cortona, Italian, under Francis L. and Henry II. "Maniement d'Arme de Nassau," A.D. 1618, by Adrian van Breen 'use of the pike, very interesting

ARCHITECTURE-Palazzo Farnese, court by M. Angelo, 1545 AD. Dusersean, too fantastic. Dieterlin, Elizabethan run wild very bad, but spirited, 1590 A.D.

FIREWORKS—Fountains of five spiral columns, with rockets, &e from top, god; the examples at the fête given by the dy d Pub & Louis XIVth's daughter's Welling

ALTE AT ST. Emana on Mor-Archivolt much below arbinate, thus forming are keyrone, good for arma with

greatest masters are the closest observers, and in order that such observation may be well impressed on the mind, careful copies should be made. It is thus great artists are formed, those at least who desire that their execution shall carry out their inspiration, and these copies once made, the peculiarities or principal characteristics well noted, then it is, that the designer may vary from his model as best suits the purpose to which it is to be applied. The tombs of Miraflores are the richest and most delicately worked specimens of that florid and picturesque Gothic, which flourished so signally in Spain. Here is a mass of work which almost defies accurate delineation cut in marble and alabaster, forming two examples of architectural sculpture, perhaps the finest specimens of decorative art in the world. If it were for the labour alone, they would be super-eminent, but in the minutest portions, as in the most marked, the hand of a first-rate artist is to be discovered; and in their style of ornament they form perfect models; but I would not be understood as advocating the indiscriminate use of this style, for it is evidently unfit for massive broad effects.

The monuments at Miraflores explain little as to those they perpetuate, but might not undeservedly form monuments for Shakspeare. Fancy's sweetest work in monumental art might well be dedicated to the memory of Fancy's sweetest child. If Ghiberti's gates are fitted to be the gates of Paradise, these are worthy to be the monuments of angels.

Most architects in the course of practice have felt the want of a sculptor who understands and can execute their wants, and it is truly a thing needed. Sculptors should attend somewhat more to the scope which architecture now daily affords them, without any derogation from that cold imitative monotonous high art which they almost all totter after, they might well exercise their powers on such subjects and find matter worthy of their art. It is needless to name the great sculptor architects of Italy, but I would refer them more particularly to the north of Spain, and especially to Burgos Cathedral, as containing specimens of what lies in their power; that vast cimborium overcharged, perhaps, with sculpture is full of spirit and of life, grotesque, somewhat rude, and out of all rule, yet such is the energy