cornice of the wings and centre is carried through without any break, except at the angles of the building.

In the intercolumniations are two stories of windows, the upper tier of which rests upon a string which is carried through the whole elevation, and forms a connecting tie, as well as an appropriate division of the stories. The lower tier of windows in the main receding building, is composed of six wide and handsome Palladian windows with pediments; and the upper tier has dressings of architrave and cornice round each window. This portion of the elevation is finished with a lofty blocking course over the cornice, which elevates and serves as a base for a handsome balustrade that crowns the whole, and forms a light and handsome finish to the roofs.

The centre and wings have long attic windows over the whole openings, formed by the piers beneath them, and a sort of grotesque antæ-baluster supports the upper part. Its square panels formed of square sinkings in the stucco, serve as embellishments to the piers both in face and in flank, over the long panels with Grecian angular frets in the corners of the principal story. These are surmounted at a proper height by a small sub-cornice and blocking course, with immense ill-proportioned semicircular acroteria, ornamented with caricatures of the Greek honeysuckle, which I heartily wish the first bricklayer's labourer who may be employed next winter to throw the snow out of the gutters, would have the good taste to pitch over with the rest of the rubbish, to Macadamize the street with.

Thus much for the elevation, which, as a whole, shows a mind alive to picturesque composition, to light and shade, to agreeable form, to proportion, and to most of the loftier fea-, tures of architectural composition; but, in the minor graces of detail, in which our masters, the Greeks, so eminently excelled all that preceded or succeeded them, an eye, either cold to beauty or contemptuous of its charms. The Ionic order of the principal stories is robbed of its frieze, and therefore wants height. This grammatical error gives the building the appearance of being constructed like some of the churches in modern Rome, with the columns of their predecessors; which being too lofty to admit of a perfect entablature, and, therefore the frieze, an integral part of every order, is omitted by virtue of

that law, "compulsion," which even Falstaff himself would not submit to.

Again, the cornice of the Attic order is too small and trivial for its place, and the moulded semi-Gloucester cheeses on the blocking course most outrageously too large. The stylagalmatic termini, which support the shop cornice, are any thing but in good taste; and yet the whole, not because, but in spite of these deficiencies in taste and selection of detail, presents a bold and highly picturesque composition. The depth of the receding parts between the centre and the wings, is productive of great variety of light and shade, and the entire design forms a pleasing composition, of which the combination discovers both judgment and skill, with a very considerable share of novelty.

An amiable friend of mine, who, a few years since, occasionally aided me with his friendly pen in "the Annals of the Fine Arts," has some opinions, so completely in accordance with my own views on this head, that I cannot resist the pleasure of calling in his aid. "Works of architecture," says my friend,

are not to be judged by precisely the same rules by which we appreciate the productions of the poet, the painter and the sculptor. These, indeed, require no external assistance in order to enable them to embody the conceptions of their minds. With the architect it is different; he is dependant upon circumstances, over which he possesses but small control; and is perpetually subjected to restraint arising from the caprice and interference of others. To these causes, in conjunction with others of a pecuniary nature, is to be attributed the vast disproportion, both as to number and excellence, between buildings which have been executed and those which have been merely projected."

In estimating the merits of a piece of architecture, the true question is, Has the artist availed himself to the fullest extent of all the capabilities of his plan? Has he effected as much as it was possible to accomplish in the allowed extent? Has he obviated the peculiar difficulties with which he has had to contend? After mature examination, and in spite of the prejudices which my unbounded admiration of the beauties of the Greek school may have fastened upon my mind, I have often been led to admire, not only the skill by which the Architect of Regent

* Vol. 4, p. 512.

Street (and that is a title that will always distinguish and honour his name), has surmounted many obstacles, but also the happy contrivances by which in effecting these he has elicited positive beauties.

The street that we are now surveying is replete with such qualities; and when it was commenced, I took the opportunity afforded me by my situation as Lecturer on Architecture at the Surrey and Russell Institutions, where criticisms on the buildings of the day were required of me, to state publicly, that "the new street now in formation from Pall Mall to Portland Place is a great and useful undertaking; possessing as a whole a grand and commanding character, with more architectural features and variety than any large work that we have seen since the rebuilding of London after the great fire. Yet it has many blemishes ;"* I thought so then, and the many and very particular examinations that I have given of its various buildings from then till now, confirm me in this opinion; and to borrow an apology from my before-quoted friend of " the Annals" in the same article, if I have at times presumptuously ventured to cavil at slight imperfections, it is not because I consider them sufficient to detract from the obvious and aggregate excellences of the design; but because I am of opinion that the criticism which would really instruct, ought to discuss candidly both defects and beauties; and not actuated by sinister motives either invidiously disparage, or puffingly extol. Above all, it is my object to avoid that nauseating sycophancy, which is generally found to characterize the labours of those cicerones who, professing to furnish the stranger with a guide, too often mislead the judgment. Men, who hardly dare to "hint a fault, or hesitate dislike," and their unqualified commendations, says my friend, are not likely to assist in arriving at the ninth beatitude, "Blessed are they who expect nothing, for they shall not be disappointed."

Therefore, as I before hinted, with all these merits, I consider Regent Street to possess many blemishes; some of the architectural specimens being in a taste absolutely barbarous, and mixed with others equally pure and refined. Its masses, great parts and divisions, are grand and effective; and its breaks and

• Lectures on Architecture, by J. Elmes, p. 403.