The front, as you will see by a reference to my friend Shepherd's drawing, see print of the Surry Theatre, Blackfriar's Road, is more theatrical and scene-painter-like than architectural; but it is appropriate, and does, not offend the canons of taste, more than some prouder edifices that affect a greater state. When Elliston first took this theatre he removed the ride, which he converted into the best pit in London, as the seats rise so much from front to rear; and from a theatre of buffoonery and balderdash, into one of a much more rational character. He performed in it himself, introduced well painted scenery, and as good a version of Shakspeare as the law would allow. The public encouraged him, and he gained wealth in his well-managed speculation, and gave it a new and better name, as Horace Smith has it,

""Twas called the Circus once, but now the Surry.”

Our jovial friend, Elliston, then became the lessee of the immense establishment of Drury Lane; and his liberality, talents and pleasantry of manners, deserved a better return, both from the public and the shareholders than he experienced. The Surry Theatre then devolved to that clever manager and excellent light dramatic writer (not penman), Tom Dibdin, who acquired far more reputation than profit, in his Surry (once he called it sorry) speculation.

It next fell under the management of his brother Charles, who conducted it with ability, and I have heard with profit; but it has now returned under the control of Elliston, whom I have seen resume his station in the Drama in this pretty theatre with unrivalled success; particularly in Walter in the Children in the Wood; but he can never personally shine in this sphere, because his peculiar line, and in which he stands unrivalled, is genteel comedy.

The portico is more useful than architectural, but accords in style and taste with the façade that it adorns, more completely than that which we have just now been discussing.

Elliston first set the example in this theatre of improving the style of performance in the minor theatres, and he has been followed, to the manifest improvement of the public taste, by all the others.

We will now make the best of our way through the Adelphi and Scotland Yard, and in our road to the new works going on at the Treasury, under the superintendence of Mr. Soane, take a passing glance at that beautifully situated row of town mansions

RICHMOND TERRACE, WHITEHALL.

This pile of building receives its name from having been erected on the site of the ancient town mansion of the noble family of the Lennoxes, Dukes of Richmond. It is celebrated for containing in former days, when the late noble governor of Canada's uncle, the well known Master General of the Ordnance in the American war, was its liberal owner, the finest collection of casts after the best examples of antique sculpture then in England; which the noble owner permitted to be used by the artists of his day with the greatest freedom. In fact it was then to the student what the sculpture gallery at the British Museum is now, with the addition of occasional medals distributed to the ablest artists for drawings made under certain regulations in the gallery.

The design, as you will quickly perceive, of this well built terrace is common-place, and exhibits neither taste nor fancy. See print of Richmond Terrace, Whitehall. It is a row of good houses, with the windows placed where internal convenience require them, and the columns and architectural embellishments added as an appliquée, and are merely ornamental, instead of being essential, and part and parcel, as the lawyers say, of the building. The order is Ionic, of no peculiar beauty; the antæ not in character nor accordance with the columns, and the entrance or ground story is of most veritable carpenters' architecture. The whole is imposing from its size, and the good finish of the workmanship.

The composition is divided into two parts, a centre and two wings, raised upon a rusticated basement, which forms the entrance or ground story, and projects under the centre and wings. The centre is a hexastyle portico of three-quarter, or attached columns, surmounted by a pediment and blockingcourse. The wings are composed of two similar columns between two antæ, in imitation of the ancient tetrastyle portico