. Letters of an architect, from France, Italy, and Greece. Jl.I?SID]E EiETATIOK

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RM2AFXWPD–. Letters of an architect, from France, Italy, and Greece. intermediate astyle, it is difficult to say which was intended. That an architect in Italy, where the pointed style is considered as un-worthy of serious attention, should think, in restoring Gothic architec-tecture, that he could improve it by approximating its mouldings and or-naments to those of the Roman, is not wonderful; but it is remarkable,that abstractedly from their want of suitable character, the modern orna-ments are poorer in design than the ancient, and inferior in execution. Atpresent, the ancient part of the lantern is

RM2AFXNMF–. Letters of an architect, from France, Italy, and Greece. ed just at thepoint where it is most disagreeable; and as the columns of the porticocould not be seen as objects of any consequence, in comparison withthe church, till we were fairly among them; the false estimate usuallyformed of their magnitude would be avoided, and they would serve tocorrect our notions of the magnitude of the building, instead of helpingto mislead, as they do at present. This scheme is, I apprehend, aban-doned ; and we now from the bridge of St. Angelo see little but thedome itself, and after passing it, proceed al

RM2AFY0GF–. Letters of an architect, from France, Italy, and Greece. the smaller areunited with the mass of the work. Some of the pillars next the choir, aswell as those of the choir itself, have nearly the ancient Attic base; inothers, the Gothic forms are fully developed. The groining of the vaultsis oblique, and the last pair of pillars seems to be an addition of the four-teenth century. In the fifteenth century, several chapels were added tothe nave ; the last and most beautiful of which is that which was builtfor Charles, Cardinal de Bourbon, who was king of France for four hours.This Charles, Duke

RM2AFXT6M–. Letters of an architect, from France, Italy, and Greece. ns thanVenice itself. The architects of that period did not confine themselvesto one disposition, but endeavoured sometimes to produce the appear-ance of a centre, by other arrangements of the windows, but still withoutmaking any break in the wall. Whatever the architecture of these Ve-netian palaces may be, their size and number produce a great show ofmagnificence. Venice appears the residence of princes. It must be con- .fessed that in their present state, they seem to be the dwellings of poorprinces, but perhaps the ideas of wealth

RM2AFY0R1–. Letters of an architect, from France, Italy, and Greece. eporch of St. Germain des Pres, and in some other buildings, wherethey are considered as proofs of high antiquity. Over this porch or portico are two ranges, each of nineteen columns,supporting little arches, and above and below, and between theseranges are richly ornamented bands. On these bands, in several places,are indications, as if there had been figures of animals projecting di-rectly forwards, as you may frequently see in cases where they are intro-duced as water-spouts, and such figures are still seen at the back of thisfacade

RM2AFXNCY–. Letters of an architect, from France, Italy, and Greece. he rest, he was probably guided by the prejudices of his employers.He has shown great judgment in avoiding anything of a transept, whichmust probably have given rise to another interruption, by making fourchapels on each side, instead of an uneven number. The oval dome hassomething of a crooked appearance, and the details are not good, yet inspite of its defects, it is internally a beautiful little building. Of the out-side, I will say nothing, for there is nothing good to be said. The front of the Church of Santa Maria di Consolazione

RM2AFXTYN–. Letters of an architect, from France, Italy, and Greece. arches; and what is more remarkable,there are compound arches with the reversed curve over three of thefront doorways; and from the appearance of the workmanship, fromthe character of the parts connected with it, and from the sculpturewith which they are ornamented, I am almost induced to believe, thatthey are component parts of the original structure. Over these five front recesses is a gallery, in the centre of which arenow replaced the famous bronze horses of Lysippus. Just behind themis a great circular window, which was once highl

RM2AFXTH3–. Letters of an architect, from France, Italy, and Greece. gination and enhances the beauty of this square. Still farther, youcatch a view of the great harbour, and some of the fine buildings aroundit, which still increases the variety of the scene, without destroying itsunity ; and strengthens the sentiment. The Ducal Palace is even moreugly than any thing I have previously mentioned ; it offers a doublerange of comparatively small arches, supporting a great wall with a fewlarge windows in it. Considered in detail, I can imagine no alteration tomake it tolerable, but if this lofty wall had be

RM2AFY1AH–. Letters of an architect, from France, Italy, and Greece. rs, with arose over them, but not included in any common arch. At the ends ofthe transept the rose windows and the openings below them are filledwith tracery. The aisles are high and well lighted, but the general effectis heavy and displeasing. The western portal is the most singular partof the edifice. The architect was Hugues Sambin, a native of Dijon,who is said to have been the friend and pupil of M. Angelo Buonarotti.The porch is a return to the first Gothic style of shafts and statues ; thelatter indeed haVe been destroyed in the

RM2AFXRW3–. Letters of an architect, from France, Italy, and Greece. ion. I have at length gained some degree of composure, and have examineda few things more at leisure, but still without any order. That of placeseems to have no interest; that of antiquity, is too abstruse and difficult.I cannot therefore, pretend to give you any regular and connected viewof Rome; nor can I take you with me from day to day, as I often runfrom one thing to another, and return again repeatedly to the principalobjects. I shall therefore pursue a plan which may have regularity enoughto unite the principal objects into grou

RM2AFXPM0–. Letters of an architect, from France, Italy, and Greece. , cost 4,184 crowns; it ispreserved in the present church, and is itself a building which may de-serve some description. The plan, as I have already said, is a Greekcross, with arms of considerable length, each terminating in a semi-circle. The angles of this simple form are occupied by four other Greekcrosses, so that the construction appears to depend on sixteen masses.Four of these, each of which is a square with one angle cut away, sup-port the dome. It is said that in Bramante s design these were tohave been hollow; but the model

RM2AFY0A3–. Letters of an architect, from France, Italy, and Greece. with a gable in the middle, and a tower ateach extremity, but without any thing below to carry the division ofthese parts down to the ground. The towers, however, have never beenfinished, and at present do not rise so high as the gable. On the sides ofthe nave, the windows of the clerestory are divided into three parts, withthree roses above them pyramidally disposed, but not united externally ina common arch. , Besides the cathedral, there is a church dedicated to St. Paul, ofSaxon architecture, said to have been built by Saint Sacerd

. Letters of an architect, from France, Italy, and Greece. Jl.I?SID]E EiETATIOK

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