the type of the earliest of the orders of architecture, namely the Doric; the various characteristics of this noble and masculine order were explained; and the origin of the graceful Ionic, and rich Corinthian, were next dilated upon. The elements of the Grecian style were defined as consisting of three classes, or modes called orders, while those of the Romans are five. Nature dictates but three modes of building, which may be distinguished in every style, namely, the robust, the chaste, and the elegant: these the Greeks embodied in their Doric, Ionic, and Corinthian. The general character of the architecture of the Greeks, said Mr. Elmes, was superior to every thing that had been seen before, and surpasses in purity of style and propriety of character, all that has been executed since. The Grecian architects never violated the inherent properties of any object to produce an artificial effect: the Romans, on the contrary, executed works containing gross violations of the rules of architecture and pure taste. Such is the Colosseum, the Theatre of Marcellus, the Pantheon, and such are their amphitheatres; structures that excite wonder and amazement, and seize upon our admiration, not for their faults, but in spite of them. : I most willingly allow, added the lecturer, to the Roman architects, splendour, magnificence, and vastness of conception, and if their advocates require it, a carelessness of expense, and a lavish profuseness of decoration in all their public buildings and if they praise them for their knowledge of scientific construction, and bold command of the arch, the vault, and the cupola, I shall not perhaps contradict them, provided they do not too much insist upon the purity of their taste. But of this I am certain, that the Romans were never eminent for that purity, elegance, and tasteful simplicity, that above all other people characterized the Greeks. In the course of the lecture, Mr. Elmes warmly eulogized the beauteous, grand, and majestic simplicity, which cha racterized the temples of the Greeks, and above all that of Minerva, Parthenon at Athens, of which latter, a large and beautiful model was exhibited, and attracted great applause. Besides the temples, the Choragic monuments and other structures of the Greeks were also elucidated. A portion of the fourth lecture was devoted to the more particular explanation of the three Greek orders, with all their various contours and mouldings. From the orders of columns, the lecturer proceeded to enumerate the orders of sacred buildings, which were divided into seven, viz. the antis, the prostyle, the amphi-prostyle, the peripteral, the dipteral, the pseudo-dipteral, and the hypæthral. The five different modes of arranging the distances of columns were next enumerated, and consisted first of the pycnostyle, or columns closely ranged; the next in width, the systyle, then the eustyle, the diastyle, and those placed at the widest distances apart were termed aræostyle. As on the former evening the review of the Grecian structures had been principally confined to those of Athens, the lecturer now called the attention of his audience to the grand specimens which had been erected by the Greeks in their colonies also. Among the principal of those yet remaining, are the three Doric temples at Pæstum in Magna Græcia, examples which possess the characteristic energy of the early Greek style in an eminent degree. From the review of the architecture of the Greeks, the lecturer proceeded to that of the Etruscans, whose method of building was distinguished for its substantial firmness and simplicity to this people were the early Romans indebted for their structures, and Etruscan architects were employed by the Romans upon all their great works, till, upon the extension of their empire, the introduction of the beauties of Grecian architecture supplanted the simplicity of the Etruscan style. (To be continued in our next.) VOL. V. NO. 16. 194 ART. XIX. ANECDOTES &c. A correspondent, who says he admires the jeu d'esprit in our last Number, page 626, has sent the following laughable additions. A punning collector of works of living artists, and who will have some connexion between the name of his artist and his subject, proposes to open his collection to the inspection of the connoisseurs and amateurs. Among the principal works which decorate his chief room are the following: A Study of a Foot, by Ah! toe, (Artaud). The Dandies' Tailor, by Beau-repair, (Beaurepair*.) The Trial of Shylock, by Bond. The Totness Mail overturned, by Broke-ye-down, (Brockedon.) Rural Conversation, by Chat-field. Apprehension, by Constable. Study of a Mince Pie, by Christmas*. Robin Hood, by Archer*. A Favourite Pig, by Bacon, Front of a Public Building, by Backhouse*. Roasted Game, by Cock-burn. Belshazzar's Feast, by Daniel. The Peacock Plundered, by Daw, (Dawe*.) The Beau-ideal, by Fudge*. The Distressed Artist, by Few-sell-1, (Fuseli.) Death of Harold, by Hastings. *See List of Artists at the end of the last Number. Spanish Grandee, by Hey! Don? (Haydon.) The Ship-launch, by Off land, (Hoffland.) Shoeing a Horse, by Farrier*. The Asthmatic Patient, by A cough man, (A. Kauffmann.) Harvest Home, by Merry field, (Merrifield.) The Morning Chronicle lampooned, by Perry gall, (Perigal.) Breaking Cover, by Hunt*. Eve tempted, by Pick it, (Pickett*.) Going down Stairs, by Stepping off, (Stephanoff.) Jupiter and Leda, by Swan felt her, (Schwanfelder.) The Gipsey Party, by Strolling, (Stroehling.) Tantalus, by Thirst on, (Thurston.) Harry the Eighth, by Tudor. Pease Blossom, by Beans, (Behnes.) The Shipwreck, by Tempesta. A whole length of West, by West all, (Westall.) The Locksmith, by Will key, (Wilkie.) Statue of a Dandy Supreme, by Waste my coat, (West macott.) The Tide out, by Water low, (Waterloo.) Sun Set, by West. The Dandy Lover, by Smirk, (Smirke.) Design for a Ball Room, by Dance. Dead Game, by Partridge. * See Catalogue as before. When Haydon's first picture, the Repose in Egypt, was sent to the Academy for exhibition, Fuzeli, the keeper, desired Northcote, who was a townsman of Haydon's, and one of the hangmen for the year, to do justice to his young townsman's first picture, and hang it well. Some short time after, returning and seeing it hung above the whole lengths, and totally out of sight, he exclaimed, "Why, by, you are sending him to heaven before his time," and had it instantly taken down. ART. XX. OPENING OF THE NEW ARGYLE ROOMS. THIS rendezvous of fashion was not many years since the residence of JOLIFF, Esq. which was purchased by COL. GREVILLE, and converted by him into a place of entertainment, frequented only by the upper classes of society, under the name of Argyle Assemblies, Pic-nics &c. The Philharmonic Society then commenced a series of Concerts here; the great attraction of which, and the pressing demands for admission, rendered the very limited dimensions of the rooms a source of constant embarrassment and inconvenience. The premises having been, in 1818, purchased by the Commissioners under the New Street Act, for the purpose of completing the improvements in this quarter, were let by them to the members of the Royal Harmonic Institution, who have taken down the whole, and rebuilt them under the patronage of his present Majesty, in a manner that, for magnificence and accommodation, cannot be matched in this or any other city in Europe. The designs, plans &c. were given by the royal architect, JOHN NASH, Esq. under whose personal direction the extensive pile has been erected, and whose liberality, in rendering his services gratuitously to an Institution, viewing it as one of a public |