uments of this age are very numerous, but only differ from those of
an earlier date in the substitution of the members of Grecian for those
of Gothic architecture, or rather in the confused mixture of both.

On the whole, this, though a glorious period for literature, was lost
for the fine arts. The incongruous mixture of the conflicting principles
of Grecian and Gothic architecture produced buildings more truly
barbarous, more disgusting to a cultivated taste, than the rudest Norman
work. Together with the architectural orders, our artists had received
models and authorities for the grotesque style, which they were but too
ready to follow. This extraordinary style of ornament had prevailed in
ancient Rome early enough to be reprobated in the work of Vitruvius, and
lay unobserved among obscure and subterraneous ruins till the discovery
of the Baths of Titus opened a rich magazine of gay and capricious
ornament. Raffaelle, struck with these remains of the antique art of
painting, adopted the same style of ornament in the galleries of the
Vatican, enriching and enlivening it with the stores of allegory and
mythology furnished by his poetical fancy. The example of such a man
could not want imitators; it influenced the whole architecture of
France,--which very early possessed artists of great merit,--and
appeared in this country with very inferior effect. It may well be
imagined that this style, naturally licentious and only rendered
tolerable by grace of composition and brilliancy of execution, would
become utterly contemptible when presenting only coarsely executed and
unmeaning extravagances. Such was the general character of art. We may
however make discriminations, and admit comparative merit.
Wimbledon-house, seated on the side of a hill, was remarkable for a
magnificent disposition of steps and terraces worthy an Italian villa.
Wollaton-hall is admired by Mr. Price for the grandeur of its masses.
Charlton-house has a very picturesque arrangement of heights in the
elevation; Longleat, on the other hand, has much simplicity of form. In
its square projections and three orders of columns, or pilasters, it
bears no remote resemblance to the ancient part of the Louvre built
about thirty years previously, though without the purity and delicacy of
the details of the architecture and sculpture which distinguish the
French building.

EDMUND AIKIN.

Liverpool, February 10, 1818.

INDEX.

Alencon, duke of, II 22. 5