CHRONICLE. 



325 



the exterior ofthe building, the Ar- 

 chitraves round the windows, — in 

 short every part, are correct exam- 

 ples of Greek forms and purity. — In 

 the lower part of the frontan arcade 

 extendsfromoneendtotheother,and 

 there is no decoration introduced 

 which does not tend to the general 

 effect and character of the whole. — 

 The front of the building is termi- 

 nated at each end by two pilasters, 

 and the figures of Comedy and Tra- 

 gedy are placed in niches between 

 them. — It is worthy of remark, that 

 there is a breadth of plain surface 

 under each niche, by means of 

 which the effect of the figures is very 

 much assisted. — The basso-relievos 

 in front are each about ferty-five 

 feet long, and are executed with the 

 same relief as those in the temple 

 of Minerva, which were the work 

 of Phidias. — The projection of the 

 most prominent figure not exceed- 

 ing three inches, they have a pecu- 

 liar effect from the plain surface be- 

 hind them, and being slightly in- 

 dented, harsh shadows are avoided, 

 —they thus form a part of the ge- 

 neral character and prevailing sim- 

 plicity of the structure, and consti- 

 tute a modest decoration and deli- 

 cate enrichment. 



Under the portico, in the same 

 relief as the other basso-relievos, 

 the king's arms are introduced. — 

 The main walls of the theatre, 

 which are about one hundred feet 

 in height, and of a proportionate 

 thickness, rise considerably above 

 the other parts of the front, and 

 arched openings have been judici- 

 ously introduced, by which the 

 chimnies are concealed, and the 

 water is discharged from the great 

 roof. — In the other fronts of the 

 building all architectural decora- 

 tion has been omitted, but the same 



flowing lines, the same exactness of 

 proportions, and purity of parts,— 

 the same noble simplicity, and cha- 

 racter of severe grandeur, is pre- 

 served throughout. — The building 

 is entirely insulated, but a commu- 

 nication hasbeen preserved between 

 Hart-street and Bow-street, and 

 the Piazzas in Covent-garden. 



But in a work conducted upon 

 principle, having said thus much, 

 having praised the architect, not 

 only for his taste and genius, but 

 for his knowledge of the rule, and 

 strict conformity to it ; it is but jus- 

 tice to the public not to cover him 

 with indiscriminate eulogy, but to 

 apply the rule, as well where it 

 apparently makes against him, as 

 where it is in his favour. 



Ought not the Entablature in the 

 front of the building to have been 

 one unbroken line? Ought it to have 

 divided into compartments? In this 

 style of building, the Doric ordei", 

 nothing is admissible for the mere 

 purpose of ornament. — Everything 

 must have an immediate or presum- 

 able reference to utility. 



According to this principle, the 

 Entablature is supposed to be the 

 strap or vinculum, by which the 

 parts are bound together.— Now it 

 is evident that this idea necessarily 

 involves unity and continuity.— 

 There is no strength in a cord thus 

 minutely snapped. This division, 

 moreover, was not necessary for tiie 

 purpose of comprehending the fi- 

 gures of the basso-relievos. — Ac- 

 cording to all existing relics of 

 the pure Greek Doric, they might 

 have been introduced in the inter- 

 stices of the Tryglyphs. — Division 

 always takes from efliect. — It be- 

 longs to ornament, but not to Bini« 

 plicity. 



There is one peculiar praise 



which 



