the house of late years has undergone many alterations, and it is at present divided into three distinct tenements; centre one, in the occupation of Mr. T. Payne, the truly worthy and respectable bookseller. In consequence,

ings: the dormer-windows have pediments, centre one a semi. Inte riors of these classes shew pannelled wainscots with general cornices, the plain architrave chimney-pieces, archway with pilasters, leading to stairs, which stairs have balusters. In Sir Isaac's house, the dimensions are much increased, and the mouldings more elaborate: the chimney-piece in the observatory remains (though the room itself, as before observed, has undergone a change); a semiarched head, with kneed architrave. House or Chambers in the New Square, Lincoln's Inn: they partake of the above detail, with the addition of a higher degree of work to the door-ways (stone), in an open circular pediment, inclosing vase-neck supports for balls.

Gateway to the above Square, entering from Carey-street (stone), south side: oval arch, with a human head key-stone, Doric pilasters on each side, pannelled; entablature, the cornice alone continued in line, arcbitrave and frieze run up with the outline of pilasters, having metops, and in lieu of tryglyphs, scrolls and human heads; grounds rusticated; im post enriched with leafings. The cornice has scrolls, open pedimentwise, inclosing a vase neck, and ball. North side ditto gateway: oval arch repeated; other parts much varied; the arch and jambs have an architrave of many mouldings, and kneed; key-stone, a human head. On the knees of the architrave double scrolls; spandrils take place, with a leaf-ornament: cornice has a broken arched pediment, once inclosing a vase neck, and ball, now destroyed. Above the pediment, two shields with accompanying compartments, scrolls, foliage, fruits and flowers, &c. bearing, TW. & D. 1697. Schomberg House, Pall-mall.-Five stories; kitchen, parlour, first, second, and third floors; (no dormers, suppose destroyed). Plan; at each end of the line (nine windows) projecting portions of one room. With regard to the internal arrangement,

tuodern appearance, to the great loss, in point of illustration, at this part of our progress: yet, by recurring to the detail already gone into, and giving scope to the idea of an augmentation in decorations, which must have prevailed, some opinion may be entertained of the original finishings. As it is, let the description of the exterior be followed, which still exhibits the greater part of its first intention. To each story, and between each window, in their heights, plain compartments; the centrical entrance destroyed, and a term portico of hu man figures substituted. Parlourline, in the end portions, destroyed, and Ionic porticos set up as entrances; but two of the first windows are left. The windows have, to their architraves, a few mouldings and keystones; quoin-stones at the breaks. General cornice includes a large hollow, or cavetto, with double blocks placed over each pier, foliaged, and fronted with escallop-shells. Centre break finishes with a pediment, said blocks in continuation: roof modern: the original, no doubt, was of the dropping-eves character, with dormers, &c. Materials to these several houses, red brick; decorations, stone and wood.

Our further exposition of the art of design occurring in this Reign (being desirous to pursue the track of accumulating splendour) will be derived from Campbell's" Vitruvius Britannicus ;" and the first building to be noticed, as to date, is "Althorp, Northampton, the seat of the Earl of Sunderland, 1688, by Colin Campbell, Esq." Plan: wings in advance for offices, forming a court: three entrances in the main front. The several stairs, rooms, &c. continue to maintain the long scenic arrangement, so remarkable in the preceding reigns; but, as the plates contain no internal decorative information, conjecture, as in the case of Schomberg House, must aid our mind in this respect. Elevation; hall-floor, principal ditto, and dormer ditto; range of the hall-floor, Corinthian pilasters

on

on pedestals, kneed architrave and open pediment door-way, and kneed architraves to windows; composite pilasters on pedestals, kneed architrave and semi-arched pediments to windows of principal floor: general cornice, and balustrade-parapet: over centre of ditto a compartment, with a guideron shield: dormer windows, with pediments: compartmented chimneys.

"Sir Walter Yonge, Bart.'s House, Devonshire, 1690." Plan: a square mass, divided into three portions, for stairs and rooms; arrangement novel, as the scenic lines are not preserved. Elevation; centre portion takes a small advance; four stories; base

ment, hall-floor, principal, and dormer ditto, rusticated pilasters, or quoins, rusticated pilasters to doorway; windows have the architrave without mouldings: centre ditto sided by large profile scrolls; open pediment inclosing a guideron shield: balusters over centre portion forming a lead flat, or terrace for view of the surrounding country; an arrangement not very uncommon at this period: square and pedimented dormers, and compartmented chimneys.

“ Melvin House, Fyfe, in Scotland, the seat of the Right Hon. the Earl of Leven. Designed by James Smith, of that kingdom, 1692."-Plan: the new arrangement in a saloon, grand stairs, private ditto, and various rooms. Elevation; end portions in a small degree of advance; four stories, basement, hall-floor, first and second ditto, Ionic door-way, windows with the architraves devoid of mouldings, dividing plain strings, rusticated quoins, general cornice plain, ditto roof and chimneys. This elevation is marked by a new appearance in the general lines also.

"Dyrham House, in Gloucestershire, the seat of Right Honourable William Blathwayt, Esq. designed by Mr. Talmen, 1698." Plan: mass of the building (of great extent) reverts to the scenic arrangement: it is in three portions, side ditto somewhat in advance. Elevation; hall, first and second floors; hall story, Doric doorway, architraves to windows without mouldings, having small blockings at their commencement, and at their tops; grounds between them rusticated, no vertical joints. Windows to first floor pedimented, centre ditto sided with Ionic columns; compart

ments and balusters, under each window alternately: square windows to second floor, centre ditto kaeed: general balustrade, with breaks supporting vases: in centre of balustrade, guideron shield, festoons of fruit and flowers, surmounted by an eagle, wings expanded. AN ARCHITECT.

** We are much obliged to a highlyvalued Correspondent, for pointing out to us, in the "Dublin Chronicle" for July 1787, the following interesting Article.

ANECDOTES of CAROLAN, the Irish Bard, and of some of his Contemporaries; in a Letter from a Gentleman to his Friend.

same of Carolan having reached

T is a fact well ascertained, that

the ears of an eminent Italian musicmaster in Dublin, he put his abilities to a severe test; and the issue of the trial convinced him how well founded every thing had been, which was advanced in favour of our Irish Bard. The method he made use of was as follows:-He singled out an excellent piece of music, and highly in the style of the country which gave him birth: here and there he either altered or mutilated the piece; but, in such a manner, as that no one but a real judge could make a discovery. Carolan bestowed the deepest attention upon the performer while he played it, not knowing, however, that it was intended as a trial of his skill; and that the critical moment was at hand, which was to determine his reputation for ever. He declared it was an admirable piece of music; but, to the astonishment of all present, said, very humorously, in his own language, ta se air chois air bacaighe; that is, here and there it limps and stumbles. He was prayed to rectify the errors, which he accordingly did; and the Italian no sooner saw the amendments, than he pronounced Carolan to be a true musical genius.

In the beginning of the last century, the then Lord Mayo brought from Dublin a celebrated Italian performer, to spend some time with him at his seat in the country. Carolan, who was at that time on a visit at his lordship's, found himself greatly neglected; and complained of it one day in the presence of the celebrated Geminiani. "When you play in as masterly a manner as he does (replies his Lordship), you shall not be

overlooked." Carolan wagered with the musician, that, though he was al most a total stranger to Italian music, yet he would follow him in any piece he played; and that he himself would afterwards play a voluntary, in which the Italian should not follow him. The proposal was acceded to, and Carolan was victorious.

Mr. O'Connor, in a letter to a friend, makes honourable mention of a piece of his sacred musick. "On Easterday (says the amiable old man) I heard him play it at mass. He called the piece Gloria in excelsis Deo;' and he sung that hymn in Irish verses as he played. At the Lord's Prayer 1 he stopped; and, after the priest ended it, he sang again, and played a piece, which he denominated the Resurrection.' His enthusiasm of devotion affected the whole congregation.' "Le Genie du musicien soumet l'Univers entier à son Art."

Charles Mac Cabe, the favourite friend and companion of our Bard, had some humour, which he used frequently to exercise on Carolan, generally availing himself, on such occasions, of his blindness. Of this I will give one instance: Mac Cabe, after an absence of some months from his friend, met him riding one day near his own house, attended by a boy; immediately winking at the boy, and totally altering his voice, he accosted Carolan as a stranger. In the course of conversation, the dissembler insinuated, that he had come from Mac Cabe's neighbourhood; on which Carolan eagerly inquired, did he know one Charles Mac Cabe? I once knew him, replied Mac Cabe. How, once! What do you mean by that? says Carolan. I mean, answered the Wag, that this day se'night I was at his funeral, and few there were more grieved than I was, for he was my most intimate friend. Carolan, shocked and moved by this melancholy news, burst into a flood of tears: but, soon recovering from this paroxysm of grief, he began to lament that there was no friend near him to commit to writing a few thoughts which had just entered his mind. Mac Cabe offered to be his amanuensis, on which Carolan dictated a quibbling Epitaph, of which we have no translation.

As soon as Carolan had finished the impromptu, Mac Cabe assumed his proper voice, and raillied the good

natured Bard, on giving him such a sincere proof of his affection.

But the period was now approaching, at which Carolan's feelings were

to receive a violent shock. In the year 1733, the wife of his bosom was torn from him by the hand of Death. This melancholy event threw a gloom over his mind, which was never after entirely dissipated. As soon as the transports of his grief were a little subsided, he composed the following Monody. For the benefit of the English Reader, I shall here give an elegant paraphrase of this Monody by a young Lady, whose name I am enjoined to conceal. With the modesty ever attendant on true merit, and with the sweet timidity natura! to her sex, she shrinks from the public eye.

CAROLAN'S MONODY on the Death of MARY MAC GUIRE.

Were mine the choice of intellectual fame,

Of spellful song, and eloquence divine, Painting's sweet power, Philosophy's pure flame, [were mine, And Homer's lyre, and Ossian's harp The splendid arts of Erin, Greece, and Rome, [grace, In MARY Jost, would lose their wonted All would I give to snatch her from the tomb,

Thy loss, my MARY, chased them from my breast!

Thy sweetness cheers, thy judgment

aids no more :

The Muse deserts a heart with grief opprest

And lost is every joy that charm'd

before.

Carolan did not continue long in this vale of sorrow, after the departure of his beloved wife. While on a visit at the house of Mrs. Mac Dermot, of Alderford, in the co. Roscom

mon, he died in the month of March, 1738, in the 68th year of his age *.He was interred in the parish-church of Killronan, in the diocese of Ardagh; but "not a stone tells where he lies."

Mr. O'Connor, when in the neighbourhood of Killronan, indulged himself in the melancholy pleasure of visiting the grave of his departed friend. "I last Sunday (said he) paid a visit to poor Carolan's grave. It excited some melancholy feelings, and reminded me of my approaching dissolution: my feeble state convincing me, that the thread of my life is between the sheerst. May I make the proper use of this merciful suspension of the cut!"-And again, in another letter" In my pensive mood at Killronan, I stood over poor Carolan's grave, covered with an heap of stones; and I found his skull in a niche near the grave, perforated a little in the forehead, that it might be known by that mark."

*If ever the Publick should testify a desire to be in possession of so great a treasure as a correct edition of all his compositions, you may, without hesitation, point out Mr. L. Hunt, of Boyle, in the co. Roscommon, as a proper object of choice, and as the fittest person to give universal satisfaction in this particular. At an early period of his life, this respectable character and valuable member of Lociety gave specimens of an uncom mon taste for musick, which it has been ever after his chief study to cultivate under the best masters, with all possible care and assiduity. A correct education, and a congenial turn of mind, qualify him in an eminent degree to sound the depth of Carolan's genius, to discover his real beauties, his native vigour, and his peculiar excellencies.

+Comes the blind fury with abhorred
shears,

And slits the thin-spun life.
MILTON'S Lycidas.

Mr. URBAN,