spective, with the returning arcade leading to James Street, seen through the openings, produce an effect exceedingly picturesque."

"A great and regular design," says Mr. Malton, "when once carried into execution, ought to be considered as public property, and the convenience or interest of individuals should not be permitted to alter its leading features; nor would this be so great a restraint on the owners of property as may be imagined. Those who are most conversant with works of this nature, need not be told, that whim and caprice more frequently suggest such alterations than frugality, or the wants of business. One tasteless occupier of a part of the piazza has rebuilt the superstructure without the pilasters, the cornice, or the dressings of the windows" Mr. Malton, however, in his "Picturesque Tour," has, in honour of the architect, represented the whole, as it was executed by him.

Two most commanding and interesting objects in this neighbourhood next attract our attention: they are the two Theatres Royal of Drury Lane and Covent Garden. The destruction of these edifices by fire has already been detailed in an earlier part of this work; but as we have given a view of the late Theatre of Drury Lane, it will be proper to give a description of it as it appeared before that dreadful calamity.

The plan of that Theatre included an area of 320 feet in breadth, and, measuring from the substratum to the roof, was 122 feet.

It was raised on the site of the old house, and opened in the year 1794. There were four tiers of boxes, a pit, and two galleries, with a number of private boxes, ranged on each side the pit, and constructed so as to command a perfect view of the stage, and yet conceal the occupiers from observation.

The stage was 105 feet in length, 75 feet wide, and 45 feet between the stage doors.

Under the pit was a large range of lofty vaults, and immedi

ately

ately over it a spacious room, and one for painting scenery, about 75 feet wide, and 53 long: above the galleries was another painting-room, about 75 feet by 40.

There were two green-rooms: one for the use of chorus-singers and figurantes; the other for the principal performers: the lat ter of these apartments was elegantly fitted up. The scenery, under the direction of Mr. Greenwood, whose abilities rank very high in his profession, was always bold, effective, and impressive, and had frequently been aided by the chaste and humorous pencil of Marienari.

The pit was 54 feet in length, and 46 in breadth; had 25 rows of benches, and was so well constructed, that those next the orchestra commanded an uninterrupted view of the whole stage; and the avenues to it were commodious and safe.

The interior of the Theatre resembled the shape of a horseshoe, and the spectator was forcibly struck with the grandeur of the design, elegant execution, and splendid effect of this once superb edifice.

The prevailing colours of the boxes were blue and white, relieved with richly fancied embellishments of decorative ornament. The compartments in which the front of each tier was divided had centrally a highly finished cameo, the ground of cornelian colour, with exquisitely drawn figures raised in white, the objects chiefly from Ovid; the stage boxes projected two feet, and had a raised silver-lattice work, of excellent taste and workmanship.

The boxes were supported by cast-iron candalabras, fluted, and silver lackered, resting on elegantly exccuted feet. From the top of each pillar a branch projected three feet, from which was suspended a brilliant cut-glass chandelier; a circular mirror of five feet diameter was placed on each side the dress-boxes next the stage, that produced a pleasing reflected view of the audience.

On the nights when the Theatre was honoured with their Majesties' presence the partitions of the stage-box were taken. down, and it was brought forward nearly two feet; a canopy

was

was erected, superbly decorated with crimson velvet, richly em broidered with gold, and adjoining them sat the princesses. Their box was usually lined with light blue satin, fancifully festooned and elegantly decorated with silver fringe and rich tassels.

There were three entrances to the boxes, and two to the pit and galleries. The one in Brydges Street led to a saloon seventy-five feet by twenty-one, called the Egyptian Hall. Sixteen pillars of the Doric Order, beautifully painted in imitation of porphyry, were at once a splendid ornament, and supported the back boxes, to which a flight of stairs at each end led.

Such was the interior of the late Drury Lane Theatre before the conflagration already mentioned laid the whole in ashes.

The exterior of this edifice requires little description; the annexed view will convey an adequate idea of its appearance, which it must be confessed, had but little to recommend it to notice: it had a sombre gloomy aspect, but ill suited to the purposes for which such buildings are erected.

The architect was Mr. Henry Holland, who constructed the whole upon an immense and magnificent plan, as the account of the interior just given, shews. It was capable of holding in the pit 800 persons; the whole range of boxes, 828; the two-shilling gallery, 308; the total 3611 persons.

The whole of this extensive building was surrounded by a stone balustrade, and on the top a colossal figure of Apollo.

Of Drury House, whence this Theatre, and the street in which it partly stands derive their names I have before spoken; but the following facts are worthy of notice.

Early in the last century there was a theatre in this place, which was sometimes called The Phoenix, and sometimes The Cockpit. Mr. Malone says, "This theatre had been originally a cockpit. It was built, or re-built, not very long before the year 1617, in which year we learn from Camden's Annals of King James I. it was pulled down by the mob, 1617, Marti 4,

Theatrum