state of the monastic establishments in Switzerland.

The Minister of Public Instruction has succeeded, after considerable opposition, on the ground of the expense, in obtain ing from the Chamber of Deputies a vote for the removal of the Bibliothèque de Sainte-Geneviève, at Paris, from the fine, but ruinous, gallery which it occupied over the College Henri IV., to a new building to be erected for its reception. The sum demanded was 1,820,000 francs.

A letter from St. Petersburg states that M. Allier, professor of the university of that city, has just discovered in the imperial library 341 autograph letters of Henry IV. of France, hitherto unknown. He immediately imparted his discovery to a commission at Paris specially occupied in collecting the letters of that sovereign.

A letter from Rome states that a curious autograph of Napoleon was discovered a few days ago at Perugia. It is an order for the army and a bill of exchange for 2,000,000f., addressed to General Massena. This autograph was detected in a five-franc piece, which had been given in payment to an individual, who thinking it a counterfeit piece, had it broken.

M. Susan, of Deventer, has recently printed in Holland, what is a great novelty, an edition of Macbeth in English, with notes in Dutch, for the use of the students of Shakspere. It is, we believe, the first time any play of Shakspere has appeared in print from a Dutch press, whether in the language of that country or in his own.

A recent trial at Rome has convicted the Count Mariano Alberti of wholesale forgery of works which he had professed to discover and publish as Tasso's. Some small portion of these works, which is considered to be genuine, he had inter larded with the rest, to leaven the mass and give it the greater air of authenticity. In his lodgings were found an immense collection of writing-tools, inks of different kinds and tints, old copybooks, blank paper torn out of old books, and innumerable exercises in imitation of the hand

writing of more than fifty eminent indi

viduals of Tasso's time.

The results of the last journey made by the celebrated archeologist, Karl Ottfried Müller, are in the course of publication at Frankfort-on-the Maine. The first Part, which is already published, contains 'The Antiquarian Collections of Athens;' the second will comprise in it the architecture and sculpture of that city; and the thirdwill contain an account of the author's travels in the Morea and Rumelia.

Moritz Retzsch has just issued another series of illustrations, having for their subject 'The Merry Wives of Windsor.' They are, however, inferior to his former works. The Falstaff is a mistake from beginning to end, being rather the hopeless sot than the witty profligate. There are many graceful figures, especially in the scene with Herne the hunter, but we have seen them all before in Mr. Retzsch's previous Outlines.

A work is about to appear on the Egyptian Museum at Rome. The execu tion of the plates has been intrusted to the architectural engraver Troiani, to whom a sum of 8,000 scudi has been allowed for the purpose. The letterpress will be from the pen of the Barnabite, P. Ungarelli.

The Italian architect Canina has just published a work on the construction of the most ancient Christian churches, which is very highly spoken of. It contains 57 engravings on copper, and 147 folio pages of letter-press.

Dr. Schreiber, Professor at Freiburg, in the grand duchy of Baden, an antiquary of high repute in Germany, has published a pamphlet on the well-known Mosaic discovered at Pompeii, which has hitherto passed for one of Alexander's battles with Darius. The author of this little treatise, after detailing the events connected with the discovery, canvasses and rejects the opinion that it represents one of the battles of Alexander, and attempts to prove it to be a representation of a victory won by Marcellus, at Clas tidium, over the Gauls.

THE SCHOOL OF DESIGN.

Although the School of Design has been in existence during the last six years, comparatively few persons are aware of the locale, the arrangements, and the advantages of that interesting national establishment.

The Schools of Design (for there are [GENT. MAG. VOL. XXI.

two distinct schools, one for males and the other for females,) occupy several of the rooms formerly allotted to the Royal Academy exhibitions in Somerset House. The old Council Room is formed into a museum; and among its objects of art are specimens of fresco painting, to which the attention of several of the students is now

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being directed, and three exquisite pieces of encaustic work, brought by the director from Munich. Here also are copies of the fresco arabesques, from the Loggie di Raffaelo, in the Vatican. They are executed in distemper on canvass screens, and, having each four sides, form an encasement to each of the eight pillars by which the roof of this room is supported. They are of the size of the celebrated originals, in excellent preservation, and are said to be the best, if not the only, copies extant. The sum of 5107. was paid for them at one of Mr. Christie's sales. This room is about to be enriched with numerous specimens of ornamental art from France and Germany, including the most beautiful examples that can be obtained of stained glass, carving, modelling, metal, silk, cotton, porcelain, and paper-hanging. The large room, a noble and spacious apartment, is appropriated to elementary drawing and modelling. The lower part is furnished with large tables and the various drawing and modelling apparatus of the students, while the walls are well covered with plaster casts from valuable originals of various ages. Here are some recently executed pieces of fresco, which, considering that they are not the work of professed artists, but of ornamentists, are highly creditable and promising. Surrounding this room is a gallery, the front of which is furnished with copies of the celebrated Scriptural subjects, known as Raffaele's Bible. The gallery itself is enriched with a valuable collection of casts, upwards of 800 in number, exhibiting in chronological order the various styles of ornament used in the Greek, Roman, Byzantine, Gothic, and Renaissance ages of art. These valuable casts have been obtained chiefly from Paris. In this room is also a lending library of works on decorative art and its history, from which the students obtain books for a trifling sum.

The figure room is an apartment containing casts of Theseus, Ilyssus, a few of the Elgin marbles, the Apollo Belvidere, Venus of Milo, the Fighting Gladiator, Apollo of the Tribune, together with a fine collection of bas reliefs, of busts, hands, feet, &c. Two casts of knockers, lately brought from Venice, are exquisite, too beautiful, we fear, for imitation in a country where gentlemen do not think it beneath their dignity to wrench articles of that description from their neighbours' doors. Among the contents of this room are several very beautiful Gothic statues, and some particularly interesting specimens of Italian-Gothic from Venice, together with a number of architectural casts, in which figures are combined with ornaments of various periods. There are

also casts of some magnificent fragments, as capitals of the columns of the temple of Mars, Ultor, and the Pantheon. A skeleton and a valuable coloured anatomical figure are in this collection. The class for figures is superintended by J. Herbert, esq. A.R.A.

The school is readily accessible on the payment of very small fees for admission. It is open both morning and evening every day, except Saturday, Sunday, and certain intervals of vacation. The numbers at present enjoying the advantage of the school are about 200 in the male, and 40 in the female branch, which numbers have generally been in attendance since the school was opened. The male department is under the direction of C. H. Wilson, esq. A.R. S.A. who exercises a general superintendence and control in every matter relative to the duties of all who are engaged in giving instruction in the schools, and under whose able guidance the institution promises to secure all the ends for which it has been established. The female school is under the tuition of Mrs. M'Ian, the progress of whose pupils is most satisfactory. A class for woodengraving has been lately established under Miss Waterhouse.

A branch school of design has been opened in Spitalfields, for the advantage of the silk-weavers and carvers, who, as well as the weavers, are very numerous in that neighbourhood; more than 200 attend this school, to which they are admitted on the payment of 6d. a week, and respecting whom the most satisfactory progress is reported. Branch schools are extending gradually over the country, and are now formed at York, Nottingham, Manchester, Sheffield, and Birmingham. In these towns the instructions are varied, so as to benefit the particular art for which the locality is distinguished.

INSTITUTE OF THE FINE ARTS.

A meeting was held at the Freemasons' Tavern, on the 3d of June, for the purpose of forming an association, calculated to facilitate a general intercourse of the professors and friends of art, in a house to be provided as soon as the funds will allow. It is intended "that the Institute shall be essentially an independent and deliberative body, and shall not originate or connect itself with any exhibition or school of instruction in art." The members are to pay an annual subscription of one guinea, the affairs to be directed by a committee of twelve, six general meetings to be held annually, and a journal of transactions published.

The Society may now be considered as established, and it already numbers be

tween 200 and 300 members. The first meeting for the season was held on the 16th Dec. in the rooms of the Society of Arts. Letters were read from Lord Francis Egerton and Sir John C. Swinburne, Bart., accepting the invitation of the Council to become Vice-Presidents. A paper was read by Mr. Park, sculptor, on the propriety of petitioning the legis lature to establish a "Hall of Sculpture," to contain "casts from all the great works of antiquity," to be open during the day to the public, in the evening to artists only, properly lighted for study.-Another paper, on the subject of frames for move

able frescoes, was read by Mr. Buss, showing, by means of diagrams, how to provide against the chances of the Intonaco cracking, or chipping off, which, he said, was to be feared from the size required by the Royal Commission in the next competition. Resolutions were then passed, of thanks to the Royal Commission for its efforts to advance historic art, and expressive of the approbation of the meeting at the "appointment of two artists of distinguished professional rank, to the offices of Keeper of the National Gallery; and Conservator of the Pictures in the Royal Palaces."

INSTITUTE OF BRITISH ARCHITECTS.

Nov. 4. W. Tite, esq. F.R.S. V.P. The chairman opened the proceedings of the session by making some observations in explanation of what he had stated at the concluding meeting of the last session. He alluded to what he had said as to the effect of the growing tendency to introduce Gothic architecture. What he intended to affirm was, that it was not the duty of the architect to make a servile copy from the works of the ancients, but to avail himself of them only as exemplifications of the great principles which would require adaptation for modern edifices. In allusion to this subject he pointed out the advantage of studying the remains of the domestic architecture of the time of Edward III. as useful studies in the present day. So far from disapproving of the legitimate study of Gothic architecture, he congratulated the members on the numerous restorations of ancient monuments in that style which were daily assuming all their ancient beauty. All he had wished to do was to caution junior members against the exclusive study of that style, and the neglect of the classic monuments of Greece and Italy, which he considered to offer more suitable types for domestic edifices, and he reminded them of the excellent examples set them in this respect by Inigo Jones and Wren.

He then proceeded to give some account of his tour into Germany during the last summer, when he had an opportunity of viewing the Walhalla in Bavaria. He stated that the building was well studied, its situation admirable, and the blending of architecture, sculpture, and painting exquisite, while the colouring is not so elaborate or so glaring as to make the contrast too great. In passing through the town of Ulm in Wirtemburgh he visited the cathedral, which he described as a very fine building, and well

deserving the inspection of architects who may be travelling in Germany. Although it is a Lutheran church, there are several objects well deserving of notice. It has four aisles, with arches supporting a clerestory. The wood carving in the choir is extremely good. There is also a fine specimen of architecture, the tabernacle for the host, which is on the north side of the choir. In the new public edifices of Munich he considered colouring was carried too far, the effect of colouring in external decoration not being good.

Professor Donaldson read a paper describing thirteen models of churches kept in Henry V.'s Chantry at Westminster Abbey. They were designs submitted to the Commissioners appointed in the reign of Queen Anne for the building of forty churches in the metropolis; but only three out of the thirteen models had been erected, viz. the New Church, Strand, Greenwich Church, and St. James's, Westminster; the others were designs of a high class, and he considered it a great loss to the architectural character of the metropolis that they were never carried into effect. The models are well executed and in good preservation, and it is to be regretted that they are not opened to public inspection..

Professor Donaldson also made some observations on the application of fresco by the old Italian masters to the exterior of buildings for decoration, and exhibited an original drawing by Poltidori in illustration. He then read a letter from Mr. Crace, of Wigmore-street, giving some account of the frescoes which had fallen under his notice during a recent tour in Germany and the north of Italy. Mr. Crace observes, "that in Italy, Switzerland, and the south of Germany, the paintings in fresco are so general, that there is scarcely a town in which, both in the exterior and in the interior of the houses, some are not to be met with. In

Italy this kind of decoration is the most frequent; there, in many cases, the architectural effects seem to have been arranged with the view of being afterwards aided by painting; the enrichments of the mouldings and the ornaments being given in chiaro oscuro. In other cases, again, the whole surface of the wall is covered with historical or allegorical and ornamental painting. My principal object in travelling was, firstly, to learn the processes employed in fresco and encaustic painting; secondly, to form an opinion as to the effects produced; and thirdly, to judge how far those effects would surpass painting in oil in appearance and durability. For the two first reasons it was, therefore, the modern specimens of the art to which my attention was principally directed. At the Royal Palace at Venice I noticed decorations lately executed in fresco; but it was at Munich that I saw the art most extensively employed. In this city it is to be met with in every modern public building. In the church of St. Louis is the grand picture of the Last Judgment by Cornelius, and other frescoes of considerable merit by his pupils. In the All Saints' Chapel are some beautiful paintings by Hess and his pupils, on a gold ground. At the basilica of St. Bonifacius, so splendidly decorated, Hess and others are employed at this time on a series of grand paintings; at the Glyptothek are the frescoes of Cornelius; at the Pynacothek, those by Zimmerman and others; and at the two royal palaces, each room is adorned by some artist of excellence, either in fresco or encaustic. In addition to these interiors, there are examples of exterior decorations at the Hof Garden, the façade of the Post Office, and the Theatre. The effects produced surpass painting in oil in solidity and clearness; but, owing to the limitation of colours employed, there always appeared to me a certain yellow-brown dry effect, and a want of the richness of paintings in oil."

After the reading of Mr. Crace's paper some observations were made by the VicePresident and other members on the effect of fresco. An anecdote was related respecting Cornelius, that, when the King of Bavaria was viewing his famous fresco of the Last Judgment, he observed to Cornelius thatit appeared as if it were three centuries old; Cornelius replied, "That is just what I wanted." It was also ob served that it was surprising what a golden effect was produced by simple colours, although done in dry and unshining materials. In Munich the bricks are well burnt notwithstanding they are absorbent; the lime is very good, and a large quantity

of it is used in proportion to sand. The bricks are laid with open joints; the plastering is first laid on with a hand-float, afterwards the fine coat to take the fresco is laid on by the plasterer, who comes the first thing in the morning, and puts on just sufficient for the artist to work upon during the same day, and which this latter must finish before it is dry. The difficulty in England will be to get rid of the efflorescence of saltpetre, which can be removed by repeated washing. The frescoes by Aglio in Moorfields Chapel appear to have failed on this account.

Mr. Arthur Johnson was presented with a prize consisting of the first volume of the Transactions of the Institute for the best sketches sent in by the pupils during the last session.

Nov. 20. Mr. Tite in the Chair.

A highly interesting and practical paper on Timber and Deals by George Bailey, esq. Hon. Sec. was read, and has since been published at length in "The Civil Engineer and Architect's Journal."

Dec. 4. Mr. Tite in the chair.

A paper was read "On the Foundations of the late Church of St. Bartholomew, by the Exchange," by C. R. Cockerell, esq. showing the rude but efficient mode of construction adopted by our forefathers, and the masterly judgment and skill with which Sir C. Wren availed himself of the existing ancient foundations in his new structure after the fire. The piers in the east wall, as well as those under the pillars of the nave, were raised upon a mass of well made concrete, formed of chalk, broken tiles, and stone, pebbles, and lime, cast about a foot deep into the stratum of sound gravel. Where arches were required, as in the east and north wall, the natural soil was left undisturbed, and formed into a rude centering from pier to pier on which the voussoirs of the arches in chalk were at once placed. From the springing of the piers, the masonry was of a superior kind, the centre, however, being filled in with concretethe side walls of the church were of a better masonry with upright faces. The tower was built of flint and chalk, with walls of the thickness necessary to resist the action of the bells.

Mr. T. W. Papworth exhibited a volume containing a collection of decorations for a chapel in the cathedral at Lisbon, made at Rome in 1755. It appears from these drawings that the architect sent his general designs to Rome, and that the details were there filled up by the most eminent decorative artists. The name of Pompeio Battoni, who was to supply some painting of the higher class, occurs among the number. There are designs for the

pavements, railings, hangings, and every description of decoration and furniture to make the work complete. The artistical knowledge displayed in these drawings throughout the variety of operations necessary to carry out a work of this kind, and the unity of purpose with which it is brought together and applied, is the principal deficiency in our modern system of architecture.

PRIVATE CHAPEL AT WINDSOR.

Dec. 19. The ceremony of consecrating the Queen's new Private Chapel, at Windsor Castle, was performed by the Bishop of Oxford, in the presence of her Majesty, his Royal Highness Prince Albert, the Duchess of Kent, and many members of the royal household. The apartment which has been appropriated for the purpose adjoins St. George's Hall, and was used occasionally for a chapel in the reigns of George IV. and William IV. The ceiling, which is flat, is filled in with Gothic moulded ribs and points, and remains in the state in which it was left by Sir Jeffry Wyatville. The extent of the chapel is about 40 feet from north to south, and 30 feet from east to west. Her Majesty's closet is at the south-west angle, and opposite to the pulpit; it is approached from the corridor and private apartments through the vestibule at the top of the visitors' stair-case, and is placed at an elevation of ten feet from the floor. At the back of this apartment is a large stained-glass Gothic window, which receives light from an outer window, and has a pleasing and subdued effect. In the upper centre compartment are the red and white roses, with the shamrock and thistle. On either side are the arms of her Majesty and Prince Albert. The lower portion of the window is divided into eight compartments, with the rose, shamrock, and thistle, in lozenge divisions of each, of orange and straw-coloured glass. On this window is also emblazoned the garter and the motto of the order. The roof is beautifully grained to correspond with the ceiling over the entrance to the chapel. The royal closet is about 18 feet long and 13 feet in width, is furnished with three elbow chairs, and six or eight smaller chairs. In the centre of the chapel, suspended from the ceiling, is a massive Gothic gilt chandelier for eight lights, of exquisite workmanship. The pulpit is of wainscot oak, richly carved in Gothic, with an octagonal base and top. The lower portion consists of flying buttresses and carved pinnacles; the upper part, springing from the pedestal, contains fan tracery, divided into eight equal compartments. At the base

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and upper portion of the pulpit is a carved cornice, and at each angle of the lower cornice are figures of saints, &c. The reading-desk is of similar workmanship and design, and the communion-table is of carved wainscot. The windows at the back of the communion-table, and also on either side, are of stained glass of a dark orange colour. There are seven pews on the floor of the chapel, around the south, east, and west sides; three of which are for the members of the royal household, in attendance upon the Queen and Prince Albert, and the remaining four are for the royal domestics. These seven pews, the fronts of which are of Gothic carved wainscot, will afford sitting accommodation for between 50 and 60 per

sons.

For the use of the domestics in livery, six wainscot seats are placed on the floor of the chapel, facing the communion-table, affording room for upwards of 40 of the servants. The chapel is warmed by means of hot air, conveyed from the basement of the castle. The organ, which has been erected in a recess behind the screen on the north side of the chapel, was the favourite instrument of his Majesty George III. and was formerly in the private chapel at Buckingham House. It was built by Samuel Green, the celebrated organ-builder, about 1770, when it consisted of one row of keys, and but six stops. It has recently undergone considerable alterations and repairs, and it now contains 10 stops.

CAMBRIDGE CAMDEN SOCIETY.

Dec. 5. At a very full meeting, at which the President was in the chair, after receiving the usual report of the Committee, some beautiful Church plate was exhibited, executed from the designs of W. Butterfield, esq. from ancient models. These specimens of the revival of ancient art were much admired.

The Rev. Professor Willis explained the use and construction of the Cymograph, designed by him for more accurately obtaining the contours of mouldings, and also his plan for taking the groining of vaults and drawing them on paper.

The Rev. T. Myers, of Trinity college, detailed the efforts of the Yorkshire Architectural Society, in the restoration of the ancient stained glass in the churches of York, particularly in that of All Saints, and stated the cases in which success had attended the exertions of the Society to restore a better taste in Church architecture in that city.

The Rev. H. Goodwin, M.A. Fellow of Caius college, then read a paper on the Orientation of Churches, and explained