But there are more—yet more of these delightful and deliberate violations of the terms on which competitors were to enter the lists—one vieing with another, not in producing the most excellently useful and economical structure for the purpose required, but the most perfect exhibition of the artist’s especial taste, “regardless of expense.” Yes, there are more of these deserving notice. One competitor—nay, three of them—propose that the entire building should be made of iron, domes and towers inclusive; another, that it shall be all made of glass, such as we might find in an Arabian Nights’ Tale. Monsieur Soyer, the mighty cook (No. 165), begins the synopsis of his design by proposing to take up, and remove the great marble arch from Buckingham Palace, as though it were a “trifle,” and serve it up for a grand entrance opposite the Prince of Wales’s Gate. Here, also, is a structure which arrests the attention even amidst the surrounding wonders, and appears to be several conservatories and libraries on a colossal scale of glass frame-work, delightfully intermingled with domes and turrets, and observatories, with here and there minarets and pagodas, of the delicious character presented by those fragile structures which make such a tempting figure on the festive board, standing erect among the dessert-plates. Yet, once more, behold the prodigal laying out of palace-gardens, not to speak of the ante-industrial palace itself (which reminds one of Thomson’s “Castle of Indolence”), gardens with alcoves and aviaries, and fountains, glass temples, green labyrinths, flower-beds and flower-stands, vases and _jets-d’eaux_, sculpture, shrubberies, shaded lovers’ walks, public promenades, with lords and ladies and princes and princesses, of all nations, sauntering about, and the clouds and sky of an Italian sunset lighting up and colouring the whole. For this, and similar _chateaux_, we are quite at a loss to conjecture the principle on which they present themselves on this occasion; but we have no doubt that they all belong to that munificent patron of art, and great landed proprietor, the Marquis of Carrabas.