twice as much as they ought to have had. The architecture of the palaces at Naples does not call for any particular remarks. It is true that they have large parts, and frequently exhibit a fine unbroken mass, which always has a magnificent effect; but the proportions are seldom very good, and the details almost always bad. These observations apply to the royal palace as well as to those of individuals. It stands in a square, and presents on the principal floor a continued range of twenty-one windows, on an unbroken front of 520 palms, or about 447 English feet; the height is 110 palms, or 94 feet. In all this the design is perfectly simple, except a little disarrangement in the centre, which is a defect of no great importance. Such an extent must have a noble effect. The architect was Domenico Fontana, and he opened the lower part into an arcade; but “in order to strengthen the building,” says Romanelli, “the alternate arches have since been filled up.” Whatever was the motive, the beauty of the building has suffered greatly. Attached to the palace is the great Theatre of San Carlo. Some degree of caprice seems allowable in the architecture of a modern theatre, at least it is usually found there, partly perhaps on account of the difficulty of adapting the usual arrangements to such a purpose. The front of the present building consists of an arcade below, and small columns above, with a large pier at each angle, and a very obtusely triangular summit. We may perhaps allow some merit to the general idea, but the faults are so numerous, that if I were to enumerate them, you would be at a loss to conceive how it could have any beauty. The Castello Nuovo was the residence of the kings of Naples, and is now connected with the palace, in order to form a refuge to the sovereign in case of any public disturbance. A triumphal arch within the first line of fortifications is deserving of attention, not so much for its own merit, which however is not contemptible, as for the history of the art. It was built by Pietro Martino, a Milanese, under Alphonsus the First, who died in 1458. I do not find the name of this architect in Milizia, but we may presume him contemporary with L. B. Alberti, who was born in 1398. The design is completely in the style called here _cinque cento_, and it may be considered as one of the largest and most elaborate productions of that period, as well as one of the earliest. It abounds with sculpture, some of which is very good, but as a piece of architecture, the whole is not pleasing.