a small square of marble applied to close each perforation, making them into coffers. At the top of the frieze, and at the corresponding height of the wall of the cell, was a flat band, on which was painted a Greek fret, and some mouldings ornamented with leaves; one of the displaced beams has flowers in this part; I believe it is one which has belonged to the ceiling of the pronaos, and not to that of the peristyle; but all these, you well understand, are regular architectural leaves and flowers, not copies of natural ones. The mouldings in the coffers are painted with eggs and leaves, and in the soffite of each coffer was a star, which appears to have been of gold on a blue ground. There was no carving to any of the mouldings. This description would nearly apply to all the temples of the Grecian Doric order. I do not know how the colouring has been managed in the other orders. In England, we colour the walls and leave the ceilings white; the Greeks on the contrary seem to have coloured the ceiling and left the walls white; and still in their houses, we may see whitewashed plaster walls, and painted, wooden ceilings. Whether painted or carved, there is a marked difference between the ornamental style of the Greeks and Romans. The former made their ornaments much smaller in proportion to the building than the latter, and there is a degree of simplicity and elegance of design, and a neatness and delicacy of execution in Greek buildings, which you would seek for in vain in Italy; while on the other hand, in the Roman edifices, there is a full and rich magnificence, which is not to be found in those of Greece. The beauty of both is, that the same feeling is observed throughout, and that in each building, all the parts are in perfect harmony. While in modern structures it frequently happens that one beauty is copied from one ancient building, and another from another, and their union only produces disgust. This difference of character was preserved, though perhaps in a less degree, even to the latest times of Grecian art; and at Rome, there are one or two buildings which exhibit indications of Greek taste, and have been supposed on that account to be the production of Greek artists. The capitals of the temple of Theseus (if I may venture to find any fault in so perfect a design) are rather flat: the overhanging of the architrave, a common feature in this order, does not displease, but the advance of the fillet beyond the triglyphs is offensive.