extraordinary; and to be the more remarked when we turn to the rebuilt portion, which seems narrow, over-grown, too tall for its width, and generally dismal. No one looking at St. Paul’s, Covent Garden--this “Barn Church”--would believe that it is the most complete specimen of the Tuscan order of architecture known, for no ancient building of the kind exists in Italy or elsewhere. The extraordinary depth of its porch, the projection of its eaves, and the general rudeness and simplicity of its details have always obtained praise. Ralph, in the last century, declared it to be “one of the most perfect pieces of architecture that the art of man can produce.” Walpole, however, pronounced it to be a complete failure. It must be confessed it looks ungainly enough. The truth is, as designed by Inigo, and in its original state, it was a finely-conceived structure. [Illustration: COVENT GARDEN.] The architect wished to present a purely Doric building; though some maintained it was of a “barn-like order,” the pediment and pillars are impressive from their boldness and deep shadows. It has lately undergone an odd process of restoration, or rather transformation. The whole of the stone casing has been removed, and a flaming brick one substituted. Few edifices have been more vilified than this; and it must be confessed it is ugly enough. But it has been sadly mauled and outraged. The original building was burned, and the present one is a sort of replica with alterations. Passing by it, I have paused again and again, seeking to discover what was the cause of the apparent failure, and what a man of such eminence could have had in view in conceiving so bald, rude even, and unattractive a building. At last I discovered the secret. It was not he--as might be expected--but the fires, and what was as bad as the fires, the restorers and alterers, that were responsible. It should be remembered, too, that this is the _back_ of his building, the front being really stately and imposing enough, could there be a fair open view of it obtained. This back presented a deeply-embayed porch, the foot-way running in front; but to gain space for the market, arches were cut in the flanking walls, and the foot passengers were made to pass through the porch. There was the secret. The walls being continued to the line of pillars, a shadowy depth or recess was gained, in keeping with the heavy cornice, and so much was added to the length of the church. In old prints we can see this effect. The pathway ran _in front_ of the pillars, instead of behind them, as is now the case. In short, it was then a porch instead of a colonnade, which it is now. This shows how a mere touch, as it were, will destroy the whole character of a work. Further, the whole used to be garnished with some very piquant lanterns, vanes, sun-dials, etc., which imparted a lightness and finish. The restorers have not thought fit to replace these. The church and its