the few instances given; and indeed, we may say that there are scarcely two façades where the measurements exactly correspond[12]. There were, however, very few instances in which the established laws of proportion, so far as propriety and apparent security are concerned, were in any way materially violated, (at least, we may say, not in our opinion;) and the eye is seldom offended by an appearance either of weakness or clumsiness in the columns, or of heaviness or insignificance in their entablatures. There is at the same time a good deal of variety in the disposition of the interiors, and the workmanship is usually very good, and occasionally, indeed very frequently, admirable. In several of the excavated tombs we discovered remains of painting, representing historical, allegorical, and pastoral subjects, executed in the manner of those of Herculaneum and Pompeii, some of which were by no means inferior, when perfect, to the best compositions which have come down to us of those cities. In one of the chambers, which we shall hereafter describe, we found a suite of what appear to be allegorical subjects, executed with great freedom of pencil and still exhibiting uncommon richness of colour. The composition and design of these groups display at the same time great knowledge of the art, and do credit to the classic taste and good feeling of the painter. It appears extremely probable that all the excavated tombs were originally adorned with paintings in body colour representing either compositions of figures or of animals, or at any rate devices and patterns. We ascertained very clearly that the different members of the architecture have also in many instances been coloured; and these examples may be adduced in further confirmation of what has been inferred from the recent discoveries at Athens—that the Greeks (like the Egyptians) were in the habit of painting their buildings; thus destroying the simplicity and sullying the modest hue of their Parian and Pentelic marbles! We do not allude to the representation of figures or compositions, which might rather, perhaps, be considered ornamental than otherwise; but to the actual disfigurement of the several members of the architecture by covering them with strong and gaudy colours; a practice as revolting to good taste and propriety as that of dressing the Apollo (if we may suppose such profanation) in a gold-laced coat and waistcoat; or the Venus of Praxiteles in stiff stays and petticoats. We are sorry to observe that the practice we allude to does not appear to be the result of any occasional caprice or fancy, but of a generally established system; for the colours of the several parts do not seem to have materially varied in any two instances with which we are acquainted. The same colours are used for the same members of the architecture in so many of the tombs at Cyrene, that we can scarcely doubt that one particular colour was appropriated