In the external design Sir Charles adopted (what was unusual with him) an engaged order with unbroken entablature. In regard to the design generally, it may be doubted whether the house is of sufficient size to justify the use of an order of two stories, which, as seen from a distance, gives some impression of a want of breadth in the design. But, bearing in mind the circumstances alluded to above, we may conclude with some probability, that Sir Charles contemplated the enlargement of the design, by carrying up and rendering prominent the low side buildings, containing the dining-room and the private apartments. Such an addition would exemplify a method of treatment of which he was fond, viz., the employment of a central mass with two slightly elevated angles, and would certainly add greatly to the effect of the garden-front. The house, however, as it stands, may claim attention on its own merits. It was one of his latest Italian buildings, though showing much of the simplicity of his earlier designs. TRAFALGAR SQUARE.--Of all Sir C. Barry’s works, the one which is generally considered as least successful was the laying out of Trafalgar Square. On this subject he was consulted by the Government in 1840, and his chief idea in the arrangements, which he suggested, was to improve the effect of the National Gallery. A plan was already under consideration, which contemplated the raising the whole square to the level of the pavement in front of the new building, and finishing it with a terrace and balustrade towards Cockspur Street. To this he had a strong objection. In common with the world at large, he considered the National Gallery to be already greatly deficient in importance and unworthy of its magnificent site. Such a terrace as was proposed, seen in the foreground on approaching from Whitehall, would throw it back into utter insignificance. He advised, therefore, that the level of the square should be kept down to that of Cockspur Street, instead of being raised to that of the base of the building, and the terrace thrown back so as to make it appear a part of the building, thus increasing instead of diminishing its height. This plan was adopted, but greatly injured by the erection of the Nelson Column, against which Mr. Barry protested in vain. Not only did it cut up the building, but it interfered with a grand flight of steps, which he contemplated in the centre of his terrace, of the width of the whole portico of the gallery, and appearing from a distance to be a part of it. Its own design would be no compensation: for to the use of columns, as pedestals for statues, he objected on principle. He would have had the Nelson and Wellington Monuments (treated in a different style as grand designs in sculpture) placed on either side in the position of the present fountains. When this proved to be impossible, he introduced the fountains as a last resource. He intended them to be far larger; he