of the stylobate or flight of steps, is a parallelogram, 195 ft. 4. by 78 ft. 10. The columns have twenty-four flutings,-Not a single column either of the outer peristyles, or of the vestibules is wanting, and the entablature is nearly perfect all around. The columns are 6 ft. 10 in diameter, and 28 ft. 11 in height, including the capital; those of the interior range are 4 ft. 8 diameter, and 19 ft. 9 in height. The cella was separated into three divisions by a double range of columns, two tiers in height; these were intended for the support of the roofs, which covered the lateral peristyles, leaving the centre division exposed to the air. All the lower columns are yet remaining, together with seven of the upper. The lateral walls of the cella have almost entirely disappeared. The stone used in this and the other buildings, is a stalactite, formed by a calcareous deposit from water, and brought from the mountain Alburnus. A thin coating of stucco was laid over the whole to fill up the interstices of this porous stone. Age has given it a deep tint of reddish brown, which harmonizes well with the sombre appearance of the surrounding country.

"Taking into view (says Forsyth,) the immemorial antiquity of these ruins, their astonishing preservation, their grandeur, their bold columnar elevation, at once massive and open, their severe simplicity of design; that simplicity in which art generally begins, and to which, after

a thousand revolutions of ornaments, it again returns; taking all, I say, into one view, I do not hesitate to call these the most impressive monuments that I ever beheld on earth.”

THE

HISTORY

OF THE

Celebrated Painting,

CALLED

"THE SCHOOL OF ATHENS,"

IN THE

PICTURE GALLERY AT OXFORD.

HISTORY, &c.

THIS painting is from the original in the Vatican, painted by Raphael.

The dimensions of the copy are, seven feet nine inches in breadth, by five feet eight in height.

If we may judge by Vasari's account of it in the life of Raphael, this picture was not understood. Vasari himself calls it the Agree ment of Theology with Philosophy, and of Astronomy with Theology; and, having mistaken the subject in general, the detail he has given of the parts is no less erroneous.

It is a loss to the world that Raphael did not leave us a commentary on his own great compositions, as it would have prevented many groundless conjectures, which rather perplex the spectator than give him any assistance.

The name of the Schools of Athens, although it does not give with precision a correct or complete idea of the intention of the painter, yet it directs the attention of the spectator to that road which leads to the full understanding of the picture.