[16] In after years Mr. Barry published the results of his observations in an article in the ‘Architectural Dictionary’ on Baalbec. It describes the ruins with great minuteness, and is an excellent specimen of his accuracy of observation and clearness of description. It speaks of the three Temples as having great magnificence and “exuberance of decoration,” notices the “breaking of the entablature over each projecting columnar pier,” as producing, especially in the circular temple, “great movement in the skyline of the building, and a very picturesque effect,” and criticizes the style of decoration as showing much imagination and power. The description was written some thirty-five years after his visit, but it seemed as though drawn up on the spot.
[17] The Bourbon régime was detested, and its wretchedness aggravated by the recollections of English rule; why England did not keep the island the Sicilians could not conceive.
[18] Here they saw a famous telescope of Ramsden’s, as to which they were told that, “if it should be injured there was no one in the whole island who could repair it.”
[19] From this point, almost to the end of his career, much of this memoir is based on MS. notes supplied by Mr. Wolfe.
[20] MS. notes, W.
[21] He adds, “The Egyptians, who made such use of colossal figures, being fully aware of their tendency to diminish the apparent size of the building, always placed at their feet other figures of the natural size, to give the true scale.”
[22] It ought to be known that fountains, not unlike these in design, and not much inferior in magnificence, would, if means had permitted, have been made in Trafalgar Square.
[23] In his only design for a grand portico (that for the Town-hall at Birmingham) this principle was fully carried out.
[24] At Vicenza, as many of Palladio’s works were scattered about in out-of-the-way places in the neighbourhood, he hired a crazy gig, and without a guide, in spite of bad roads and worse information, he managed to hunt out every one. At the (so-called) “House of Palladio” there was some foliage which he wished to sketch by artificial light; he got ladders and torches, and proceeded with his work till he was stopped by the police.
[25] This was a point which often struck him in many cases of restoration or new buildings where colour and gilding were only partially employed. He insisted that in this partial and incomplete use lay the real cause of gaudiness or tawdry effect. Of all the new buildings at Munich, the one which he admired must was the Royal Chapel, because in it the decoration was thoroughly and perfectly carried out.