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    bery in front would kill the / National Gallery , outright , and would injure the church ; the "best part of which is its portico . The buildings round about are not of the finest ,

    but they are not the worst , and altogether form a more tolerable collection than any other open space in London ,

    Two objections have been tjrged : one , that nursery maids would be apt to perambulate the space , unrestricted by square-keys : and little boys

    would play at marbles and hoop . We can perceive nothing very frightful to the paternal authorities in this result . The other is , that it

    would afford a ready area for public riots . Now the London public do not wait for open squares to riot in if the motives to riot are at hand ; and indeed it has been found that

    streets are more convenient fortresses for unorganised crowds . An open square would therefore rather favour the authorities and regular troops , in cases of civil contest . If it were objected that

    Carriages and horses would cut up the ground , if unpaved , or endanger the passengers , if paved , that difficulty might easily be obviated by raising ilie whole of the open part now cut off from the road

    about a foot or more at the * $ ge ; for posts and chains would restrict it almost entirel y to loungers .

    * Arcades not unfrequently surround piazza ; and it is probable that the . architect of the Covent Garden piazza * meant to apply the term to the square and that the public ignorontly usedtiesynecdoche ,

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    Thus we might have a pros per piazza in Lpndon > and learn to call the arcades in Covent Garden by a more appropriate name ; and the Londoner would become

    familiar with one of the finest and cheerfullest sights in the world , a large open space , set round with fine houses , and traversed by human beings , singly

    and in groupes , lounging , walking , running , crossing each others paths , in all different dresses ; seen too at different distances , on horseback , in carriages , or afoot .

    It would be most appropriately situated in front of the National Academy of painting . A freedom of design is the great want in the English school ; and here the

    artist might have a lesson constantly before him , in the various groupes , the varied action , seen at all possible varieties of distance and points

    of view . The pictures of continental designers , especially of those in the South , from Michelangelo to Callot , prove the utility of a familiar lesson of the kind .

    What an opportunity , too , to revive the Cross that anciently stood there , a monument of conjugal affection , the most received of all the virtues with

    us , and in the case of Eleanor worthily exemplified . Moreover those crosses were beautifully designed , and form a charming object at a meeting

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• Citation
  • Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), Oct. 1, 1837, page 242, in the Nineteenth-Century Serials Edition (2008; 2018) ncse-os.kdl.kcl.ac.uk/periodicals/mruc/issues/vm2-ncseproduct1836/page/18/