The contest for the _grand prix_ occurs once a year, but no student is admitted as a candidate, unless he have gained a certain number of the monthly prizes. The method is nearly the same as in the monthly contests, but of course, the talents called into action are much greater than in the more frequent trials, and the effort necessary is likewise much greater. So also is the reward; for besides the prize, and the honour accompanying it, the successful candidate is sent to Rome to enter into a new career of knowledge and reputation. When in Italy, each student is expected to send home every year four drawings of some monument, chosen by himself. In the latter years of their residence they usually do much more; and some late very successful efforts have raised the standard so high, that the task which a man, who wishes to distinguish himself, has to execute in Italy, is now a very serious one. The best productions thus obtained are the Pantheon, by Achille le Clerc, and the Temple of Fortune, at Palestrina, by M. Huyot. The first, having probably observed several circumstances not previously noticed, was encouraged to undertake a building so well known, but in order to justify himself in this selection, he thought it necessary to enter into a minuteness and accuracy of detail, of which there had been no previous example. The result has amply justified his choice; and his researches, and the clear and perfect manner in which he has explained his views, have gained him a great deal of credit. He seems to have proved completely, that the portico was not added at a later time to a building which had been complete without it; but I will not enter into a particular account of this subject till I have seen the edifice itself. M. Huyot[17] has made a very elaborate performance on the Temple of Fortune, and if we may sometimes be inclined to doubt whether his authorities are sufficient for the magnificent restoration which he has made, and to reject the high antiquity which he assigns to some parts of it, yet we cannot deny him the praise of a diligent and accurate investigation of the existing remains, and of great sagacity and ingenuity in combining them into one regular and symmetrical design. In fact, in many of the recent productions of the French students, there is a patient accuracy of examination, and a perfection of drawing, which I have never met with in the architectural students of our own country, and which I was not prepared for here.