adopted that is law to this day. A stone of a strong, white aspect was used for raising the walls of a house to the first story. Upon these was erected a wooden skeleton of the remaining stories. The interspaces of this framework were built up with mortar or rough-cast, as required. Lisbon houses, built even now with certain modifications and improvements upon similar methods, have the reputation of being earthquake proof. It is certainly true that at various intervals they have successfully weathered many severe shocks.
The story of the great earthquake and the reconstruction period throws a new light on the Praça do Commercio and the lay-out of the lower town. The general style of architecture seen in the square, and in the high houses with dormer wdndows of the streets beyond, is known as the Pombaline. In going over the city it is surprising to note the number of public buildings, institutions, open spaces, quays and markets that owe their existence to the Marquis de Pombal. The finest monument in the city was due to his desire to raise one that would worthily transmit his name to posterity. To bronze and not to man he wished to entrust his fame.
The statue was to be erected to the King, and Pombal's portrait in a medallion placed somewhere upon the monument. No foreigner was to put his hand to the work. Bartholomeu da Costa was given the work to do after the model of another Portuguese artist named Joaquim Machado de Castro. The casting of the statue was finished in eight minutes, and so successfully that it was reckoned a triumph for Bartholomeu da Costa by opinions abroad as well as at home. He was awarded military honours for his success, and became in due time Brigadier-General, Governor of the Arsenal, and director of the iron and coal mines, a rare example, says a noted com-
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