temple, the columns of which are said to have been brought from Canons, the once splendid and celebrated seat of the Duke of Chandos, near Edgware in Middlesex. The whole of these agreeable appendages to the College are inclosed by the old City wall, which is in perfect repair.

The HALL is 78 feet in length, 35 feet in breadth, and was 40 feet in height before the modern ceiling diminished its original and more beautiful proportions. Its first considerable alterations took place during the Wardenship of Dr. London, when the present wainscotting, which is in many parts curiously carved, was introduced, though, as traditionally reported, at the expense of Archbishop Wareham. The windows are decorated with the arms and devices of the Founder and various benefactors, as well as of eminent men who have received their education in the College. Over the screen is a picture of the Shepherds coming to Christ after his Nativity, of the Carracci school. It was presented to the College by the late Earl of Radnor, and was then placed over the altar in the Chapel; but on the late alterations in that building, it was transferred to the situation which it now occupies. On the wainscot at the upper end, are the arms of the Founder, impaled in those of the see of Winchester, &c. and of several other distinguished persons, with a compartment in which are carved the emblems

of the Crucifixion. Over these arms is the portrait of the Founder, supported by those of Archbishop Chichele, who had been a Fellow. of this society in the time of Wykeham, and afterwards Founder of All Souls' College; and William Waynflete, Master of Winchester College, successively Master and Provost of Eton College, and at length Bishop of Winchester and Founder of Magdalen College. There are also the portraits of Lake and Kenn, both Bishops of Bath and Wells; of. Bisse, Bishop of Hereford, and of the celebrated Dr. Lowth,' Bishop of London. The portrait of Bishop Lake is much admired.

The LIBRARY, which is on the east-side of the quadrangle, consists of two rooms on the second and third story, which are 70 feet long, and 22 broad: the interior of the upper part was, a few years ago, fitted up by Wyatt..

The CHAPEL, which traditionary history represents as originally possessing the utmost splendor and magnificence, still retains the first place among the sacred edifices of the University. In its primary state it may be supposed to have remained till the Reformation disrobed it of the sumptuous furniture, and despoiled it of the costly decorations with which popish superstition had enriched and adorned it. In 1636 a screen, curiously painted and gilt, was erected; over which was placed an organ by Dolham, (since improved by Green and Byfield) and represented by Wood as the best instru

ment of that kind in England in his day; the floor was also paved with black and white marble. It appears that in 1550, the high altar displayed a range of niches, which were filled up with stone and mortar when the images that had occupied them were taken away; it was then covered with plaster, on the removal of which, in 1695, some broken statues were discovered, and the whole refitted with various ornamental work in wood, gilding, and painting. In nearly this state the Chapel remained till 1789, when the decayed state of the roof induced the society to order a complete repair of the structure. The old wall at the east-end was -once more discovered; with some remains of its. beautiful niches and fret-work. They were altogether removed, and the wall restored under the direction of Mr. Wyatt, to as near a resemblance of its original appearance as his ge nius and taste could conjecture. It consists of fifty niches, disposed in four ranges over the whole east-end of the Chapel, ornamented with canopies, pinnacles, and tracery of the richest Gothic character. The Chapel was new roofed, the seats decorated with canopies, and the or-gan-loft raised over the entrance in a style to correspond with the altar. Over the commu-nion table, in the wall below the piches, are five compartments of marble sculpture, in alto-relievo, by Mr. Westmacott, representing the Salutation of the Virgin Mary, the Nativity of Christ, the Descent from the Cross, the Resur

rection and the Ascension. This sculpture attracts attention, by the beauty of the workmanship; the delicacy and richness displayed in the drapery of the figures are greatly admired. The altar table is composed of dove-coloured marble. The painted windows are of four sorts :-First, the windows of the ante-chapel, which, the great one excepted, are generally supposed to be as old as the Chapel itself, contain the portraits of Patriarchs, Prophets, Saints, Martyrs, &c. :-Secondly, the windows on the south-side of the Chapel, which were originally Flemish, done, as it is reported, from designs given by some of Rubens's scholars, and were purchased, by the society, of William Price, who repaired them in 1740; these also contain the figures of Saints, &c.:-Thirdly, the windows on the north-side, done by Mr. Peckitt, of York, in 1765, and 1774; the three nearest the screen contain, in the lower range, the chief persons recorded in the Old Testament, from Adam to Moses; in the upper, twelve of the Prophets: Mr. Rebecca gave the designs. The two other windows' display the figures of our Saviour, the Virgin Mary, and the twelve Apostles. The great west window consists of seven compartments in the lower range, each of them being about three feet wide, and twelve feet high. They contain seven allegorical figures, representing the four Cardinal and three Christian Virtues: viz. TEMPERANCE pouring water from a larger to a smaller vessel;

the bridle, her attribute, at her feet. FORTITUDE, in armour; her hand resting on a column, broken yet upright. A lion couches below her. FAITH standing firmly, bearing a cross; her eyes and hand raised up to heaven. CHARITY with her appropriate attributes. HOPE eagerly looking and springing towards heaven; near her is her attribute, the anchor. JUSTICE; in her left hand the steelyard; her right supports the sword. PRUDENCE viewing, as in a mirror, the actions of others, thereby to regulate her own; upon her right arm an arrow joined with a remora, a fish which fixes itself at the bottom of ships and retards their motion. These are the respective emblems of swiftness and slowness, Prudence being a medium between them. Above these, in a space ten feet wide and eighteen high, is represented the Nativity of Christ, a composition of thirteen human figures, besides quadrupeds. 1. The Virgin, her attention fixed on the Child. 2. A group of angels; the least of them is remarkable for the beauty of the face. 3. A company of shepherds. 4. St. Joseph, looking to the spectators and pointing to the child, as to the promised seed. 5. In the clouds above an angel contemplating the mystery of the cross; near him is a scroll on which is written the original Greek of “ Mysteries which the angels themselves desire to look into." In this composition the painter has taken for his light that which is supposed to proceed from the ody of the infant. The other parts consist of