Then follows the gravestone of Shakespeare himself, which seems to have been shortened of its original proportions in former repairs of the floor, and on which is the quaint inscription which has saved his grave from desecration.

It is scarcely to be supposed that Shakespeare composed these grim lines, or even gave directions to have them placed upon his grave, but they doubtless embodied the sentiments that he had been often heard to utter; and considering the general neglect in the conservation of tombs in churches, and especially how often gravestones and graves are disturbed aud broken up, to accommodate more recent corpses, when no friends of the parties dead remain near to prevent it, the pilgrim to the shrine of Shakespeare may well be thankful that such an inscription was in a prophetical spirit selected, even if, as Mr. Knight suggests, it was "the stonemason's invention," to prevent the desecration of his relics. In these careless times pestilence was often abroad, stalking about at mid-day, and if room for graves was wanting, the bones and skulls appertaining to the population of days gone by were with little or no feeling thrown into a damp vault, that existed near most church-yards in towns, called a charnel-house; and there was anciently one in Stratford church-yard, against the north wall of the chancel. When Ireland visited Stratford, he observed that this charnel-house contained "the greatest assemblage of human bones" that he ever saw. No doubt these were often thoughtlessly knocked about with little ceremony, and the idea of

"a Charnel-house

O'ercovered quite with dead men's rattling bones,"

was not very pleasing to Shakespeare's imagination, for he has made Hamlet remark, in the scene in " a churchyard," in that overwhelming tragedy-"Did these bones cost no more the breeding but to play at loggats with them?-mine ACHE TO THINK ON'T."

Next to Shakespeare's grave-stone is one commemmorating the resting-place of Thomas Nash, who married the daughter of Susanna, the wife of Dr. Hall; the succeeding one is that to the memory of Dr. Hall himself, and then follows the last, that of Susanna the favourite daughter of Shakespeare, (to whom he left all his real property,) as shown in the annexed plan of the stones and inscriptions, which must be interesting to all visitors to the tomb. Susanna died July 11th, 1649, having survived her husband Dr. Hall fourteen years.

Over these grave-stones, to save them as much as possible from the wear and tear of treading upon, matting is now placed, which is raised to afford inspection, when required,

It will be only necessary cursorily to allude to the other remarkable or prominent tombs of the church, for here everything sinks into subordination to the interest attaching to the great painter of life and death. On the north of the great east window, is a marble tomb and effigy of John Combe, only thought of now as connected with Shakespeare, and who certainly in his life-time bore a bad odour as a stern money lender, doubtless on good security, and ridiculing whose usurious deeds, some doggerel rhymes are attributed to Shakespeare. Mr. Halliwell has taken up the cudgels to defend Combe, who lived at Stratford College, a mansion since pulled down, and remarks that he left five pounds to Shakespeare, " and that as far as can be judged from his will, nothing is there to be found inconsistent with a character of perfect fairness and liberality." A niggardly fellow might, however, make a very good will, and a man who would not give a poor devil sixpence in his life-time, might, in contemplation of death, leave a hundred pounds to "poor young tradesmen" by his will, as Combe did, though characteristically enough, from him, they were to pay interest for it. Judging by his effigy now remaining, we should not have felt much dependance upon his generosity or "liberality" in a loan transaction!

Within the communion rails, under the north wall, and in front of Combe's monument, is what was once a highly enriched altar tomb, and supposed to be that of Thomas Balshall, D.D., who rebuilt the chancel as it appears at present, and died in 1491. This ornamented tomb, which appears to have once had figures upon it, in various groups, effigies of saints, and other decorations, has evidently been wilfully defaced. The stalls, or old oak misericords, for the members of the College, thickly covered with paint, yet remain against the walls. Under them are some singular quaint carvings.

With regard to modern monuments, these we leave for the topographer to record; and only glancing at the altar, with its compartments above, and the floor within the rails now entirely covered with highly glazed tiles, the effect at present rather too brilliant, and wanting the dimness of coloured "religious light" to make it quite complete, we retrace our steps to the nave. The visitor will, however, find a book in the vestry (the southern transept) where he if it so pleaseth him, may record his name for the curiosity of future generations.

At the east end of the north aisle of the nave, was anciently a chapel dedicated to the Virgin Mary,. To the altar was an ascent of three steps, still remaining, but this has been converted into a monumental chapel of the Clopton family, who formerly resided at Clopton, a manor in this parish from which they took their names. Of the tombs here placed together, one is altar-shaped, without figure or inscription, but is presumed to have been raised by Sir Hugh Clopton, the former benefactor of Stratford, and remembered by the long bridge built in his life-time; it so happened, however, that he was buried in London. Against the north wall of the chapel is another altar-tomb sustaining the recumbent figures in white marble of William Clopton, Esq., and Anne his wife, who died respectively in 1592 and 1596. The husband is represented clothed in armour, his hand reclining on his helmet, his sword and gauntlets lying by his side, and a lion at his feet. Over this tomb are several small figures of their children, with their names. These two monuments may have come under the attention of Shakespeare, as the last must have been erected in his life-time. On the east side of the same chapel is a costly but gaudy monument, representing full-length figures in painted robes, of George Carew, Earl of Totness and Baron Clopton, and Joice his countess, eldest daughter of the above William Clopton. The figures which (with a vain display of pomp which should have "taken physic" ere entering this last retreat of frail humanity) are coroneted, repose beneath an ornamented arch supported by Corinthian pillars gaily adorned with the splendors of heraldic insignia in gold and colours.

Arrived again at the old massive church door, as it opens, if in summer, the cool green avenue of limes at once reminds us of the "lime grove" about the cell of Prospero, though this is an addition long posterior to Shakespeare's day, and we walk under its ample shade to take a passing glance at the gray tombstones of olden date, many of which are time-worn slabs of massive aspect. No inscribed stone dates earlier than the seventeenth century.

Ere we leave the church-yard, its western front and lofty central window, beneath the embattlements and pinnacles on either side, merits attention, and immedi