This date is seven years after the Earl's decease, and ten after that of Mary Stuart; the E.S. is a monogram, with the S inside the E. It will be observed that this date FIG. 5.--FROM MARY QUEEN OF SCOTS' BEDROOM. there is the well-designed and carved arms of the unfortunate queen. A copy of it is given here (Fig. 6); we need not describe it ART PAR LA GRACE - DIEV · ROYNE DESCOSS DOVARIERE DE FRA MARIE- STEWART FAR-LA FIG. 6.-LUNETTE FROM MARY QUEEN OF SCOTS' BEDROOM. is seven years after Ford's date of beginning to build the hall, i.e., 1590, and twenty-one years after that (1576) given by Cottingham. We incline to think it favours the date given by the former. Indeed, it almost seems that this inscription indicates the final completion, and that the Countess concluded that without the above reflection all her labour was but vanity. We have next a date on the inner side of the door of the bedroom called after Mary Queen of Scots. It is prettily stencilled. It is prettily stencilled on the oak as here shown, 1599 (Fig. 5), which is two years later than that last mentioned, and twelve years after Mary's further than to say it is painted in proper heraldic_colours. Now to return to the dates. There are two more on a handsome bed in the blue room, into the rich silk hangings of which the letters M. S. are worked with the pattern upon them. The two shields and the dates are taken from the originals embroidered at the head of the bed (Figs. 7 and 8). The arms worked on Fig. 7 are those of William, the second Earl of Devonshire, who died in London, June 20, 1628, and was deposited in the family vault at Derby on July 11 following. The arms impaled on the same shield are those of his wife, Christina Bruce, of Kinloss, a descendant of the kings of Scotland. She died January 21, 1675, in her eightieth year, and was interred in the same place on February 18,* together with her son Charles, who was slain in memorate; and the monogram W.S.D., being the initials of William Spencer, sixth duke, in whose time these restorations were made, appears to corroborate this opinion. The arms on Fig. 8 are the family arms, viz., 1 and 4, Cavendish; 3, Cork and Orrery; 4, Clifford. Duke William died at Hardwick in 1858, and was buried in the churchyard. at Edensor, the family vault at Derby having been permanently closed since 1848. There is a fine statue of Mary Stuart by Westmacott in the entrance hall, on the pedestal of which are the arms and inscription following. The arms are finely executed in relief on a bronze shield, surmounted by a crown. The shield is in four grand quarters, which are subdivided as follows: The 1st FIG. 7.-ARMS OF THE SEVENTH DUKE AND CHRISTINA BRUCE, HIS WIFE. battle near Gainsborough, and whose remains had been lying at Newark until that time. This was done at his mother's request, so they now rest together. If we compare these dates with those on the needlework, 1629 must be intended for the time of Earl William's decease, which took place in 1628, so there is an error in the date. The initial C must be intended for Charles, and the D for Devonshire. This error doubtless arose when the restoration of much of the needlework was made, and which, we take it, the second date, 1852, was intended to com There is a full account of all the interments given in Chronicles of All Saints', Derby, by Messrs. Cox and Hope since the time of the Countess of Shrewsbury, who had the vault made, and a fine monument erected in her lifetime. 18152 FIG. 8.-THE CAVENDISH FAMILY ARMS. quarterly, and 4, three fleurs de lis for France, 2 and 3, a dolphin embowed for Dauphin; 2nd quarterly, 1 and 4, Scotland; 2nd and 3rd quarterly, 1 and 4, France, 2 and 3, England. In pretence, on the FIG. 9.-EMBROIDERED BED IN MARY QUEEN OF SCOTS' ROOM. the picture gallery has the date upon it, 1478. The pieces are very long, reaching from the frieze to the floor, the preponderating colour being blue, so the effect is pleasing, but most of it is hidden by the large collection of family and associated historic portraits. However, the tout ensemble is delightful. We may here remark that the height of this room is 26 feet, and the height of the giant's chamber in the "Old Hall" is 24 feet 6 inches. Thus it appears likely that this a highly interesting piece in a recess on the lobby of the principal stairs, of which neither the subject nor the date is known. It appears to represent some scenes from the life of an ancient king. There are three scenes, divided by pillars and arches, and the centre compartment represents an aged monarch who is delivering his crown and sceptre to a young man who stands in front of the throne. On each side are other subjects; they appear to represent miracles, which would seem to have been wrought by the young man, who is receiving the crown and sceptre from the old king. Several persons have evidently been cured of lameness, as they are resigning their crutches as of no further use. It is most beautiful, and gives exactly the appearance of an enlarged miniature painting, such as one sees in old manuscripts, of which there are so many fine examples in the Chatsworth Library. It would be interesting to find the key to this picture. We have now given all the dates in the hall as far as we know. They are worth preserving, showing as they do definitely when some of the things on which they are found were executed, and thus helping to fix the time when the house was built and fitted for its occupants. We shall here leave the question of dates. We have now a number of interesting things to bring before the reader, and first is (Fig. 9) a drawing of the bed in the pleasant little room called "Mary Queen of Scots' Bedroom," and from the windows of which a fine view of the old ruins may be seen. The hangings of the bed are of black velvet, to which the beautiful embroideries have been applied. There is an advantage in this mode, because they can all be taken off and mended and remounted from time to time. The flowers and other devices are worked upon canvas with silk of bright colours, and are stuffed at the back with tow or something of the kind, which throws up the work into relief, producing a rich and charming effect. Fig. 10 is one of a set of carved chairs formerly in the same room, but now at Chatsworth. This particular one was pointed out as Mary Stuart's chair. They are all alike, so there could be no real reason for the distinction given to this. The seats of all these chairs were beautifully embroidered in modern needlework by the ladies whose names are written on labels on the backs. This was done in the time of the sixth duke, by whom also the needlework on the bed and other hangings was renovated and restored. There is in the State-room a good deal more of the same kind of appliqué work seen on the bed, on the seats and backs of a number of chairs, and also a canopy of state made of olive-green velvet. The VOL. XXXIII. FIG. 10.-CHAIR, CALLED MARY QUEEN OF SCOTS'. monograms, and also a shield with the arms of Cavendish and Hardwick. But the finest thing of the kind, which we believe formerly hung in the State-room, where that first mentioned now is, but which was removed to Chatsworth some time after 1839-when Ford writes of it as still at Hardwick, together with its chair and stools of state-is what we here represent (Fig. 11) than which there is probably no finer thing of the kind in existence. Our small drawing will show what an enormous amount of work there is in it. The arms at the back are those of Cavendish, impaling Bruce, of Elgin, already described. On the underside of the top, in the centre, there is embroidered a lady with a gentleman on each side of her, under a canopy of clouds and stars. A welldesigned border surrounds this subject. This room also contained, in a spacious recess, a finely-embroidered bed of crimson velvet and gold and silver tissue-a very splendid thing. It has several times been figured by Shaw and others, together with two fine chairs of the same suite, which are still there, but M |