and lastly, the tomb of the monarch himself, with its metal statues and casts in alto-relievo, executed by Pietro Torrigiano, or "Peter Torrasany, of the city of Florence, payntour," which cost 1500 pounds and six years to execute. "The brazen inclosure of Henry the Seventh's tomb," observes Malcolm, "would, with a very trifling alteration, form an outside plan for a magnificent palace in the Gothic style. The double range of windows, terminated by a projecting arched entrance, the frieze of quatrefoils and the battlements, are all suited to such a building, and the portal would be an exquisite window for the hall, a little shortened." On the tomb, one of the stateliest and daintiest in Europe," said Lord Bacon, are the effigies, supposed to be likenesses, of Henry and his Queen Elizabeth, with hands raised to Heaven for

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mercy. And in the sides and both ends of our said towmbe we wol tabernacles bee graven, and the same to be filled with ymages, specially of our said Avouries (or Patron Saints) of coper and gilte." "The architecture of the tomb," says Flaxman, "was a mixture of Roman arches and decoration, very different from the arches of the chapel, which are all pointed; the figures of the tomb have a better proportion and drawing in the naked than those of the chapel; but the figures of the chapel are very superior in natural simplicity and grandeur of character and drapery.” In Henry the Seventh's will, it was expressly provided that "the walles, doores, windows, archies, and vaults and ymagies, of the same, of our said chapell, within and without, be painted, garnisshed and adorned with our armes, bagies, cognoisaunts and other convenient painteng, in so goodly and riche manner as suche a werk requireth, and as to a King's werk apperteigneth:"-" that the windowes of our said chapell be glased with stores (stories?), ymagies, armes, bagies, and cognoisaunts." And so glorious a specimen must the Painted Glass

have been, that a contract was made in the time of Henry the Eighth to complete the windows of King's College Chapel, Cambridge, "with good, clene, sure and perfyte glasse, and oryent colors and imagery of the story of the old lawe and of the new lawe, after the forme, maner, goodeness, curiousytie and clenelynes, in every poynt of the glasse windowes of the Kynge's new Chapell at Westminster." The only remnant of the old glass is a figure called that of Henry the Seventh, in the east window. The crucifixion, in painted glass, now above the altar in St. Margaret's Church, was executed under orders of the magistrates of Dort in Holland, as a present for Henry the Seventh, to be placed in his chapel, but as he died before it was finished, it never reached the station for which it was originally designed.

INSTALLATION OF THE KNIGHTS OF THE BATH.

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F man could purchase salvation by multitude of masses, Henry the Seventh was he. Ten thousand were appointed in his will to be said "for the remission of his sins and the weal of his soul," and were parcelled out in numbers:-1,500 to the honour of the Trinity; 2,500 to the five wounds of Christ; 2,500 to the five joys of our Lady; 450 to the nine orders of Angels; 150 to the Patriarchs; 600 to the twelve Apostles; and 2,300 to All Saints. His funeral solemnities were directed to be performed with a "special respect and consideration to the laude and praising of God, the welth of our Soule, and somewhat to our Dignitie Roial, eviteing alwaies dampnable Pompe and outeragious superfluities." The King and the Convent covenanted for the performance of an impossible thing when they agreed "to have thre chauntery monks, perpetually, while the world shall endure, to say daily masse, divine service" for Henry's salvation. The minutest particulars of the service, even to the 100 wax tapers, "of the weight of 12 lb., and every of them to be of the lengtht of 9 fote," were drawn up and registered in the indentures already spoken of in a previous page.

The Installation of the Knights of the Bath takes place in this chapel: the last occurred in 1812. The banners of the knights are suspended above the line of sculptured angels. The effect of them is pompous and grand, but they very much conceal the sculpture above, as well as the architecture of the chapel and the general views. No one can pretend to prefer these banners, which any sign-painter could design, and sempstress execute, to the statues they hide-very models of sculpture--in perfect unison with the architecture-and the work too, most likely, of English artists. Why, then, suffer them to be thus

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hidden? Might not the Council of the Royal Academy petition the Dean and Chapter for their removal? If their presence is indispensable, could they not be hung a few feet lower, and so as to allow the statues to be seen to more advantage?

The Building of the Chapel

occupied about fourteen years. To make room for it, the Ladye Chapel, founded by Henry the Third, about 1220; St. Erasmus' Chapel, built by Elizabeth Woodville, Edward the Fourth's queen; and the White Rose Tavern, were taken down. Holinshed thus chronicles its beginning and cost; An. Reg. 18, 1503: “In this eighteenth year, the twentie-fourth daie of Januarie, a quarter of an houre afore three of the clocke, at after noone of the same daie, the first stone of our ladie chapell, within the Monasterie of Westminster, was laid, by the hands of John Islip, Abbat of the same Monastery; Sir Reginald Braie, Knight of the Garter; Doctor Barnes, Maister of the Rolles; Doctor Wall, Chapleine to the King's Majestie; Maister Hugh Oldham, Chapleine to the Countess of Darbie and Richmond, the King's mother; Sir Edmund Stanhope, Knight; and diuerse others. Upon the same stone was this scripture ingraven: Illustrissimus Henricus Septimus Rex Angliæ et Francia, et Dominus Hiberniæ, posuit hanc petram, in honore beatæ Virginis Mariæ, 24 die Januarij, anno Domini 1502; et anno dicti regis Henrici septimi decimo octauo.' The charges whereof amounted (as some report, upon credible information, as they say) to fourteene thousand pounds." The merit of its design is ascribed to various persons; by some to Bishop Fox; by others to Sir Reginald Braye; to Alcocke, Bishop of Ely; and to the Prior of St. Bartholomew's, who is called "Master of the works of our said Chapel," in Henry the Seventh's will. The whole of the exterior was restored between the years 1807 to 1822. The cost was

42,0281., and defrayed by public grants. Either through some defect in the stone, or in the working of it, decay is already beginning, and fragments from the canopies are constantly peeling off; so that the modern work in fifty years will probably be as ruinous as the original fabric was after three centuries.

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OW barbarously parts of the sculptures have been cut away, to make room for modern monuments! The nondescript tomb of George Villiers, first Duke of Buckingham (No. 305, Appendix), who was assassinated by Felton in 1628, at Portsmouth, has displaced far more picturesque things in the first chapel on the north side: yet, the sentiment of the kneeling children is touching. The other monuments whose presence is most impertinent, and absence desirable, are those of the Duke of Buckinghamshire (No. 306, Appendix), one "who thought that the poetic laurel graced the ducal coronet;" of the first Duke of Albemarle (No. 313); of the Marquess of Halifax (No. 314). Mr. Hope instances the monuments of Queen Elizabeth (No. 316), and her rival, Mary Queen of Scotland (No. 310), as specimens of the "cinque cento" style. They spoil the effect of the roofs of the aisles. If we may venture to name the two finest works of sculpturesque art here, we should specify the recumbent figures of the Countess of Richmond (No. 311), and of the Duke of Montpensier (No. 307). But we must close our remarks on this wonderful chapel and its contents, which are never examined without increased astonishment. The direction of the Gothic lines throughout the north side of the Ambulatory, or

Northern Area,

would be unbroken from Robsart's tomb to Islip's chapel, and thence even to the end of the nave aisle, but for the