least Mr. Robinson, "Art-referee in the Department of Science and Art," to whose exertions the Museum in a great measure owes its present high position, and under whose constant supervision these new courts are, said of them when they had been open a year, in a memorial which he laid before the Commission on the Royal Academy, no more glass and iron structures, such as the principal new buildings at South Kensington, should on any account be toleratedsuch buildings are in their very nature totally unfit for museums or galleries of art."

We added to our mention of the new courts, last year, that "the Department of Science and Art is trying its hand on the artistic decoration of the South Room :" it has been trying its hand there ever since, and as yet has made very little progress. Some of the decorative work that has recently been executed promises well, some -but the changes are so frequent that it will be best, as we said last year, to "refrain from criticising the effect till the whole is completed." The new Art-Training Schools-two ranges of class-rooms on different floors for the male and female students, with a lectureroom common to both-have just been opened. Though merely plain cubes, they are tolerably spacious, lofty, and fairly lighted, but painted of a most melancholy hue. The Department has evidently some peculiar notions on colour, as on some other things.

Nothing has been done towards solving the difficulties arising from want of room at the British Museum; and consequently the portico continues to be disfigured by the wretched sheds in which the marbles from Halicarnassus and Branchidæ are stowed away. These artistic treasures, obtained at so large a cost, have now been shut up there for five years, quite inaccessible to the general public, and only visible to the student upon special application and after an amount of trouble which few care to take. Whether additional buildings are to be constructed or not, it is time this state of things came to an end.

The inadequacy of the present National Gallery to serve at once as the repository of our national collections of pictures and the home of the Royal Academy will shortly compel the removal of one of them to a new building. The Royal Academy Commissioners, of whose proceedings an account is given elsewhere, recommend that the whole of the present building shall be given up to the Royal Academy (supposing that institution to be remodelled under a royal charter), and that a new National Gallery shall be erected, for the site of which they point out the advantages offered by the grounds of Burlington House. This suggestion appears, from a statement made to the House of Commons by the Commissioner of Works, to have the approval of Government, though he announced that no decision had as yet been arrived at."

The foundations of the new Government Offices are completed. The India Office is already some height above the ground and the character of the building is becoming apparent-not sufficiently so, however, for an opinion to be formed of its effect. The works are now being pushed forward with great vigour. For the erection of the Foreign Office the contract has been taken at 195,5737.

Of the distinguished architects invited to send in designs for the National Memorial to the Prince Consort seven responded to the

call. It was intended, as will be remembered, that there should be a Hall to be dedicated to meetings for scientific and artistic purposes, and a Memorial proper, likewise an architectural object, which should serve as the shrine for a statue of the Prince, but be adorned also with significant groups of sculpture. The designs of four of the competitors were classical in style, of one Italian, of one mediæval, whilst the other contributed alternative designs similar in general principle, but one of them mediæval, the other classic. In several of the non-selected designs there was much to admire; and some were so elaborate that it was impossible not to regret that so much thought and labour should have been barren of result. The design of Mr. G. G. Scott, R.A., the richest of all, was chosen. But its cost so far exceeded the sum subscribed that, even when that was supplemented by a parliamentary grant of 50,000l., it was found necessary to abandon, for the present at least, the Hall, and to confine attention to the Memorial. This being a work of such general interest, and of a character so novel, and likely to be a considerable time on hand on account of the magnificence of its decorative features, it will be well perhaps, in a work of reference like the present, to quote at length the essential parts of Mr. Scott's own description of his design. The purpose of the artist will be better understood from his own words than from any summary that can be given of them. After justifying his adoption of a mediæval style, by showing that it was in full accordance with the Prince's own sentiments respecting works of a monumental character, and a reference to "the most touching monuments ever erected in this country to a Royal Consort-the exquisite 'Eleanor Crosses' of which King Edward I. erected no less than fourteen to commemorate his beloved Queen," Mr. Scott goes on to say

"The great purpose of an architectural structure, as a part of the Memorial, is to protect and overshadow the statue of the Prince. This idea is the key-note of my design; and my next leading idea has been to give to this overshadowing structure the character of a vast shrine, enriching it with all the arts by which the character of preciousness can be imparted to an architectural design, and by which it can be made to express the value attached to the object which it protects. The idea, then, which I have worked out may be described as a colossal statue of the Prince placed beneath a vast and magnificent shrine or tabernacle, and surrounded by works of sculpture, illustrating those arts and sciences which he fostered, and the great undertakings which he originated.

"To go more into particulars: I have, in the first place, elevated the monument upon a lofty and wide-spreading pyramid of steps. From the upper platform rises a podium, or continuous pedestal, surrounded by sculpture in alto-rilievo, representing historical groups or series of the most eminent artists of all ages of the world; the four sides being devoted severally to painting, sculpture, architecture, and music. The figures are about 7 feet high, and would be treated something after the manner of Delaroche's 'Hemicycle des Beaux Arts.' This forms, as it were, the foundation of the monument, and upon it is placed the shrine or tabernacle already mentioned. This is supported at each of its angles by groups of four pillars of polished granite,

bearing the four main arches of the shrine. Each side is terminated by a gable, the tympanum of which will contain a large picture in mosaic, and its mouldings will be decorated with carving, or inlaid with mosaic work, enamel, and polished gem-like stones, thus carrying out the characteristics of a shrine.

"The intersecting roofs would be covered with scales of metal richly enamelled and gilded, and their crestings would be of gilt metal in rich leaf-work.

"The whole is crowned by a lofty spire of rich tabernacle work in partially gilt and enamelled metal, terminating in a cross, which would reach a height 150 feet above the surrounding ground.

"Beneath this vast canopy, and raised upon a lofty pedestal, would be the statue of the Prince. I have chosen the sitting posture as best conveying the idea of dignity befitting a royal personage. Besides the sculpture already described as surrounding the podium, there would be, on pedestals projecting from each of its angles, groups illustrating the Industrial Arts, &c., as engineering, manufactures, agriculture, and commerce. Above these, against the pillars, and beneath the feet of the gables, would be statues which might represent the greater sciences, and in the tabernacle work of the spire figures of angels and of the Christian virtues.

"The mosaic pictures in the tympana of the gables may either represent, in an ideal manner, the patronage of Art and Science by royalty, or might illustrate important incidents from the life of the Prince Consort.

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Finally, at the angles of the pyramid of steps from which the monument rises, are four large pedestals, bearing groups allegorically relating to the four quarters of the globe and their productions, referring indirectly to the International Exhibition.

"The general material for the monument must depend, in some degree, upon financial considerations. It ought, no doubt, to be of marble; but if this should be impracticable, one of the finest descriptions of stone must be made use of. If marble be used, the most durable variety is that known as the Sicilian."

If marble be deemed inexpedient for the sculpture, Mr. Scott thinks, besides the ordinary bronze, electrotype copper of different alloys might be used, "which retain their colour well, and by which several varieties of tint may be obtained; which with the aid of partial gilding would produce an excellent effect." The statue of the Prince should certainly be of marble.

"It will be seen," he continues," from the foregoing remarks, that it is my object to unite in the Memorial all, or as many as possible, of those decorative arts which the Prince Consort so anxiously fostered. Thus, besides sculpture, which is the primary form in which monumental art must express itself, and in addition to actual architecture and architectural carving, which must ever be its closest ally, I have largely availed myself of repoussé work in metal; of enamel; of inlaying in rich polished stones, such as crystals, cornelians, granite, porphyry, &c.; of pictures and other decorations in mosaic work, &c.; so as to render the Memorial rich with all the arts which can be united with architecture.

"The vaulted roof of the interior would be decorated with the enamel mosaic-work introduced from Venice by Dr. Salviati."

That a work conceived in such a spirit will, if properly carried out, be a magnificent addition to our monumental architecture there can be no doubt. It is usually spoken of as a kind of Eleanor Cross, and Mr. Scott, it will be noticed, had these structures in his mind when thinking over his design. But as ultimately presented, it has hardly any resemblance to any one of these crosses. The shrine itself is, as he describes it, a vast tabernacle-like canopy supported on four groups of quadruple columns. No doubt in working out the design many alterations will be made in the details, but the general form and character may be regarded as settled. In looking at his drawings there appeared to us to be some disproportion in the parts, producing in the whole a sense of incomplete harmony; and especially, and this seemed to be a common opinion among those who examined the design most carefully, the vast tabernacle appeared to bear with a crushing weight on the supporting columns, which certainly looked, on paper, inadequate to their load. But his drawings-as is sometimes the case may do but scant justice to the work. The details promise to be, as indeed his details almost always are, exquisite in taste and finish. Further, we will only add that though the motive, as an artist would call it, may have been taken from an Eleanor Cross, the style was not; but, like most of Mr. Scott's recent works, is rather foreign than English in character.

The Mausoleum at Frogmore, built to receive the remains of the Prince Consort, is a solid and stately edifice designed by Herr Gruner and Mr. A. J. Humbert. The style has been called Byzantine: it would be more correct, perhaps, to say that it has been based on Byzantine and Lombardic reminiscences. In plan it has the general form of a cross, with the arms of equal length, an entrance porch being added to the eastern arm. The extreme width of the exterior is 70 feet, the height to the top of the cross 80 feet. The interior has a central octagonal chamber 30 feet in diameter, roofed with a cupola 65 feet high, and corridors filling the spaces between the arms of the cross, and giving access to them. Beneath is a vaulted crypt. The granite sarcophagus will stand in the middle of the central chamber. Upon it will be placed a recumbent marble statue of the Prince by Marochetti, and at the angles bronze statues of angels kneeling. Externally, the lower part of the massive walls is of granite, the upper of Portland stone and granite. The interior walls are faced with coloured marbles and serpentine, and will be decorated with frescoes and mosaics.

As other personal and family memorials of the lamented Prince may be named here, the east window of St. George's Chapel and the restoration of Wolsey's Tomb-house, Windsor. The last, besides being restored in the usual acceptation of the term, will be richly decorated with mosaics by Salviati in the roof and painted glass in the windows: the cost will be about 25,000l. The great east window of St. George's Chapel is entirely new, stone framework as well as painted glass. It has fifteen lights of richly-traceried stonework. The glass is painted with most elaborate designs, embracing

several subjects from the Old and New Testaments, effigies of prophets, apostles, and saints, and in the lower part subjects of a more secular and personal bearing. West's once-famous painted window was removed to make way for this.

Throughout the provinces Albert Memorials have been undertaken, in some places carried out. The Manchester memorial, a statue of the Prince within a mediæval shrine, is making visible progress: it is to occupy the centre of a newly-formed open place, within a short distance of the Exchange, to be called Albert Square. Liverpool is to have an equestrian statue executed by Mr. Thorneycroft, who has commissions for repetitions of it for Halifax and Wolverhampton. Mr. Foley is said to be making progress with his statue for Birmingham; Mr. Woolner with his for Oxford. The county of Devon proposes to erect a memorial Museum and School of Art in Exeter. Suffolk is about to found an Albert College and School at Framlingham, for 300 boys: architect, Mr. F. Peck, of Maidstone. Surrey is erecting a County Hospital on the slope of the Hog's Back, near Guildford, which will hold fifty patients, and cost 11,0007.; and of which the designs and sanitary arrangements of the architect, Mr. Lowe, have received the formal approval of Miss Florence Nightingale. Hastings has completed a Gothic Clock-tower 65 feet high, designed by Mr. E. A. Heffer of Liverpool, which supplies also a drinkingfountain and serves as a sea-mark, whilst a statue of the Prince in a niche in the principal front marks its monumental purpose. Plymouth has an Albert Clock-tower 56 feet high, constructed of limestone, and crowned with a spire of ornamental iron-work. A village between Leeds and Halifax has been more ambitious. It has changed its name from Queenshead to Queensbury; and the owners of one of its great mills, Messrs. John Foster and Son, have provided it an Albert Memorial in the shape of an Eleanor Cross, 40 feet high, standing on a base 14 feet square, on each side of which is a drinking fountain of polished red granite, with taps for a domestic supply below. Within the arches, besides the statue of the Prince, are others representing the Arts, Literature, Science, Manufactures, Agriculture, &c., and over all is a crocketed canopy borne on shafts of polished granite the architect was Mr. E. Milnes, of Bradford. Abingdon has commissioned Mr. Gibbs of Oxford to execute a design which, in a modest way, ranges between the old Eleanor Cross and Mr. Scott's newer form. Many other of these memorials of more or less importance are in different stages of progress, and many painted windows have been erected or are in hand.

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The Memorial of the Great Exhibition of 1851 has been converted in a great measure into a memorial of the Prince, by his statue being placed on its summit and by the inscription on its sides. It is a commonplace mixture of reality and allegory; but the circumstance of its being erected in the grounds of the Horticultural Society happily relieves us from the necessity for entering into a critical notice of it here. Why what was announced as to be the great public memorial of an event of universal interest like the Exhibition of '51, and paid for by public subscription, should be relegated to the grounds of a select private society, inaccessible to the general public except by