neath a dunghill, where it lay until 1561, when it was restored to its former situation with much ceremony. At the same time the reputed bones of St. Fridiswida were removed from the silken bags in which they had lately reposed, and "were ordered to be mixed and interred in the same grave with those of Martyr's wife, to prevent the power of distinguishing them, should the age of superstition return. But whether these bones were deposited on the spot where Martyr's wife was first buried, or under what is now shewn as the monument of St. Fridiswida, seems doubtful."

Near to the shrine of St. Fridiswida is the rich monument of Lady Elizabeth Montacute*, who died in 1353, with her effigy in the costume of the time. Her dress, even down to the wrists, is enamelled with gold and the different colours expressive of nobility.

In the same range is the tomb of Guimond, the first prior, with his effigy in a recumbent posture, the feet resting on a lion. The robes of his dress have been richly coloured, and spotted with gold. He had been chaplain to King Henry I. and died in 1149.

No inscription remains on either of these monuments; but many eminent names of a more recent date stand recorded on various ontiguous tablets.

The ancient painted windows of Christ Church were chiefly removed when the internal alterations took place in 1630; but the new windows then placed in their room were much injured by the fanatics in the civil war. Some, however, were preserved; among which are three by Abraham Van Linge: the subjects, the Destruction of Sodom and Gomorrah; Christ disputing with the Doctors; and the Story of Jonah. In addition to these must be remarked a window in the north aisle, expressive of the delivery of St. Peter from Prison, executed by Isaac Oliver, at the age of eighty-four, and a portrait on glass, of Robert King,

the

A liberal benefactress to the priory. She presented the meadow on which the fine walks appertaining to Christ Church have been since formed.

the first Bishop of Oxford. This portrait was placed in its present situation (the window immediately over his monument) soon after the bishop's death, and was removed during the rage of the fanatical war. The colouring is extremely vivid and the whole piece finely executed.

The chapel in which Latin prayers are read opens into the eastern cloister. This noble room is believed to have been built in the reign of Henry III. and contains many estimable portraits. Choir service is performed in the cathedral * every day during term.

Few rooms are more impressively august than the Hall of Christ Church, which was entirely built under the direction of Wolsey. This grand refectory is 115 feet long, by 40 in width; and is fifty feet in height. The ceiling is of Irish oak, beautifully carved, with such occasional insertions of gilding as give alternate lustre and relief, while they do not detract from the sober majesty of the general effect. The windows are of intersected Gothic, and one, in a recess on the southern side, is among the finest specimens of that mode of architectural disposal. At the upper end of the hall is an ascent of three steps, and the whole flooring is composed of stone. The sides are of pannelled wainscot; but the great ornament of these consists in an extensive collection of portraits, among which are many that afford equal interest from subject and style of execution. The following appear to be the most striking an original half-length of Wolsey, with a perspective view of the hall introduced through a window in the corner of the picture. A fine whole length of Henry VIII. Queen Elizabeth, drawn with a slender waist, an immense hoop, and the sleeves of her dress thickly padded. The face is that of middle life, and is far from unpleasing. She has in her hand

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Spacious as is the church which Henry VIII. thought worthy to be constituted a cathedral, it was too contracted for the magnificent views of Wolsey; and he had, accordingly, begun to erect a new church, or chapel, on the north side of his quadrangle, the foundation of which may be now traced in the gardens attached to that division.

one of those fans of feathers which were constructed during her reign with so much cost and delicacy. This picture was presented by Lord Dartmouth, in whose family it had been long preserved; but the artist is not known. Compton, Bishop of London, by Sir Peter Lely; a fine portrait, the figure sedate, and the colouring chaste. Bishop Saunderson, an original, by Riley. Dr. Busby, his hand on a book, and a pupil in attendance. This is, perhaps, the most attractive portrait in the hall. The face possesses more of judgment than severity; the colouring is warm, and the whole picture replete with character and animation.

The roof of the stairway which leads to the hall is vaulted, and ornamented with bold and beautiful varieties of Gothic embellishment. This roof is supported by a single pillar, calculated to surprise, on account of its slender dimensions, rather than to add correspondent splendour to the effect of the whole.

Under the hall is constructed the common room, in which are several good portraits, and a bust of Dr. Busby, by Rysbach.

The building formed in Peckwater Square, for the original intention of a library alone, is now divided into two ranges, in the upper of which are reposited the numerous and valuable books belonging to the society; and in the lower is placed an extensive collection of pictures bequeathed to Christ Church by General Guise.

The part used as a library is 141 feet long; thirty feet wide; and thirty-seven feet high. On one side is a gallery, and over every class of books are symbols, in stucco, allusive to that peculiar branch of literature, well imagined, and beautifully executed. The ceiling, also, is richly ornamented with stucco work, and the recesses are adorned with an exquisite bust of Marcus Modius, a physician, now chiefly known by this sculptured semblance of his countenance, and with a statue of a female figure resting the hand on a boy's shoulder. This latter piece is likewise fine, and was brought from abroad by a late student of Christ Church. The books contained in this very splendid room are supposed to form one of the best collections in the kingdom; and the probable

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bable correctness of such a supposition must be allowed when we observe that among the contributors are to be named Burton, (author of the Anatomy of Melancholy;) Dean Aldrich, Bishop Fell, Dr. Mead, Charles Boyle, Earl of Orrery *, and Dr. Wake, Archbishop of Canterbury. The library is also rich in manuscripts, prints, and coins.

The whole ground-floor of the building is occupied by the paintings bequeathed to Christ Church, by Brigadier General Guise, in 1765. This extensive collection was formed by the general at an immense expense, and consists almost entirely of works by the ancient masters. So grand an assemblage of pictures deserves more attention than our limits will allow. warm from the pencil of Raphael, Guido, Titian, the Caracci, &c. are ranged on every side; but our notice of their claims on admiration must necessarily be confined to a very few subjects.

Pieces

The spacious division of building allotted to the reception of these paintings is formed into two rooms; and over the chief entrance is placed a bust of the liberal donor, by Bacon. Among the pictures in the apartment on the right are the following:Three Ladies studying Music, by Titian, the colouring beautiful, and the light thrown in with much felicity. A dying Magdalen, supported by Cherubs, by Domenichino. Dreadfully fine! Death is in every line of the expiring figure, and the alternate wonder and fresh-coloured playfulness expressed in the faces of the cherubs produce a striking contrast. A most ghastly Medusa's head, by Rubens, the character that of disgusting anile jocoseness, and the snakes appearing to hiss as they curl round the hideous temples. A Descent from the Cross, by Corregio. Rebecca at the Well, and Abraham's servant presenting her with bracelets, by Guido.

Over the door of the left hand room is placed a bust of the late Bishop of Durham, by Bacon. Among the many fine paintings

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His lordship's contribution consisted of ten thousand volumes. His noble son and successor pointedly regrets, in his Life of Swift, this alienation of the paternal library.

in this range are two portraits, by Titian, of a Venetian nobleman, and the great Duke D'Alva: the features of the latter possess all the marble frigidity to be expected from his character. A sophonisba, by Domenichino, the figures as large as life. The colouring of this piece is remarkably warm, and the expres sion fine. The Martyrdom of St. Laurence, by Tintoretto. This is a large picture, and some of the figures are eminently good, but the subject is not sufficiently dignified in all its bearings to allow of any resemblance of sublimity in general effect. The moment of action chosen by Tintoretto is that in which St. Lau rence is turned on the gridiron by the application of an instru ment to his thigh. Lest the spectator should fail to observe that the saint was gradually martyred, a small pair of bellows is introduced in the fore-ground. Our Saviour's Last Supper with his Disciples, by the same master, displays more taste and judgment. In this piece the candle-light tints are extremely well disposed. The Family of the Caracci, represented in a butcher's shop, by Annibal Caracci. This large and eccentric picture is replete with spirit, character, and fidelity. St. Elizabeth, with St. John, when a child, musing upon a cross made of reeds, by Lionardo di Vinci. The flesh and drapery fine; but the faces are perhaps deficient in that loveliness so necessary to the adornment of an exalted religious subject. A Madona, by Raphael, in his first manner. It is impossible to quit this collection without noticing a half-length portrait of General Guise, by Sir Joshua Reynolds. The colouring and expression are truly excellent.

The entrance-passage and stair-case of the library are enriched with many pieces of sculpture, among which are a statue of Locke, by Roubilliac, and busts of George I. and II. Dr. Trevor, Bishop of Durham; Dr. Freind; Archbishops Boulter and Robinson, and Dr. Frewen. The latter bust, by Roubilliac, is particularly fine. The dryness and wrinkles of extreme old age are happily expressed; the pupil of the eye is evidently deadened, and the sight grown dim.

VOL. XII.

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