FACTURES. ART MANU- handle. With a Parian handle, 12s., and 15s. etched. Manufactured by J. Rodgers and Sons, Sheffield. Society of Arts Exhibition, 1848. S. K. M. A.D. 1846-7. Cheese Knife. With carved Wood handle, 175.; Ivory handle, 275. BUTTER KNIFE. With carved Wood handle and Plated blade, 205. BUTTER DISH. China, 215. In carved Wood, with lining of Glass or With carved Wood border, 42s., and upwards. PAPIER MACHÉ. WINE TRAY, in Papier Maché, on a new principle, which especially prevents the decanters from shifting among the glasses; designed by R. Redgrave, A.R.A., made by Jennens and Bettridge, price, without figures, 50s., with figures, and inlaid mother-of-pearl, at various prices. S. K. M. "Castles in the Air," DOOR FINGER PLATES, in Papier Maché; designed by J. Morgan, and executed by Messrs. Jennens and Bettridge. PAPIER MACHÉ CLOCK CASE, at various prices, designed by J. Bell; manufactured by Jennens and Bettridge. PAPER HANGINGS AND DECORATIONS. A PAPER expressly to hang pictures on, by R. Redgrave, A.R.A., made by W. B. Simpson, 345, Strand. S. K. M. Catherine Douglas, or "Loyalty," the first of a Series of PAPER HANGINGS. The present subject is intended to decorate an Entrance Hall, and is the centre of three compartments, the first representing the Conspirators at the door, the second Catherine Douglas, the third the Queen protecting the King. After the Fresco exhibited in Westminster Hall, by R. Redgrave, A.R.A.; made by W. B. Simpson, Strand, London. "Unattended even by a body guard, and confiding in the love of his subjects, James the First of Scotland was residing within the walls of the Carthusian monastery at Scone, which he had founded and endowed. Graham of Strathearn seized the occasion, and brought down a party at night to the neighbourhood. Seconded by traitors within, he gained possession of the gates and interior passages. The King's first intimation was from his cupbearer, William Stratton, who, on leaving the chamber in which the King and Queen were at supper, found the passage crowded with armed men, who answered his cry of alarm by striking him dead. The noise reached the King's chamber, a rush of the assassins ensued, and Catherine Douglas, one of the Queen's maids of honour, springing forward to bolt the door of the outer apartment, found the bar had been clandestinely removed; with resolute self-devotion, she supplied the place with her naked arm.”— Catherine Douglas. BIRD'S EYE VIEW OF THE PALACE GARDENS AND GROUNDS IN THE REIGN OF QUEEN ANNE. These cuts, taken from Felix Summerly's Handbook to Hampton Court, are intended to convey some idea of the various architectural phases in the buildings. SIX INTRODUCTION. tion. IX centuries have passed since Henry the Third piously raised Introducthe many-clustered shafts and pointed arches of the present Abbey of Westminster. Rude has been the treatment of them during the last half of this period, yet they still point high to FACTURES. A.D. 1841-1849. Part II. Selections. ART MANU- heaven, in undiminished grace, and lightness, grandeur, and strength. Strange tales of the contrasts between their first and last days might the old grey walls tell: and a glance at some of these seems to us to be not altogether an unsuitable preparation for contemplating the endless wonders of the Abbey, or an inappropriate means of reviving so much of its early history as comports with the scope of this work, which aims at avoiding the needless repetition of what may be found in all fulness of detail in Dart, Widmore, Keepe, and Brayley. Abbey. In one of the quietest nooks of the whole building, in the corner sanctified to our poets, we pass the threshold of the Abbey. We may have crossed Westminster Bridge without toll; perchance in a public carriage, to which a shilling and a statute have given us right of use, hardly less absolute than our Queen has in her own state-coach; or we may have walked across Old Palace Yard, in perfect freedom, even without fear of pickpockets, thanks to the street police, having landed at the stairs from an iron steamer, which brought us swiftly against the tide from London Bridge. We now enter the Abbey in a cold spirit of dilettante-ism, rather to see than to pray,-thinking of past days-of the heroes in divinity, poetry, eloquence, and war, who rest here; of architectural splendour, of sculpturesque beauties and monstrosities, of the fine pictorial effects on the many-tinted stones, which flickering gleams of light and deep impenetrable shadows present at each of the thousand points of view. All these may, happily, lead us into a reverential tone of mind; yet who will deny that curiosity, rather than devotion, brings us hither? Among the tombs of the poets in the Abbey, as well as in the Nave and North Transept, we are free to wander at all times, thanks to the liberality of the Dean and Chapter; the tribute is sixpence to explore the gloomy and picturesque mysteries of the sacella or sepulchral chapels. Two centuries ago the Westminster ferry-boat-one solitary bridge then served all London-had brought no meditative amateur of art within the portals of the sacred edifice; but, iconoclast! you had found a greeting among the rollicking troopers of the Commonwealth, who, having pawned the organ pipes, were enjoying the profits in a carousal over the ashes of Edward the Confessor. The chapels of the saints were defiled as barracks, |