tice, is ascribed to her, "It was impossible to find objects who deserved better of the public, or in a situation more deplorable, than those whose strength had been exhausted, or who had been mutilated or disabled in the service of their country. For want of a safe harbour wherein they might anchor, and an asylum wherein they might repose, after the fatigues, hardships, and dangers which they had encountered, few only escaped from the accumulated distresses of poverty, infirmity, and pain. To behold the protectors of a nation which she loved, cruelly abandoned under such circumstances, excited her royal compassion; and one of the last acts of her exemplary life was the proposal of an institution, which should provide for those unfortunate, but highly deserving sufferers."

King William, sensible of its utility, readily acceded to the wishes of his royal consort. Before her demise a grant was made of "a house built by king Charles II. with certain lands in the manor of East Greenwich;" and after her decease, this institution was honoured by his majesty's singular protection. Thus they gave the palace for the use of disabled English seamen and their children, and for the widows and children of such as were slain at sea. King William also appointed commmissioners for the better carrying on his excellent intentions, and therein desired the assistance of his good subjects, as the necessity of his affairs did not permit him to advance so considerable a sum toward this work as he desired. In conformity to his request, many benefactions were made during that and the succeeding reigns to this noble charity, which, according to the tables hung up at the entrance of the hall, amount to 58,2091. The hospital first began to receive disabled seamen on the present plan in 1737; and the forfeited estate of the earl of Derwentwater, for rebellion in 1715, amounting to 6000l. per annum, was given by parliament to this national charity.

The front to the Thames consists of two ranges of stone buildings, with the ranger's house at the back part in the centre, behind which the park rises with a noble ascent.

These

These wings, between which is a large area, are terminated by very noble domes. In each front to the Thames, two ranges of coupled Corinthian columns support their pediments, and the same order is continued in pilasters along the building. The front is rusticated, and there are two series of windows. The domes at the end are one hundred and twenty feet high, supported on coupled columns, as are the porticos below; and under one of these is the chapel.

The CHAPEL having been destroyed, on the 2d of January 1779, by a dreadful fire, which likewise consumed the great dining-hall, and eight wards, containing the lodgings of near six hundred people, has been since rebuilt, and was opened for divine service on the 20th of September, 1789. The rebuilding of this beautiful structure, with its internal decorations, cost 84,000Z. The portal consists of an architrave, frize, and cornice of statuary marble, the jambs of which are twelve feet high, in one piece, and enriched with sculpture. The frize is the work of BACON, and consists of the figures of two angels with festoons, supporting the sacred writings, in the leaves of which is the following inscription:

THE LAW WAS GIVEN BY MOSES:

BUT GRACE AND TRUTH CAME BY JESUS CHRIST.

The great folding doors are of mahogany highly enriched, and within this entrance is a portico of six fluted narble columns fifteen feet high. The capitals and bases are onic, from Greek models. These support the organ galThe tablet in the front of the gallery represents the ery. igures of angels; the pedestals on each side are ornamented vith trumpets and other instruments of music; and on he tablet between is the following inscription in letters of gold:

PRAISE HIM WITH THE SOUND OF THE TRUMPET:

PRAISE HIM WITH STRINGED INSTRUMENTS AND ORGANS.

PSALM 150.

The organ is by GREEN. On each side of the organ

gallery

gallery are four grand columns; their shafts of Scagliola in imitation of Sienna marble, by RICHTER, and their capitals and vases of statuary marble. At the opposite end of the chapel are four others of the same sort, which support the arched cieling and roof. The columns are of the Corinthian order, and are twenty-eight feet high. On the sides of the chapel are galleries, for the officers and their families: those of the governor and lieutenant-governor, are distinguished by ornaments consisting of the naval crown, and other suitable insignia. These galleries are supported by fluted pilasters, &c. decorated with antique foliage, marine ornaments, festoons, tridents, wreaths, and other appropriate emblems. Over the lower range of windows are paintings in chiaro obscuro, representing some of the principal events in the life of our Saviour. Above the galleries is a richly carved stone fascia, on which stands a range of pilasters of the Composite mode, of Scagliola. The epistylum is enriched with angels, bearing festoons of oak leaves, dolphins, shells, and other applicable ornaments. The curved ceiling is divided into compartments, and enriched with foliage, golochi, &c. in the antique style. Between the upper pilasters are painted, in chiaro obscuro, the Apostles and Evangelists. Above the doors are circular recesses, containing paintings in chiaro oscuro, of the prophets Isaiah, Jeremiah, Moses, and David.

The communion table is a semi-oval slab of statuary marble, near eight feet long. The ascent to it is by three steps of black marble, on which is fixed an ornamental railing, representing festoons of ears of corns, and vine foliage. This table is supported by six cherubims, standing on a white marble step of the same dimensions. Above is a painting, by WEST, representing the preservation of St. Paul from shipwreck, on the island of Melita. This picture is twenty-five feet high, and fourteen wide, and consists of three principal groups. The first, which is at the lower part, represents the mariners and prisoners bringing on shore the various articles which have been preserved from the wreck: near these is an elegant figure, supposed

to

part of

to be a Roman lady of distinction, clasping with affection an urn, containing the ashes of her deceased husband, who had fallen in the wars of Judea. Before her is an aged infirm man, who, being unable to assist himself, is carried in the arms of two robust young men. In the middle the piece is the principal group, consisting of St. Paul shaking into the fire the viper that had fastened on his hand, the brethren who accompanied him, his friend the centurion, and a band of Roman soldiers with their proper insignia. The figures above these, on the summit of the rocks, form the third group, and consist of the hospitable islanders lowering down fuel and other necessaries for the relief of the sufferers. The sea and wrecked ship (which at this point of time are considered as an episode) appear in the back ground, and combine to exhibit a scene that cannot fail of having a proper effect on the minds of seafaring men, and of impressing them with a due sense of their past preservation, and their present comfortable situation and support in this glorious asylum for naval misfortunes and naval worth. On either side the arch, which terminates the top of this picture, are angels of statuary marble, as large as life, by BACON; one bearing the cross, the other the emblems of the eucharist. This excellent combination of the works of art is terminated above in the segment between the great cornice and ceiling by a painting of the Ascension, designed by WEST, and executed by REBECCA, in chiaro obscuro; forming the last of the series of paintings of the life of our Saviour, which surround the chapel.

The middle of the aisle, and the space round the organ gallery, are paved with black and white marble; in the centre an anchor and seaman's compass. The pulpit is circular, supported by six fluted columns of lime tree. In the six inter-columns are the following alto-relievos, taken from the Acts of the Apostles, executed after designs by WEST: The Conversion of St. Paul, Acts, chap. ix. Cornelius's Vision, chap. x. Peter released from prison by the Angel, chap. xii. Elymas struck blind, chap. xiii. Paul preaching at Athens, and converting Dionysius the Areopagite,

St.

Areopagite, chap. xvii. Paul pleading before Felix, chap. xxiv. The reader's desk is formed on a square plan, with columns at the four corners, and the entablature over them similar to those of the pulpit; in the four inter-columns are also alto-relievos of the prophets Daniel, Micah, Zachariah, and Malachi, copied after designs by the same artist.

The following paintings in chiaro obscuro, relative to our Saviour, are placed over the lower windows: the first four by DE BRUYN, at the south-east end of the chapel, represent the Nativity; the Angel appearing to the Shepherds; the Magi worshipping; the Flight into Egypt: on the same side, by CATTON, represent St. John baptizing; Calling of St. Peter and St. Andrew; our Saviour preaching from a Ship to the People on Shore; the stilling of the Tempest. The four at the north-west end, by MILBURNE, represent our Saviour walking on the Sea, and saving Peter from sinking; the blind Man cured by a Touch; Lazarus raised from the Dead; the Transfiguration. Four on the same side, by REBECCA, represent the Lord's Supper; Our Saviour carried before. Pilate; the Crucifixion; the Resurrection. The Apostles and Evangelists in the recesses between the upper windows, and the four Prophets in the circles above the gallery doors, are by the last mentioned artists, after designs of WEST.

The HALL. The painting of this hall, which is executed in a masterly manner, was undertaken by Sir James Thornhill, in 1708. In the cupola of the vestibule is represented a compass with its proper points duly bearing. And in the covings, in chiaro obscuro, the four winds with their dif ferent attributes. In this vestibule is the model of an antique ship, presented by the late lord Anson; the original, of marble, found in the Villa Mattea in the sixteenth century, now stands before the church of Sta. Maria in Rome. A large flight of steps leads into the SALOON, or GRAND HALL, about one hundred and six feet long, fifty-six wide, and fifty high; ornamented with a range, of Corinthian pilasters standing on a basement, and supporting a rich entablature above. On the south side, are the windows,