which was placed the image of St. Thomas; and at the top is a small room (13 feet by 12, and about 8 feet high) called the prison, wainscotted with oak above an inch thick, on which several names and broken sentences in old characters are cut, as "Chessam Doctor," "Peiit Iouganham," "Ihs cyppe me out of all el compane, amen," "John Worth," "Nosce Teipsum," &c. The large iron rings in the wall (eight in number) seem to sanction the supposed appropriation of the room. The Postroom in this tower contains an ornamented flat ceiling, of uncommon occurrence. The Gate-house of red brick, with stone dressings, is said to have been built by Archbishop Morton, Cardinal and Lord Chancellor, (d. 1500). The Hall, 93 feet by 38, was built by Archbishop Juxon, the bishop who attended Charles I. to the scaffold. Over the door (inside) are the arms of Juxon, and the date 1663. The roof is of oak, with a louvre or lantern in the centre for the escape of smoke. The whole design is Gothic in spirit, but poor and debased in its details. The bay window in the Hall contains the arms of Philip II. of Spain (the husband of Queen Mary); of Archbishops Bancroft, Laud, and Juxon; and a portrait of Archbishop Chicheley. The Library, of about 25,000 volumes, and kept in the Hall, was founded by Archbishop Bancroft (d. 1610); enriched by Archbishop Abbot (d. 1633); and enlarged by Archbishops Tenison and Secker. One of its greatest curiosities is a MS. of Lord Rivers's translation of The Dictes and Sayings of the Philosophers, containing an illumination of the earl introducing Caxton, the printer (it is said), to Edward IV., his Queen and Prince. The portrait of the Prince (afterwards Edward V.) is the only one known of him, and has been engraved by Vertue among the Heads of the Kings. Of the English books in the library printed before 1600, there is a brief but valuable catalogue by Dr. Maitland, many years librarian. The whole habitable Palace was erected by the last Archbishop (Howley) from the designs of Edward Blore, and contains a few good portraits, such as Archbishop Warham, by Holbein, (the picture really from his hand,) Archbishop Tillotson, by Mrs. Beale. The income of the Archbishop of Canterbury is 15,000l. a year. The church adjoining the red brick gateway of the Palace is the mother-church of Lambeth; here several Archbishops of Canterbury are buried; and here Tradescant and Ashmole are interred the former in the churchyard, with altar-tomb (restored 1853), the latter in the church with grave-stone.

LONDON HOUSE, No. 22, ST. JAMES'S SQUARE, the residence of the Bishop of London. It has no architectural

pretensions. The income of the Bishop is fixed at 10,000Z. a year. The house belongs to the See.

APSLEY HOUSE, HYDE PARK CORNER. The London residence, 1820-1852, of Field Marshal the Duke of Wellington, built by Henry Bathurst, Baron Apsley, Earl Bathurst, and Lord High Chancellor, (d. 1794,) the son of Pope's friend. The house, originally of red brick, was faced with Bath stone in 1828, when the front portico and the W. wing, containing on the upper stories a gallery 90 feet long, (to the W.,) were added for the great Duke by Messrs. S. & B. Wyatt; but the old house is intact. The iron blinds-bullet-proof it is said -put up by the great Duke during the ferment of the Reform Bill, when his windows were broken by a London mob,were taken down in 1855 by the present Duke.

Observe.-George IV., full-length, in a Highland costume (Wilkie).William IV., full-length (Wilkie).-Sarah, the first Lady Lyndhurst (Wilkie). This picture was penetrated by a stone, thrown by the mob through a broken window, in the Reform Riot, but the injury has been skilfully repaired.-Emperor Alexander.-Kings of Prussia, France, and the Netherlands, full-lengths. Full lengths of Lord Lynedoch, Marquis of Anglesey, Marquis Wellesley, &c.-Head of Soult.-Two full length portraits of Napoleon, one consulting a map.- Bust of Sir Walter Scott (Chantrey).-Bust of Pitt (Nollekens).-Bust of Duke (Nollekens). Small bronze of Blucher (Rauch).-Battle of Waterloo, Napoleon in the foreground (Sir W. Allan). The Duke, bought this picture at the Exhibition; he is said to have called it "good very, good, not too much smoke."-Many portraits of Napoleon, one by David, extremely good. Wilkie's Chelsea Pensioners reading the Gazette of the Battle of Waterloo, painted for the Duke.-Burnet's Greenwich Pensioners celebrating the Anniversary of the Battle of Trafalgar, bought of Burnet by the Duke. Portraits of veterans in both pictures.-Van Amburgh and the Lions (Sir E. Landseer).-Highland Whiskey Still (Ditto). Meet at Melton Mowbray (F. Grant).-Colossal marble statue of Napoleon, by Canova, with a figure of Victory on a globe in his hand, presented in 1817 to the Duke by the Prince Regent.-Bust of Pauline Buonaparte (Canova), a present from Canova to the Duke.-Christ on the Mount of Olives (Correggio,) the most celebrated picture of Correggio in this country; on panel, and captured in Spain, in the carriage of Joseph Buonaparte; restored by the captor to Ferdinand VII., but with others, under like circumstances, again presented to the Duke by that sovereign. An Annunciation, after M. Angelo, of which the original drawing is in the Uffizj at Florence.-The Adoration of the Shepherds (Sogliani).-The Water-seller (Velasquez).-Two fine portraits by Velasquez, (his own portrait, and portrait of Pope Innocent X.)A fine Spagnoletti.-Small sea-piece, by Claude.-A large and good Jan Steen (a Wedding Feast, dated 1667).-A Peasant's Wedding (Teniers).— Boors Drinking (A. Ostade).-The celebrated Terburg (the Signing the Peace of Westphalia), from the Talleyrand Collection. Singularly enough, this picture hung in the room in which the allied sovereigns signed the treaty of Paris, in 1814.-A fine Philip Wouvermans (the Return from the Chase). View of Veght, Vanderheyden.

The Crown's interest in the house was sold to the great Duke for the sum of 9530l.; the Crown reserving a right to forbid

the erection of any other house or houses on the site. Marshal Soult, when ambassador from France at the Queen's Coronation, was entertained by the Duke in this house. The room in which the Waterloo banquet was held every 18th of June is the great west room on the drawing-room floor, with its seven windows looking into Hyde Park.

NORTHUMBERLAND HOUSE, CHARING CROSS, the town-house of the Duke of Northumberland, (with rich central gateway, surmounted by the Lion crest of the Percies,) and so called after Algernon Percy, Earl of Northumberland, (d. 1668,) the subject of more than one of Van Dyck's finest portraits. It was built by Henry Howard, Earl of Northampton, (son of Henry Howard, Earl of Surrey, the poet,) Bernard Jansen and Gerard Christmas being, it is said, his architects. The Earl of Northampton left it, in 1614, to his nephew, Thomas Howard, Earl of Suffolk, (father of the memorable Frances, Countess of Essex and Somerset,) when it received the name of Suffolk House, by which name it was known until the marriage, in 1642, of Elizabeth, daughter of Theophilus, second Earl of Suffolk, with Algernon Percy, tenth Earl of Northumberland, who bought the house of James, Earl of Suffolk, for 15,000l., and called it Northumberland House. Josceline Percy, eleventh Earl of Northumberland, (son of the before-mentioned Algernon Percy,) dying in 1670, without issue male, Northumberland House became the property of his only daughter, Elizabeth Percy, heiress of the Percy estates, afterwards married to Charles Seymour, commonly called the proud Duke of Somerset. The Duke and Duchess of Somerset lived in great state and magnificence in Northumberland House, for by this title it still continued to be called, as the name of Somerset was already attached to an older inn or London town-house in the Strand. The duchess died in 1722, and the duke, dying in 1748, was succeeded by his eldest son, Algernon, Earl of Hertford and seventh Duke of Somerset, created (1749) Earl of Northumberland, with remainder, failing issue male, to Sir Hugh Smithson, Bart., husband of his only daughter, which Sir Hugh was raised to the Dukedom of Northumberland in 1766. The present duke (1856) is the grandson of this Sir Hugh Smithson, Duke of N. The house originally formed three sides of a quadrangle, (a kind of main body with wings,) the fourth side remaining open to the gardens and river. The principal apartments were on the Strand side; but after the estate became the property of the Earl of Suffolk, the quadrangle was completed by a side towards the Thames.

The date, 1749, on the façade, refers to the work of reparation; and the letters A. S., P. N., stand for Algernon Somerset, Princeps Northumbria.

Observe. The celebrated Cornaro Family, by Titian. Evelyn saw it here in 1658. It has been much touched upon. St. Sebastian bound, on the ground; in the air two angels: a clear, well-executed picture, by Guercino, with figures as large as life. A small Adoration of the Shepherds, by Giacomo Bassano. Three half figures in one picture, by Dobson, representing Sir Charles Cotterell, embraced by Dobson and Sir Balthazar Gerbier in a white waistcoat. A Fox and a Deer Hunt; two admirable pictures by Franz Snyders. A genuine but ordinary Holy Family, by J. Jordaens. A pretty Girl, with a candle, before which she holds her hands, by G. Schalken. The School of Athens, after Raphael, copied by Mengs in 1755, and the best copy ever made of this celebrated picture. View of Alnwick, by Canaletti, valuable as showing the state of the building, circ. 1750; full-length portrait of Edward VI. when a boy of six or seven, assigned to Mabuse, and curious -he is in a red dress. A large and fine Ruysdael. Josceline, 11th Earl of Northumberland, by Wissing (oval). Portrait of Napoleon when First Consul, by T. Phillips, R.A., taken from repeated observation of Napoleon's face.

All that is old of the present building is the portal towards the Strand; but even of this there is a good deal that is new. The house is massively furnished and in good taste. The staircase is stately; the Pompeian room most elegant, and the state Drawing-room, with its ten lights to the E., and its noble copies after Raphael, is a room which for magnificence is not to be matched in London. Many of the fire-places, fenders, and fireirons are of silver. The large Sèvres vase in the centre of the great room was presented by Charles X. to the late Duke when representative of Great Britain at Charles's coronation in 1825.

DEVONSHIRE HOUSE, PICCADILLY. A good, plain, well-proportioned brick building, built by William Kent, for William Cavendish, third duke of Devonshire, (d. 1755). It stands on the site of Berkeley House, destroyed by fire in 1733, and is said to have cost the sum of 20,000l., exclusive of 1000l. presented to the architect by the duke. Observe.Very fine full-length portraits, on one canvas, of the Prince and Princess of Orange, by Jordaens. Fine three-quarter portrait of Lord Richard Cavendish, by Sir Joshua Reynolds ; fine three-quarter portrait, in black dress, by Tintoretto; Sir Thomas Browne, author of Religio Medici, and family, by Dobson; fine male portrait, by Lely. Portrait of the Earl of Burlington, the architect, by Kneller. The Devonshire Gems, in a glass case, over fire-place-a noble collection. "Kemble Plays' -a matchless series of old English plays, with a rich collection of the first editions of Shakspeare,formed by John Philip Kemble, and bought, for 20007., at his death, by the present duke, who has added largely to

The

the collection, and annotated the whole with his own hand. The portico is modern, and altogether out of keeping with the rest of the building. The old entrance, taken down in 1840, was by a flight of steps on each side. The magnificent marble staircase at the back of the house, with its glass balustrade, was erected by the present duke. The parties at Devonshire House are among the leading attractions of the London season. The grand saloon (part of Kent's design) is decorated in the style of Le Brun, and is now used as a room. The grounds extend to Lansdowne House and the view from the Drawing-room commands the trees in Berkeley-square.

STAFFORD HOUSE, in ST. JAMES'S PARK, between St. James's Palace and the Green Park, was built, all but the upper story, for the Duke of York, (second son of George III.,) with money advanced for that purpose by the Marquis of Stafford, afterwards first Duke of Sutherland (d. 1833). The Duke of York did not live to inhabit it, and the Crown lease was sold in 1841 to the Duke of Sutherland, for the sum of 72,0007., and the purchase-money spent in the formation of Victoria Park. The upper story was added by the present duke. This is said to be the finest private mansion in the metropolis. Nothing can compete with it in size, taste, or decoration. The great dining-room is worthy of Versailles. The internal arrangements were planned by Sir Charles Barry. The pictures, too, are very fine; but the collection distributed throughout the house is private, to which admission is obtained only by the express invitation or permission of the duke. The Sutherland Gallery, as it is called, is a noble room, 126 feet long by 32 feet wide. Observe

RAPHAEL: Christ bearing his Cross; a small full-length figure, seen against a sky back-ground between two pilasters adorned with arabesques; said to have been brought from a private chapel of the Pope in the Ricciardi Palace at Florence.-GUIDO: Head of the Magdalen; Study for the large picture of Atalanta in the Royal Palace at Naples; the Circumcision.-GUERCINO: St. Gregory; St. Grisogono; a Landscape.PARMEGIANO: Head of a Young Man (very fine).-TINTORETTO: A Lady at her Toilet.-TITIAN: Mercury teaching Cupid to read in the presence of Venus (an Orleans picture, figures life-size); St. Jerome in the Descrt; three Portraits.-MURILLO (5): Two from Marshal Soult's Collection: the Return of the Prodigal Son (a composition of nine figures); Abraham and the Angels, cost 3000l.-F. ZURBARAN (4): Three from Soult's Collection (very fine).-VELASQUEZ (2): Duke of Gandia at the Door of a Convent; eight figures, life-size, from the Soult Collection; Landscape.-ALBERT DURER: the Death of the Virgin.-HONTHORST: Christ before Pilate (Honthorst's chef d'œuvre), from the Lucca Collection. -N. POUSSIN (3).-G. POUSSIN (1).—RUBENS (4): Holy Family; Marriage of St. Catharine; Sketch, en grisaille, for the great picture in the Louvre, of the Marriage of Henry IV. and Marie de Medicis.-VAN DYCK (4); Three-quarter portrait of Thomas Howard, Earl of Arundel, seated in