At a short remove from the Bridge, and near the western extremity of the parish, is the seat of Lady Cremorne. This mansion was built by Theophilus, Earl of Huntingdon,* and is agreeably situated on the bank of the Thames. The edifice is composed of brick, and is of an irregular, and not very estimable, architectural character. But the interior is commodious, and the best suite of rooms well adapted to the use of a distinguished family. Here is a small but judicious collection of pictures, formed by the late Lord Viscount Cremorne ; among which occur some by esteemed Flemish and Italian masters. In the northern division of the building is a beautiful window of stained glass, by Jarvis, combining a selection of the smaller works of that tasteful artist.

To the west of Lady Cremorne's villa, but in the immediate contiguity of that seat, is the agreeable cottage residence of Joseph Brown, Esq. This house was formerly the property, and in the occupation of Dr. Hoadly, whose knowledge of the human heart, and whose close acquaintance with elegant manners, are finely proved in his comedy of " The Suspicious. Husband."

On a part of the grounds formerly belonging to Sir Robert Walpole, General Gordon has now a residence. His premises extend from the southern part of the Royal Infirmary, to the edge of the Thames, and include the octagonal summer-house supposed to have been built by Sir R. Walpole, and a small erection on the contrary, or western side of the lawn. But the greenhouse once visited by Queen Caroline, and then ornamented with the best of the Houghton pictures, is no longer in existence. General Gordon has a lease of these premises, granted to him by government, for the term of 99 years; and here he had the honour of entertaining the Emperor Alexander of Russia, the Duchess of Oldenburgh, and the Duke of York, when those illustrious personages visited Chelsea Hos pital in the year 1814.

Lysons, Vol. II. p. 60. The Earl of Huntingdon died in 1746.

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To the east of the now desolate site of Ranelagh gardens is the substantial and handsome residence of General Wilford. This house nearly occupies the site of Prospect Place, a mansion erected by Sir Thomas Robinson, Bart. who held a considerable number of shares in the property of Ranelagh, when that place of amusement was in the zenith of its reputation.

The PUBLIC BUILDINGS and institutions of Chelsea demand peculiar consideration.

The Church stands near the margin of the river, on the western side of the parish. This edifice is chiefly composed of brick, and is by no means conspicuous for beauty. The structure was raised at various periods, and several of the builders were more intent on piety of consecration than on consistency of architectural arrangement. The oldest part of the building is a chapel of the Lawrence family, at the eastern end of the north aisle; and this was probably founded in the 14th century. At the east end of the south aisle is a chapel, constructed by Sir Thomas More, about the year 1522. This chapel is of brick, with stone coigns, and would not appear to have been, in the first instance, calculated to impart beauty to the exterior of the church; but modern windows have been introduced, with frames of wood-work, which now communicate an unquestionable air of meanness and humility. At the west is a heavy brick tower, measuring from the battlements to the base, ninety feet in height, which was built between the years 1667, and 1679. At this period the church was greatly enlarged; and to the ill taste of those who directed the alterations in the 17th century must chiefly be ascribed the present incongruous character of the structure, as to its exterior appearance. It may be added that the principal parts, though many were so recently constructed, are in an unpleasing stage

of

Our annexed view of Chelsea is taken from the Surrey bank of the river, and exhibits the southern parts of this building.

of decay. The building is evidently too small for the increased population of the parish; and a renovation of the present structure, together with the erection of a chapel of ease, to accommodate the fresh inhabitants, appear circumstances truly desirable.

The interior consists of a nave, chancel, and north and south aisles, comprehending the two chapels before mentioned. In general character it is plain almost to homeliness; but is decent, neat, and well preserved. The chancel is only slightly elevated above the body of the church, and has a coved ceiling, quite destitute of ornament. On the spot probably once occupied by the rood loft is now constructed a gallery. The chapel of the Lawrence family, at the eastern termination of the north aisle, is small and contains several monuments.

Sir T. More's chapel, at the east end of the south aisle, is likewise of moderate proportions. The increasing want of room has caused this spot to he engrossed by pews, and the walls are now replete with monuments unconnected with his family. The ceiling is of rafter work, and of simple construction. But this chapel was once decorated with much superstitious care, and its founder liberally contributed to the general ornaments of the church.* Between the chapel and the chancel is a pointed arch, springing from pillars which are embellished with many curious devices. On one is the date of 1597,

The monuments, both mural and table, in this church are very numerous; but we lament to say that, owing to the great want of room that has prevailed for the accommodation of those who attend Divine worship, the memorials of the dead

have

When an inventory was taken, by Commissioners appointed by the King, in the year 1552, of the plate and ornaments belonging to all the churches in the kingdom, the returns for Chelsea were very considerable, and many of these articles (according to the life of More by his grandson) were contributed by the Chancellor: "In Lady More's chapel, among other things, were an awlter clothe of Brydges satten, with a border to the same; and two curteyns of sylk belonging to the same."

have been often treated with too little respect. Inscriptions are hidden, and effigies infringed on, with a degrading spirit of accommodation to the line and measure of the carpenter. As an instance of the correctness of this observation, we proceed to mention the monument raised by Sir Thomas More.

This great man constructed in the year 1532, an altar tomb, surmounted by a large mural tablet (the latter being placed in a flat Gothic arch, and attended with some circumstances of ornament and armorial bearings) on the south side of the chancel. To this spot he removed the remains of his first wife, the mother of his children; and on the tablet he placed a long inscription, in Latin prose and verse, which perhaps is chiefly estimable as being the production of such a man at such a season. He states his parentage; the history of his progress through life; the merits of his father; and the suggestions of old age which began to press on himself. It will be remarked that this inscription was composed after he had resigned the office of chancellor, and had retired from court politics. He celebrates "the incomparable favour" of the prince who had allowed him to relinquish his honours, and observes that "he has caused this tomb to be erected for himself, that it might admonish him daily of his approaching death." He then concludes by words to the following effect: "Good Reader! I beseech thee that thy pious prayers may attend me while living, and follow me when dead; that I may not have done this in vain; nor trembling may dread the approach of death, but willingly, for Christ's sake, undergo it; and that death to me may not be altogether death, but a door to everlasting life." The verses celebrate the loves and duties of his wives, and pray that he may be re-united to them, in heaven.*

It

The only work in which the inscriptions on this monument are faithfully copied, is Faulkner's History of Chelsea. Weever describes the inscription

as

It is to be regretted that there is no good reason for believing that the remains of Sir Thomas More lie beneath the monument intended for his place of rest. Weever and Anthony Wood say that his daughter Margaret removed his body to Chelsea; but his great grandson makes no mention of this circumstance. Earlier writers certainly differ as to the precise spot of his burial; some saying that he was interred in the belfry of the chapel of St. Peter, in the tower; and others, near the But that the chapel of St. Peter does contain his ashes, appears probable; since it is known that his daughter Margaret moved thither the body of Bishop Fisher, that it might lie near her father's; and we cannot readily apprehend it to be likely that this lady, who was subject to an imprisonment for obtaining and keeping the head of her revered parent, would be permitted to remove his coffin without molestation.

"The head of Sir Thomas More," says Dr. King, "after some months, was bought by his daughter Margaret, and taken down from London Bridge, where it was fixed on a pole; and was kept by her till her death, when it was buried with her." The monument raised by Sir Thomas More merits the peculiar

as being scarcely legible in his time; but, as it now has an air of comparative freshness, Mr. Lysons observes that "the whole has evidently been restored by some descendant, or admirer, of Sir T. More." There is one passage which has attracted particular notice. More had described himself as not disliked by the good, for a strict performance of his high duties, and as "dreaded only by Thieves, Murderers, and-Heretics !" The judicious friend who restored the inscription has caused a blank space to be left between the words "homicidis" and "molestus ;". -a space formerly occupied by the ill-placed words "hereticisque." The tablet on which the inscriptions are placed is of black marble, and over the tomb is the crest of Sir Thomas More-a Moor's head.

* Mrs. Roper lies buried in a vault beneath the chantry-chapel, founded by the ancestors of her husband, as an appendage to the church of St. Dunstan, Canterbury. Her father's head is placed near her coffin, in a niche in the wall, secured by an iron grate. See "BEAUTIES” for Kent, p. 907.