the Castle, and to instrumental performers and choristers, when such are in attendance in the Castle on state occasions. The chaplain's suite of apartments communicates with this room.

The Chapel is in a style so very much in accordance with what I conceive every chapel in connexion with a nobleman's residence ought to be, that, at the risk of being thought tedious and technical, I shall proceed to describe it in some detail. It is entered by folding doors in the screenwork, which separates it from the antechapel; and its extreme length from this point is 32 feet; its extreme breadth is 18 feet. Of the height we may have some conception, when it is considered that it extends in one elevation, through the first and principal stories, which, with the addition of the vaulting, will be somewhere between 35 and 40 feet. The chapel is lighted by two very lofty windows of double lights, divided by transoms, and decorated with the Tudor flower. The sides, above the pews, are panelled in a double row, with trefoil heads and the Tudor rose in a quatrefoil, mounted by a cornice, in the deep hollow of which are various flowers belonging to the same style of architecture (perpendicular). Above the cornice, and between each window, (as well as on the opposite wall,) is a flowered corbel, from which rises a slender vaulting shaft, with flowered capitals; from which last, again, spring the ribs of the vaulted roof, ornamented with flowered bosses at every point of intersection. The gallery, which is entered from the regent's, is over the three flattened arches of the screen, in the spandrils of which is the rose in a quatrefoil. Above the square-headed moulding, the projecting portion of the gallery is supported by a series of fan-tracery vaulting, springing from corbels, between which are the portcullis and crown alternately. This gallery, as well as the pews, (which last are of oak,) is panelled with

cinquefoil-headed compartments, and embattled in the perpendicular style.

The pulpit and desk, slightly elevated above the floor, and opposite to each other, near the altar steps, are of oak, and decorated in a similar manner with the pews. The front of each consists of one large quatrefoil within a square panel, in the centre of which is a large rose barbed with fleurs-delis. Instead of being seeded, there is in the centre of the flower a gilded shield, charged with the letters H S. A strip of black marble, about two yards wide, runs from the entrance to the altar steps, which, and the altar floor, are also of black marble. The altar table is an old one, made somewhere about the end of the seventeenth century, belonging, probably, to the former chapel. Its decorations are of crimson velvet and gold-lace, similar to those in the pulpit and desk. On each side, reared upon a pedestal within a niche, is the Bible, in two volumes, bound in crimson velvet, with metal clasps, corners, and centre-pieces. The Manners arms, and an earl's coronet, are engraved upon the two latter. Date-" Oxford, printed at the Theatre, 1680." A most valuable communion service, supposed by some, but I think without any probability, to have been co-eval with the founder of the Castle, Robert de Todeni, was lost in the fire of 1816.

The gallery over the altar is faced with tabernacle work, consisting of five canopies; three over the altar-piece, with crocketted domes and pinnacles; a canopy over each niche, embattled, and with crocketted pinnacles, but without a dome. Beyond these, are the first and second great commandments, crowned with S.

I have reserved to the last a description of what will be generally considered the most splendid embellishment of the chapel,-" The Holy Family," by Murillo, as the altar-piece. It is 3 feet 6 inches broad, by about 5 feet

T

6 inches high; within a broad gilded frame, panelled, and decorated with the Tudor flower. Nothing can exceed, if equal, the sweetness of expression in the Virgin's countenance, who is stooping, with her arm around the infants Christ and Baptist, as they are caressing each other; the Baptist with affection subdued by a reverential feeling, and Christ with a sweet look of love and confidence upturned to the Virgin. The Baptist carries a rude cross, on the top of which is a scroll, lettered "Ecce Agnus Dei." A lamb lies at his feet behind. The face of Joseph, standing close to the group, is of a highly intellectual cast; the flesh is of a golden brown colour; and he is in the prime of life. The flesh of the children and the Virgin is in a warm golden tone. She has the most perfect head that can be conceived. There are deep masses of foliage in the background, and a church in a mountainous country, in the extreme distance. This picture is insured for three thousand guineas.

Over the entrance from the regent's gallery are the Rutland arms, impaling Howard, encircled with the motto of the garter, having supporters, ducal coronet, cap of dignity, and crest.

The regent's gallery communicates with an

AWAITING ROOM,

formerly used as a Billiard-room. It is 30 feet 4 inches, by 21 feet 6, with circular corners, and lighted principally by a lantern in the roof. On the side next the court there are three lancet-shaped recesses, only one of which is pierced for a window. In the two others are small cases for books. In one of them we notice Dugdale, Evelyn, Dante, Bacon, Boyle, Bolingbroke, Locke, Lucretius, Theocritus, Virgil, and some of the most celebrated writers of the sixteenth

and seventeenth centuries. The other case contains capital editions of Warton's History of English Poetry, the works of Thomson and Lyttelton, Baskerville's Addison, Leland's History of Ireland, &c.

There are several portraits and other paintings in this room. The portraits are half-lengths of the first Duke of Rutland, Mrs. Bridget Noel, and Lord Anglesea, by Sir Peter Lely; Earl of Northampton, Earl and Countess of Exeter; a person with a leading staff; and over the door into the library, Marshal Duc de Broglio, (full-length,) in uniform, with star and blue ribbon. I am not able to say by whom the five last were painted. There is another portrait (knee-piece) of a person in state robes, and with walking staff, of whose and the artist's name, I am also ignorant.

King Charles II., by Vosterman (?)

JOHN VOSTERMAN, whose chief excellence consisted in landscape painting, was born at Bommel, in 1643, and learned the rudiments of his art from his father, who was a portrait painter; but obtained that excellence to which he afterwards arrived, from Herman Sachtleven, with whom he studied as a disciple. Nor had he been very long in the school of that eminent artist, before he equalled his instructor; and indeed, shortly afterwards, proved himself superior, not only to Sachtleven, but to all his contemporaries. Vosterman had, however, a great deal of vanity; and instead of pursuing his profession, by which he might have lived in honour and affluence, he wasted his time and fortune, by assuming the appearance of a person of rank; being attended, while he resided in France, by a great number of domestics in rich liveries; frequenting the houses and assemblies of the great, and squandering his patrimony in many ostentatious follies. From necessities which thus arose, he was induced to turn his attention to England, where he was warmly patronised by Charles II. and the principal nobility; but ineffectually, so far as regards retrieving his affairs. Vosterman surpassed by many degrees all the landscape painters of his time, in neatness of touch, and delicacy of finish. He painted for King Charles two

views of Windsor, still in the gallery there; a chimney-piece, at Whitehall; and a view of Stirling Castle, the figures by Wyck. He died in 1693, aged fifty.

Two miniatures, on copper.

Over the fireplace, is a view of Newmarket, with the Duke of Rutland's stud, and portraits of several persons, by Tillemans.

PETER TILLEMANS was born at Antwerp, in the latter end of the seventeenth century. His father was a diamond-cutter. The son soon distinguished himself as a painter, though he studied under very indifferent masters. In 1708, he was brought to England, with his brother-in-law, Casteels, by one Turner, a dealer in pictures; and employed by him in copying Borgognone and other masters, in which he succeeded admirably, particularly Teniers, of whom he preserved all the freedom and spirit. He generally painted landscapes with small figures, seaports, and views. One of his best works is a view from Richmond-hill, in the possession of Mr. Cambridge, of Twickenham. When he came to be known, he was patronised by several men of quality; and drew views of their seats, huntings, races, and horses, in perfection. In this way he was much employed in the west and north of England, and in Wales; and drew many prospects for the intended history of Nottinghamshire by Mr. Bridges. He instructed the Lord Byron of his day, who did great credit to his master, and painted a large picture of the abbey and lake at Newstead, now in the possession of Captain Lord Byron. After suffering many years under an asthma, for which he chiefly resided at Richmond, he died at Norton, in Suffolk, December 5, 1734, at about the fiftieth year of his age, and was buried in the church of Stow Langtoft.

Above the view of Newmarket is a large landscape, said to be by Sir Peter Lely and others.

In different parts of the room are hung four views by Delany;-a view of Dublin from the sea, Wicklow Hills in the background; a view of Dublin from the grounds above Chapel Izod; and two others, described as views near Dublin.