tion at the opposite end, the same arms are painted. The staircase is lighted by three windows of similar character, but with more elaborate ornaments; the sides and archivolts being deeply moulded, and decorated profusely with the ball flower and tooth ornament; as are also the double arches of the interior.

Proceeding further, we come to the gallery which communicates with the Elizabeth Saloon, the grand diningroom, and the picture gallery. This portion of the corridor is the richest specimen of all in English architecture; so abundant and varied in its details, that a mere description would not do justice to its beauties.

We now retrace our steps to the opposite end of the corridor, and enter

THE GREEN, OR ASSEMBLING ROOM,

an apartment in which the family and visitors at the Castle assemble, previous to dinner. Its dimensions (27 feet long, 24 feet wide, and 17 feet high) bring it within the class of comfortable family drawing-rooms. A bay, from which there is a magnificent prospect, extending over the lake and the village of Woolsthorpe, to Harlaxton, and the splendid mansion in the course of erection by Mr. Gregory, in one direction; across the vale and the adjoining country, to Lincoln, in another, increases the breadth of the room 7 feet. The ceiling, from which hangs a handsome chandelier, is coved. The epithet green, applied to this room, is derived from the colour of the paper, and the satin damask with which the furniture is covered. But the great charm of the room are the seven paintings by Poussin. I cannot call them "the Seven Sacraments;" for the sacrament of Penance, from some unexplained cause, is missing,

and its place supplied by a painting of the same size, by the same master, of John baptizing Christ. What was the fate of the missing picture of this incomparable series, I cannot learn. It is an irreparable loss, for which not even its splendid successor (a present from George IV. to his Grace) can compensate. It does not appear to have perished in the fire of 1816; for it is not included in the valuation of pictures burnt, which was made by Mr. Rising after that event. It is indeed altogether improbable, that one of a series of pictures, like this, should have been consumed, while the others escaped uninjured.

This series comprised the first original paintings of Poussin's Seven Sacraments. The other series, now in the Bridgewater Gallery, was painted by Poussin, at Rome, for M. Chantelon; afterwards purchased by the Regent, Philip Duke of Orleans, for 120,000 livres; and bought out of his gallery by the Duke of Bridgewater, for £700 each, or £4900. The Belvoir series was purchased for £3000. The six that remain are superior in many respects to their celebrated counterparts, especially Extreme Unction. We will now proceed to notice them in the order of the sacraments, as believed to be such by the Romish Church.

"If any shall say, that the sacraments of the new law were not all instituted by our Lord Jesus Christ; or that they are more or fewer than seven, to wit, baptism, confirmation, the eucharist, penance, extreme unction, orders, and matrimony; or that any of these seven is not truly and properly a sacrament; let him be accursed." (Council of Trent, Session VII., A. D. 1547, Canon I.)

Baptism.—In the foreground of a pleasing landscape with water, is a group of eighteen figures. Christ, with the thumb and two fingers of the right hand, symbolizes the Trinity; while, with the left, he makes the sign of the cross on the bald head of a half-dressed figure stooping before

him, between a man kneeling and a woman standing. A female kneeling, is holding a naked child towards the Saviour. Another is approaching with a child; behind whom, a group of one old and two young women appear interested spectators. There are other figures of men, in various stages of unclothing themselves. A burley priest, (Jewish,) with blue garment and checked turban, is looking on with disapproving contempt; to whom an aged man addresses himself. The picture is injured by cleaning, and the canvas appears in various places.

Confirmation. A bishop, in white robes, is laying his hand on a sweetly actioned child. Near him are two attendants; one with the chrism, and the other with a taper. The heads of the bishop and his attendant officials are superb, especially the two first. On the left, a female is gently urging a reluctant child to approach; upon whom another female with a child kneeling, is looking back. Two men in the extreme left, one with turban, and the other with tonsure, are in conversation. The background of the picture represents the altar and altar-piece, (the latter a painting, apparently, of the Virgin and Child,) lighted by lamps and a window over the altar; but it is notwithstanding so dark, that the eye is rivetted upon the principal figures, which, by the darkness of the background, are brought out into almost painfully prominent relief. The figures themselves are lighted in a manner not easily explained. This picture is in admirable preservation.

"If any shall say, that the confirmation of baptized persons is an idle ceremony, and not rather a true and proper sacrament; or that formerly, it was nothing more than a mere catechising, in which they who were newly grown up gave an account of their faith before the church; let him be accursed." (Council of Trent, Confirmation, Canon I.) Compare with the 25th Article, and the Homily on the Sacraments of the Anglican Church.

The

The Eucharist. This is the darkest picture in the series, and, unfortunately, in the darkest part of the room. The Saviour is represented in the centre, opposite to the spectator, surrounded by his disciples. The light proceeds from two lamps pending from the roof, and from a candle on a bench to the left front of the table, near a disciple of dark hair and beard (Judas?), and from an open door. attitude of the beloved disciple is represented too literally according to the vulgar interpretation of the text, and denotes a half-sleepy want of interest. The paschal lamb is in the centre of the table. The heads of the whole group are magnificent; the position and action of the figures distinct and natural, with the exception above alluded to. But this picture proves that Poussin did not excel in the treatment of night scenes: the shadows are very dark, and the light of the lamps and taper hard and defined, as if not extending its illumination beyond the immediate vicinity. This painting is in fine preservation.

Extreme Unction.-The light is with admirable effect thrown upon the dying man, the officiating priest, and his golden-haired, white-vested, kneeling attendant, with his back to the spectator. Nothing can be more magnificently done than the head, arms, and hands of the priest; nor more fearfully indicative of death, than the wasted, livid body of the sick. The kneeling attendant holds a book open at the order of the administration of this so-called sacrament, with portions (in Latin) of the following invocation:-"By this unction of holy oil, + and his affectionate mercy, may God forgive thee, whatsoever sins thou hast committed by the sight, and by the other senses. Amen." At the head of the bed are seen the head, neck, and shoulders of an aged, agonized female; whose expression contrasts admirably with that of a female, probably a menial, having a child in her arms, and looking on this painful

scene with perfect indifference. The attitude and general expression of a young woman weeping at the foot of the bed, are excellent. There are a sameness and an unimpressiveness of action, in an aged man and two young females, on the opposite side of the bed; and the bright blue and red colours of the garments do not harmonize with the rest of the picture; which is, however, in high preservation.

66 If any shall say, that extreme unction is not truly and properly a sacrament instituted by our Lord Christ, and declared by the blessed apostle James; but only a rite received from the Fathers, or a human invention; let him be accursed." (Council of Trent, Extreme Unction, Canon I.)

Orders.-Christ delivering the keys of the kingdom of heaven to Peter. The group of Christ and his disciples occupies the whole of the foreground. Christ, with the forefinger of his left hand, points to heaven; while, with the other, he delivers the keys to Peter; the eager expression of whose countenance, the clutch (no other word better expresses the action) of the left hand on one key, and the earnest reaching forward of the right for the second, which has not left the Saviour's hand, admirably mark the impetuosity of his natural disposition. Behind Christ, and on the margin of a stream, a disciple is seen reading. To the right are four more, of whom two are young. Next to them is another kneeling, with his arms folded reverentially on his breast. The fifth and last of another group has the face in deep shadow, with a villanous expression of countenance: ("One of you is a devil.") The colours of the garments, deep red and brown, prevail with unpleasing effect. The background, mountainous, with groups of trees, is rather dark, as if the ground had come through with cleaning. The action of the Saviour, Peter, and an