niches, the soffits of the arches of which are formed of large gilded shells. Lamps, with columns and pedestals, are placed in these niches. In the front of the centre niche, is a magnificent marble side-table for a punch-bowl, covered in appearance with a table napkin, the folds of which are so accurately represented in the marble, as to require a close inspection to convince the observer of the solidity of the material. The sides are decorated with flowers and fruit, in Florentine mosaic. This is a splendid specimen of the skill of the artist, Matthew Wyatt. When it was first placed in the dining room, some fears were entertained, that its enormous weight (between two and three tons) would render additional support to the floor necessary; which is consequently underpropped in this particular part, and in such a manner, that the capability of the floor to sustain the weight would be amply tested. Experience has proved that no such additional security was required. Passing through a small anteroom, which is accessible to the domestics of the Castle by a staircase contained in a species of interior tower, we enter a room, which has received the denomination of the HUNTERS DINING ROOM, from its appropriation to small parties of this class, who, after their laborious amusement, are desirous of the comfort without the state of a dinner party. Its dimensions are 20 feet by 17; and, with the exception of some first-rate pictures, nothing in the shape of decoration has been attempted. Over the fire-place is a whole-length portrait of the present Duke, when a young man. The face is very pleasing, and the action less studied than usual. The sky and the background are rather dark and indistinct; but I would not be understood as giving any positive opinion, as the picture hangs in an unfavourable light. I believe it was painted by Hoppner. Near the above is a head of "Eliz. wife of Charles Noel, 4th Duke of Beaufort, baroness of Bottetourt," by Sir J. Reynolds. At the bottom of the picture are the following lines: "Whatever adorned this dome, thy love bestowed; But, more than wealth or birth-thy precepts pure, "Accept this tribute of thy daughter's love. "M. J. RUTLAND." "Written by Thos. Bowdler esq." Head of the Duke of Beaufort, by Sir J. Reynolds. Head of a Man. Girl and Jay. Peters. The subject was suggested by Sir John Thoroton. It is a pleasing example of the artist's style. There are much simplicity and nature in the expression of the head, and in the attitude of the girl. Sea-piece. Marlow. A large oval picture. £30. Called in a manuscript catalogue, "Fresh breeze, off Flushing." On an isolated portion of a rugged coast, is seen a fortification, and small vessels sailing in different distances. In the middle foreground, a fisherman is leaning on his boat, which lies high and dry on the shore. Behind him, to the right, are a man, woman, and boy. There is much natural ease in the figures; the sea, agitated by a fresh breeze, has a peculiarly liquid character; and a wild sky harmonizes with the whole. Large Sea-piece-Dutch Admiral's Flag. Van de Velde. Besides the admiral's ship, another large ship is seen burning. This picture, as well as most of the pictures in this room, is hung in a bad light. The room itself is, indeed, ill calculated for good pictures. Death of Lord Robert Manners. Stothard. A small picture. £30. The heads, grouping, action, and colouring, are admirable. From some unaccountable cause, this picture has suffered more than any other in the Castle. The colouring is slightly faded, but cracked all over in the most minute manner. Of the "gifted Stothard," as Dr. Waagen calls him, various opinions have been formed. One writer laments, that the Raffaelesque purity of Stothard's early designs was afterwards exchanged for the prettinesses of Watteau. Others do not admit of this exclusive change of style. And, perhaps, a more just appreciation of his talents cannot be found in any author, than in Dr. Waagen's "Art and Artists in England :"-" Amongst all the English painters, none perhaps has so great a power of invention as Stothard. His versatile talent has successfully made essays in the domains of history, of fancy and poetry, of humour, and lastly, even in domestic scenes in the taste of Watteau. To this may be added, much feeling for graceful movements, and cheerful, bright colouring." Mr. Rogers has pictures by this artist in almost all his varied styles. (Vol. II. pp. 133, 134.) The grand staircase at Burleigh is painted by Stothard, with a degree of boldness and strength, that clearly evince the hand of a superior master. Returning through the grand dining room into the gallery of the grand corridor, a door at the end admits us into the picture gallery, at the opposite end to that by which we entered from the grand staircase. Proceeding straight across, we enter, by another door, the Sitting Room of a suite of apartments called the KING'S ROOMS, from their being appropriated to the use of George IV. when he visited Belvoir as Prince Regent. The prospect from these rooms is by far the least pleasing of any that may be observed from the Castle. The view is limited. by the north-east and north-west towers on each side; and nothing of landscape can be observed, except in a straightforward direction over the Vale of Belvoir; which, from its flatness, and the absence of wood and water, is but a dreary prospect. It is thought, that his Grace has some intention of converting this suite of rooms into a library. While, as a matter of taste, we might lament in this change, the absence of ancient English architecture, which, with the exception of the roof, is so strikingly appropriate in the present library, a great advantage would be gained in the situation. The grand staircase, the regent's and picture galleries, and (if the alteration is carried into effect) the library, seem to form an architectural grouping, most apposite, as far as regards ready communication; and yet the library would be sufficiently isolated, as to possess an abstractedness peculiarly appropriate to its designation. But our present object is to describe this suite of apartments as they are now applied, viz. as state apartments for the accommodation of the most distinguished visitor. THE SITTING ROOM is 24 feet 6 inches, by 20 feet 9 inches; lighted by two windows, as are the two others. from the centre of the ceiling. The chandelier is pendent The principal feature in the furniture is a table of French manufacture, erroneously It is elabo The rest of supposed to have been made for Buonaparte. rately inlaid with figures gilded and plated. the furniture is of massive mahogany, covered with topazcoloured damask. There are some cabinets inlaid with paintings on china by the late Duchess. The papering of the room has a cheerful appearance, consisting of trees, birds, flowers, and vases, on a green ground. room. THE BED-ROOM is of the same length, but scarcely so wide as the sitting The bed is handsome, consisting of elaborately carved mahogany pillars, with furniture of damask, of the same colour with that in the sitting room. The Dressing Room, 21 feet by 17 feet 9 inches, contains a couch with satin damask canopy, en suite with that formerly mentioned. We have now, with the exception of the private apartments, taken a complete survey of the principal story, or that portion of the Castle which is usually shewn to visitors. It is not the ordinary custom to allow access to the first and basement stories, beyond the guard-room and gallery. As, however, a description of the Castle would be incomplete without some notice of these portions, which contain much that is interesting; and as, through the kindness of his Grace, I had ample opportunities of observing their most remarkable features, I shall put upon record the result of my observations; commencing in the northern angle, which contains the Housekeeper's suite of apartments, approached from the guard-room gallery, in one direction, |