knowledge from authentic records of the several parts of the Priory in which the principal persons were buried, enabled Nichols to form a plan of the building. According to his design the Priory consisted of a tower, nave, side aisles, and choir. On the north side were the cloisters; in the centre of which stood the chapter house. The presbytery was an extension of the choir at the east end, with which it agreed in breadth. On the south of the presbytery was St. Nicholas' chapel. In the angle between the south aisle and the choir was St. Osyth's chapel. St. Mary's chapel was by far the largest; ranging with the east end of the presbytery, and extending westward nearly the whole length of the choir, where it joined the exterior wall of the cloister. The chapel of St. Nicholas was built by William Heron, Prior from 1340 to 1361: and St. Mary's chapel about the same time, by the same person.

Leaving these scanty memorials of former days, we again ascend the hill, in the direction of the Castle, and passing the entrance to the duke's walk, we arrive at a small door, recessed in a loose stone wall, on the left. On passing through this door, an entrance is obtained to a road which leads to the

MAUSOLEUM.

On those melancholy occasions when death has snatched away a member of the noble family of Belvoir, the door and a portion of the wall are removed. So effectually secluded from observation is this last resting place of mortality, that though there are several bye paths which lead to its site, the uninformed stranger would, in all probability, pass it repeatedly without being conscious of its presence. On On every side but the avenue by which it is approached, the Mausoleum is fenced by high paling of closely

set boards; which are themselves overtopped, in the inside, by thickly spreading laurels. It is only by application to the head porter at the Castle, that access can be obtained to the Mausoleum. After opening a boarded gate, the porter leaves the visitors at the entrance of the avenue, till he has unclosed the gates of the Mausoleum. The sombre avenue, with its aged yews and firs, is no inappropriate introduction to the scene that follows. When the lamented Duchess selected this as her resting place, it is probable, that it was recommended to her judgment, by its seclusion, and the character of the scenery. As soon as the exterior folding doors are opened, a pair of magnificent brass gates present themselves, and through them is seen the tomb and sculptured representation of the Duchess, as in the act of ascending to the clouds above! I have observed the effect of this scene, under almost every variety of atmosphere; I have accompanied friends of almost every shade of temperament; memory has pondered again and again upon the subject; yet, neither from the resources of my own mind, or that of others, can I obtain words which will at all adequately describe the impressions made by this scene. It creates a depth of feeling of which the individual is sufficiently conscious; but it seems, at the same time, to paralyse the power of expressing it. My readers, who have seen it, will understand what I mean: and those who have not, must be content, till they have, with the following technical description.

It was the especial wish, I believe, of the architects, and of some of his Grace's friends, that the Mausoleum should be of marble, and of Grecian architecture. Fortunately for the principles of good taste, obstacles, almost insuperable in their nature, prevented the carrying out of this design. It was eventually decided, that the Norman style should be adopted, and from models actually in existence in Normandy.