representing, as the most conspicuous feature, a ruinous church on a rocky, partially wooded elevation. A female in the foreground is driving some goats. To highly finished execution, and warm light, there are added extreme clearness and delicacy in the gradations, especially in the intense blue sky, and the deep masses of foliage.

ADAM ELZHEIMER, or ELSHEIMER, was born at Frankfort, in 1574, and, according to the most probable accounts, died in 1620; but the statements of writers on the subject differ extremely. He became a pupil of Philip Uffenbach; but as he, in a very short time, proved a much better painter than his master, he determined to complete his studies at Rome; where he soon formed an intimacy with Pinas, Lastman, Thomas of Landau, and other eminent painters. Having carefully examined the curiosities of Rome, and the works of the greatest artists, both ancient and modern, he resolved to adopt a style of painting peculiar to himself: this was the designing of landscapes with historical figures on a small scale; which he finished in so exquisite a manner, that he was not only far superior to all his contemporaries, but is probably unrivalled in his own line by any artist of subsequent times. He designed entirely after nature; and a most retentive memory enabled him to recollect every thing that had struck him, and to make the most judicious use of it in his compositions. It is scarcely possible to speak in too high terms of the rare union of excellencies in the works of Elzheimer. He is equally admirable for the fine taste of his design, the correct drawing of his figures, the lightness, spirit, and delicacy of his touch; the beauty of his colouring; the high finishing of his works, so that the minutest parts will bear the closest inspection; and, above all, his admirable management and distribution of light and shade, and perfect knowledge of the principles of chiaroscuro; which was manifested in his pieces representing scenes by torch or candlelight, moonlight, sunrise, or sunset. Even during his life-time, his pictures bore a very high price, which was considerably increased after his death. It is lamentable to add, that he was unable to acquire affluence, or even comfort, by the exercise of his talents. He had a large family; and though he received very high prices for his works, he spent so much time and labour upon them, that he could not

subsist by what he earned. He was at length cast into prison for debt; and, though very soon released, the disgrace even of that short confinement preyed on his spirits, and he sank under his misfortunes. The Italians, who highly honoured and esteemed him, deeply regretted his untimely death; and his friend, Thomas of Landau, was so grieved at his loss, that he could no longer bear Rome, but retired to his own country. Old Teniers and Bamboccio were indebted for great part of their excellence to their study of the works of Elzheimer.

Portrait of Charles, fourth Duke of Rutland. Sir Joshua Reynolds. He is represented in the robes of the garter. A beautiful landscape in the distance, adds to the striking effect of this painting.

THE CHAPEL.

Visitors are not generally taken into the body of the Chapel; but are permitted access to it, either by the folding doors from the regent's gallery,—and from this point they are enabled to have some conception of the altar-piece, by Murillo ;-or to the gallery over the altar-piece, from the private passage-and from this point, besides obtaining a general notion of the architectural details of the chapel, a splendid view is opened to the visitor, through the folding doors opposite, to the very extremity of the regent's gallery, or a distance of more than 160 feet. As my object, however, is to give a more permanent impression of the character of the chapel, than can be obtained from either of these points of view, we will descend to the guard-room gallery, and by a door on the north-west side enter a long passage, which conducts us to the antechapel, 19 feet 6 inches long, 18 feet broad, by about 12 feet high. This is appropriated to the accommodation of the domestics in

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 E 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 E §.

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