be said to be decided, the reader is presented with a description from actual observation, and with the author's own inference as to the antiquity. The roof is a groined vault, intersected with eight plain bevelled ribs, springing from the rock, or floor of the cellar. At the point of intersection is a keystone, on which are rudely sculptured a monogram of Longobardic character, a coronet of fleurs-de-lis and leaves intermixed; surrounded by a belt, consisting of a similar monogram and a rose alternately. The character of the architecture, and of the rudely sculptured keystone, is, I believe, the foundation of the tradition, that it is Norman work, and most probably by Robert de Todeni. A few simple facts, derived from an attentive consideration of the subject, will show that this remote antiquity can by no means be sustained. Nothing is more deceptive, as regards forming an opinion of the date of its construction, than the architectural character of a vault intended to support a heavy superstructure. The simple principle of the semicircular arch, with groins and ribs, has prevailed with little variation in this kingdom, from the time of the Normans to the present day. The difference between the undercroft of Canterbury cathedral, built in the time of the Conqueror, or soon after, and the crypt of St. Paul's, founded six hundred years subsequently, is so slight in the vaulted part, that it would require a practised eye to detect it. The date of such structures can often be determined only by some accidental features, which were known to prevail at any particular period; such as mouldings, and other ornamental additions, which contribute to the decoration, but not to the essential character of the vault. There is not in the vault of Staunton Tower, a single vestige of the kind of decoration alluded to, except the keystone; the ribs are perfectly plain, and the same simplicity appears in other portions of the vault. With regard to the keystone, the rudeness of its sculpture is no criterion of its antiquity. The sculpture of English architecture has not been always progressive. If the Norman sculpture was rude, that of the thirteenth century had attained a perfection of design, and most frequently a gracefulness of execution, which were not sustained in the examples of a later period. The monogram or cypher on the keystone of the Staunton vault, is certainly an M; of a shape very much approaching that of the Longobardic or Saxon character, which continued to be generally used in this country, till the close of the fourteenth century; and was then in a great measure superseded by the old English, or Gothic letter. But the former were retained as capitals, even to the time of Henry VIII.; though in some instances, as in illuminated manuscripts, legal deeds, and monumental inscriptions, highly ornamented. There are many examples of this contemporaneous use of the Saxon and Gothic letters. I will mention one or two, which were in existence a few years ago. In the stained glass of the east window of Loddington church, the architectural character of which is of the latter end of the fourteenth, or the beginning of the fifteenth century, there are several cyphers of Saxon character,—one an M, very similar in shape to that on the keystone of Staunton vault,-with others of Gothic character. There was an inscription carved on a piece of wood found behind the wainscot of Stoughton Grange, in the middle of the last century, with the date, 1491; in which there is the same intermixture of Saxon capitals with Gothic letters. The M, in this last instance, is also similar in shape to the cypher on the keystone now under consideration. But the most crushing argument against the remote anti quity assigned to this vault is, that coronets were not used by the nobility till the reign of Henry III., or nearly a hundred and thirty years after the death of Robert de Todeni; and then, as the distinctive mark of an earl. Coronets were not assigned to barons, till after the restoration of Charles II. The way is now clear before us, to consider which of the noble possessors of the Belvoir property after this period, (1216,) was likely to have rebuilt this, the most important portion of the Castle. It should be remembered, that it was the general custom of the founder to place the initial of his name, in some such conspicuous situation as this,the keystone of the Staunton vault. To none could the present cypher, and I may add, the coronet, apply, but to a member of the Manners family; and there is no record that any material portion of the Castle was rebuilt till after the War of the Roses. Soon after 1523, Thomas Manners, first Earl of Rutland, is known to have commenced the rebuilding of the Castle, which had been so wantonly laid in ruins by Lord Hastings. We have, then, an accumulation of probabilities derived from tolerably clear data, that Thomas Manners, first Earl of Rutland, was the rebuilder of this portion of Staunton Tower, in the early part of the sixteenth century. The cellar is 21 feet square. The south-east side of this story of the Castle is occupied by the passage and waiting room to the Family Dining Room, the Duke's Drawing Room, intervening passage, and private Study and Bed-room. THE FAMILY DINING ROOM is a very cheerful apartment, about 34 feet by 20 feet. There are a few good pictures: The Last Supper. Albrecht Dürer. Over the marble slab of the sideboard. This admirable picture was a purchase of his Grace the present Duke of Rutland; and is the last work of the celebrated master. Turner, the distinguished artist of the present day, declared, that he considered the view through the window, of our Saviour's entrance into Jerusalem, worth the whole sum given for the picture. Landscape, with two Dogs, Turk and Crab. These were favourite dogs of his Grace's father. Stubbs. GEORGE STUBBS, a very eminent animal painter, and an associate of the Royal Academy, was born at Liverpool, in 1724. At the age of thirty, he visited Rome for professional improve. ment; and, on his return, settled in London, where he became one of the first horse-painters of his day. An eminent critic says of Stubbs" That his skill in comparative anatomy never suggested to him the propriety of style in forms, if it were not eminently proved by his 'Phaeton with the Horses of the Sun,' would be evident from all his other figures, which, when human, are seldom more than the attendants of some animal; whilst the style of the animals themselves depended entirely on the individual before him. His tiger, for grandeur, has never been equalled; his lions are, to those of Rubens, what jackals are to lions: but none ever did greater justice to the peculiar structure of that artificial animal, the race-courser, and to all the mysteries of turf-tactics; though, unfortunately for the artist, they depend more on the fac-similist's precision, than the painter's spirit." Stubbs, however, was not only distinguished for correctness, but for a characteristic spirit in most of his paintings; and this is particularly remarkable in the portraits which he draws of the celebrated racers of his time. A Battle-piece. Unknown. Over the fire-place. Beyond the next, or drawing room, is a passage, in which are A Head of the Marquis of Granby. Game. "A. Cladenberg" marked at the right bottom corner. This admirable painting was purchased by the present Duke. The passage in which are the above paintings, communicates with the Duke's private study, bed-room, and dressing room; the former affording ample evidence of his businesslike habits; the two latter, of the extreme simplicity of his desires, as far as his own personal accommodation is con cerned. There are two portraits in passages on this story, of which, from the unfavourable light in which they are placed, it is impossible to give an opinion : "Lord Thomas Manners, son of the first Duke of Rutland;" and General Sporcken. The Billiard Room looks into the court-yard, at the east angle. The south-west portion of this story is occupied by the chapel and antechapel, the chaplain's apartments, and bedrooms for the accommodation of his Grace's brother, and other distinguished visitors. The chapel has been described, and in the remainder of this portion of the Castle, there is nothing else that requires particular remark. Descending to the basement story, the principal apartment is the STEWARD'S ROOM, under the Wellington Rooms, and shorter than the Elizabeth Saloon, by the breadth of a passage only. Every means has been employed to render this portion of the Castle secure in its foundations. The vast height of the north-east tower, and its peculiar locality, rendered such careful precautions highly necessary. The basement story, or steward's room, is built over an inverted cone. |