Areopagite, chap. xvii. Paul pleading before Felix, chap. xxiv. The reader's desk is formed on a square plan, with columns at the four corners, and the entablature over them similar to those of the pulpit; in the four inter-columns are also alto-relievos of the prophets Daniel, Micah, Zachariah, and Malachi, copied after designs by the same artist.

The following paintings in chiaro obscuro, relative to our Saviour, are placed over the lower windows: the first four by DE BRUYN, at the south-east end of the chapel, represent the Nativity; the Angel appearing to the Shepherds; the Magi worshipping; the Flight into Egypt: on the same side, by CATTON, represent St. John baptizing; Calling of St. Peter and St. Andrew; our Saviour preaching from a Ship to the People on Shore; the stilling of the Tempest. The four at the north-west end, by Milburne, represent our Saviour walking on the Sea, and saving Peter from sinking; the blind Man cured by a Touch; Lazarus raised from the Dead; the Transfiguration. Four on the same side, by REBECCA, represent the Lord's Supper; Our Saviour carried before Pilate; the Crucifixion; the Resurrection. The Apostles and Evangelists in the recesses between the upper windows, and the four Prophets in the circles above the gallery doors, are by the last mentioned artists, after designs of WEST.

The HALL. The painting of this hall, which is executed in a masterly manner, was undertaken by Sir James Thornhill, in 1708. In the cupola of the vestibule is represented a compass with its proper points duly bearing. And in the covings, in chiaro obscuro, the four winds with their dif ferent attributes. In this vestibule is the model of an antique ship, presented by the late lord Anson; the original, of marble, found in the Villa Mattea in the sixteenth century, now stands before the church of Sta. Maria in Rome. A large flight of steps leads into the SALOON, or GRAND HALL, about one hundred and six feet long, fifty-six wide, and fifty high; ornamented with a range of Corinthian pilasters standing on a basement, and supporting a rich entablature above. On the south side, are the windows,

dows, two rows in height, the jambs ornamented with roses impanelled. On the north side are painted, in chiaro obscuro, the following allegorical figures, viz. Hospitalitas, Magnanimitas, Liberalitas, Misericordia, Generositas, Bonitas, Benignitas, Humanitas.

In the frize round the hall is the following inscription:

Pietas augusta ut habitent secure et publice alantur qui pub. licæ securitati invigilarunt regia Grenovoci Mariæ auspiciis sublevandis nautis destinata regnantibus, Gulielmo & Maria MDCXCIV.

On the cieling are the portraits of king William and queen Mary, the royal founders, surrounded by the Cardinal Virtues, &c. and with the emblematical representation of the Four Seasons of the year; this cieling is very well described by Sir Richard Steel in his Lover; of which the following is a copy:

"In the middle of the cieling is a very large oval frame painted and carved in imitation of gold, with a great thickness rising in the inside to throw up the figures to the greater height; the oval is fastened to a great suffite adorned with roses in imita tion of copper. The whole is supported by eight gigantic figures of slaves four on each side, as though they were carved in stone; between the figures, thrown in heaps into a covering are all manner of maritime trophies in metzo-relievo; as an. chors, cables, rudders, masts, sails, blocks, capitals, sea guns, sea carriages, boats, pinnaces, oars, stretchers, colours, en. signs, pennants, drums, trumpets, bombs, mortars, small arms, granades, powder barrels, fire arrows, grapling irons, cross staves, quadrants, compasses, &c. all in stone colours, to give the greater beauty to the rest of the cieling, which is more sig nificant.

"About the oval in the inside are placed the twelve signs of the Zodiac; the six northern signs, as Aries, Taurus, Gemini, Cancer, Leo, Virgo, are placed on the north side of the oval; and the six southern signs, as Libra, Scorpio, Sagittarius, Ca. pricornus, Aquarius, Pisces, are to the south, with three of them in a groupe, which compose one quarter of the year: the signs have their attitudes, and their draperies are varied and Vol. V. No. 105.

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adapted to the seasons they possess, as the cool, the blue, and the tender green to the spring; the yellow to the summer; and: the red and flame colour to the dog days and autumnal season 3. the white and cold to the winter: likewise the fruits and the flowers of every season as they succeed each other.

"In the middle of the oval are represented king William and queen Mary sitting on a throne under a great pavilion, or purple canopy, attended by the four cardinal virtues, as Prudence, Tem.... perance, Fortitude, and Justice.

"Over the queen's head is Concord, with the fasces, at her feet two doves, denoting mutual concord, and innocent agreement, with Cupid holding the king's sceptre while he is presenting Peace with the lamb and olive branch, and Liberty expressed. by the Athenian cap to Europe, who laying her crowns at his feet receives them with an air of respect and gratitude. The king tramples Tyranny under his feet, which is exprest by áFrench personage with his leaden crown falling off, his chains, yoke, and iron sword broken, to pieces, cardinal's cap, triple crown, mitres, &c. tambling down. Just beneat his Time bring. ing Truth to light, near which is a figure of Architecture holding a large drawing of part of the hospital with the cupola, and pointing up to the royal founders, attended by the little Genii of her art. Beneath her is Wisdom and Heroic Virtue, represented: by Pallas, and Hercules, destroying Ambition, Envy, Covetous. uess, Detraction, Calumny, with other vices,, which seem to fall to the earth, the place of their more natural abode,

"Over the royal pavilion is shewn at a great height Apollo in his golden chariot, drawn by four white horses attended by theHoræ, and morning, dews falling before him, going his course. through the twelve signs of the Zodiac; and from him the whole plafond or cieling is enlightened

"Each end of the. cieling is raised in perspective, with a bal lustrade and eliptic arches, supported by groupes of stone figures, which form a gallery of the whole breadth of the hallg in the middle of which gallery (as though on the stock) going into the upper Hall, is seen in perspective the tafferil of the Blenheim man, of war, with all her galleries, port-holes open, &c. to one side of which is a figure of Victory flying with spoils taken. from the enemy, and putting them aboard the English man of war. Before the ship is a figure representing the city of Lon

don,

don, with the arms, sword and cap of maintenance, supported by Thame and Isis, with other small rivers offering up their trea, sures to her. The river Tine pouring forth sacks of coals. In the gallery on each side the ship are the Arts and Sciences that relate to navigation with the great Archimedes, many old philosophers consulting the compass, &c.

"At the other end, as you return out of the Hall, is a gal lery in the same manner, in the middle of which is the stern of a beautiful galley filled with Spanish trophies. Under which is the Humber with his pigs of lead. The Severn with the Avon fal ling into her, with other lesser rivers. In the north end of the gallery is the famous Ticho Brahe, that noble Danish knight, and great ornament of his profession and human nature. Near him is Copernicus with his Pythagorean system in his hand; next to him is an old mathematician holding a large table, and on it are described two principal figures, of the incomparable Sir Isaac Newton, on which many extraordinary things in that art are built. On the other end of the gallery, to the south, is our learned Mr. Flamstead, reg. astron. profess. with his ingenious disciple, Mr. Thomas Weston. In Mr. Flamstead's hand is a large scroll of paper, on which is drawn the great eclipse of the sun that will happen in April 1715; near him is an old man with a pendulum counting the seconds of Time, as Mr. Flamstead makes his observations with his great mural arch and tube on the descent of the moon on the Severn, which at certain times form such a roll of the tides as the sailors corruptly call the Higre, instead of the Eager, and is very dangerous to all ships in its way. This is also expressed by rivers tumbling down by the moon's influence into the Severn. In this gallery are more arts and sciences relating to navigation.

"All the great rivers, at each end of the IIall, have their proper product of fish issuing out of their vases.

"In the four great angles of the cieling, which are over the arches of the galleries, are the four elements, as Fire, Air, Earth, and Water, represented by Jupiter, Juno, Cybele, and Neptune, with their lesser deities accompanying, as Vulcan, Iris, the Fauni, Amphitrite, with all their proper attitudes, &c. "At one end of the great oval is a large figure of Fame descending, riding on the winds, and sounding forth the praises of the royal pair.

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"All the sides of the Hall are adorned with fluted pilasters, trophies of shells, corals, pearls; the jambs of the windows or namented with roses impaneled, or the opus reticulamium, heightened with green gold.

"The whole raises in the spectator the most lively images of Glory and Victory, and cannot be beheld without much passion and emotion."

Another flight of steps leads into the upper Hall: the centre of the cieling represents queen Anne and prince George of Denmark, accompanied with various emblematical figures.

On the left hand side is a painting in imitation of bassorelievo, representing the landing of king William. On the right hand over the chimney the landing of king George the First at Greenwich.

At the further end of this Hall are painted the portraits of king George the First and his family, with many emblematical figures; amongst which Sir James Thornhill has also introduced his own portrait.

On the right and left of the entrance are allegorical paintings representing The Public Weal, and Public Safety.

Over the three doors are large oval tables, with the names, in gold letters, of such benefactors as have given 100l. or upward, toward the building; among the most considerable of which were, king WILLIAM, who gave 19,500. Queen ANNE, 6,4721. JOHN DE LA FONTAIN, Esq. 20007. ROBERT OSBOLSTON, Esq. 2000l. Sir JOHN CROPLE and Mr. EVELYN, each 2000. JOHN EVELYN, Esq. 1000. Each table is attended by two charity boys, as if carved in white marble, sitting on great corbels, pointing up to the figure of Charity, in a niche, intimating that what money is given there is for their support.

The whole of this celebrated work was not completed till 1727, and cost 6,6851. being after the rate of 3l. per yard for the ceiling, and 17. per yard for the sides, agreeable to a resolution of the directors, after consulting the following eminent painters, viz. Vandervelt, Cooper, Richardson,

Sykes,