Notices of Books: Seeta. By Meadows Taylor, C.S.I., M.R.I.A., 'M.R.A.S., &c. King & Co. WE are glad to welcome another story from the accomplished author of "Tara." Captain Meadows Taylor has chosen the time of the great Indian mutiny for the plot and dénouement of his new novel, Seeta." We find the same intelligent appreciation of the native character and capabilities as in the earlier work. The heroine, whose name the book bears as title, is a charming creation, and the writer is most successful in awakening and sustaining interest in her. There is, perhaps, less general information to be gained upon Indian life and manners than in "Tara;" but there is sufficient to rouse sympathy and a desire to know more of the individuality of the wonderful race whose literature and civilization were capable of an elevation so lofty, while at the same time disfigured by pagan superstition. What will specially gratify those who believe that it is incumbent upon the English nation to take more than a superficial and mercenary interest in the affairs of the great Peninsula, and that there is yet a future of high promise for its gifted people, are the evident love and enthusiasm which the author brings to bear upon the rich and attractive theme he has chosen for illustration and elucidation. We wish him all success in his pleasant and instructive endeavours to increase the good understanding between the two nations. Numismata Cromwelliana, or the Medallic History of Oliver Cromwell, Illustrated by his Coins, Medals, and Seals. By Henry W. Henfrey. Part I., with seven Autotype Illustrations. London: John Russell Smith. 1873. thrown NUMISMATA CROMWELLIANA usefully supplies a gap in the sources of information hitherto accessible as regards the Protector. Its publication will be hailed with satisfaction and pleasure by the student of English art, as well as by the archæologist. As remarked in the prefatory advertisement, it is the first time that "a complete historical description of all the Coins, Medals, and Pattern Pieces of Oliver Cromwell" has been attempted. The new light thus upon the history of the Protectorate by these reliable witnesses" is in the highest degree interesting. It is refreshing and almost surprising that, in spite of the meagre Puritanism of the age, these fine examples of art should result to us from those days. Their artistic originator, Thomas Simon, is stated by Horace Walpole to have been the pupil of Nicholas Briot, a native of Lorraine, and "Graver-general of the Monies in France." Briot, disgusted with the treatment he had received in that kingdom, had come over to England, where Charles I. gave him great encouragement, establishing him in the Mint at the Tower in 1628. He returned to France about 1642, and his gifted pupil, Thomas Simon, at Cromwell's request, was installed in his place. To Briot's training, we are therefore indebted for the eminent artistic skill so admirably applied to the production of the Cromwell medals. It is the undeniable art they evince which at once strikes the eye. The faces of the busts in relief are not mere mechanical copies of nature. There is so much expression in them, such an intellectual penetration of character, and such freedom of handling, that the thorough artist of the brush, as well as the chisel, seems to have been at work upon them. In this first part of the work are seven medallic illustrations in autotype, or permanent photography. These are admirable for accuracy and effect, and form valuable examples of seventeenth century art. The "Numismatic History of Oliver Cromwell commences, we are told, with the battle of Dunbar, on September 3rd, 1650. Accordingly, the medals struck upon that occasion, by order of the House of Commons, begin the series under the title of "The Dunbar Medals. "This," observes the author, "is the first instance in English history where the same medal was distributed to officers and men alike, as is our present practice; and it was never done again by the supreme authority until the Battle of Waterloo in 1815.' Thomas Simon was sent to Edinburgh to take the portrait of the Lord-General for the medal in question. Cromwell, in his letter on the subject, addressed "to the Committee of the Army at London,' recommends the appointment of Simon to the former office of Nicholas Briot, remarking, "the man is ingenious and worthie of incouragemt." According to an old pamphlet, published in 1799, the original dies of the Dunbar medals were found at Southwold, in Suffolk, in the shop of a blacksmith "who asserted that he, or his father, had purchased them out of a house at Southwold that had belonged to the protector, Richard." Vertue, however, in the first edition of the "Works of Thomas Simon," 1753, says that the die of the large Dunbar medal, No. I., was found in the walls of a house at Hursley, Hants, which had formerly been in the possession of the Cromwell family. These medals are considered to exhibit the best likenesses of Cromwell which were ever obtained in this style of imitation. The remaining medallic illustrations in this first part are the "Lord-General" medal, the Pattern Farthing of 1651, the Inauguration medal, and the Privy Seal, also the work of Thomas Simon. The lovers of fine typography will be gratified with the style in which the work has been brought out, and its toned paper and the red-letter headings of the chapters greatly increase its attractive and ornamental character. It is appropriately dedicated to the Marquis of Ripon, who, as a promoter of art and archæological research, and as a descendant of the Cromwell family, may be considered to possess special qualifications as a patron of Mr. Henfrey's interesting enterprise. Auswers to Correspondents. X.-The difference between an escutcheon of pretence and an inescutcheon, is that the latter is not a charge, but a separate coat, occupying the fess point; whilst the former is a small shield, occupying the same position in the centre of the larger one, and covering a portion of the charges, but bearing a distinct coat of arms. 7. L.-The battle of Jarnac was fought in the town of that name, in the department of Charente, France, in 1569, between the Catholics under the Duke of Anjou, afterwards Henri III., and Huguenots under Louis, Prince of Conde, and ended in the defeat of the latter. Clericus.-George Herbert, the author of " The Country Parson," was a brother of Lord Herbert, of Cherbury, and was born in 1593. L. J.-The majority of the inhabitants of Persia are Mahometans, of the sect called Shiites or Sheahs, and they differ to some extent in religious doctrine, and more in historical belief, from the inhabitants of the Turkish empire, who are called Sunnites. K. R. (Camberwell.)-The popular ballads "Cherry Ripe" and "I've been Roaming," were written by Mr. Charles Edward Horn, the son of a German musician. He died at New York, in 1849. 7. T.-The officials at the College of Arms, Doctor's Commons, will furnish you with the information you require. Manchester, was the author of the work you allude to. X-The term "a cross humetty," in heraldry, signifies that the limbs of the cross nowhere extend to the edge of the shield. R. S. Tompson.-Refer to Gifford's edition of the works of Ben Jonson, which is accompanied by a biographical memoir of the great humourist (1816), or to Barry Cornwall's, a third edition of which was published in 1853. R. A. (Kearsley.)-The lines you allude to have reference to the Fenwicks, who played a conspicuous part in the Border wars: they occur in the ballad of the Raid of the Redswire," and are as follows: "I saw come marching o'er the knows J. Runnock. The building was demolished in 1864, and the materials used for mending the roads. R. O.-Thursday is the only day on which tickets for admission are required; they may be obtained on application to the Secretary of State for India, the Under and Assistant Secretaries of State, members of Indian Council, and the Reporter on the Products of India. E. 7. Smith. "The History of Jonathan Wild" was one of the early productions of Fielding, the novelist. L.D. Stevens.-The arms of the family you mention are-Arg., on a bend, az., three buckles, or; the crest is a griffin's head, erased, ppr.; and the motto "Grip fast." R. M.-The design of the State Orders of the Bath, as set forth in our old records, was "for the exaltation of the holy Christian religion, the support of the rights of our sovereigns, the defence of these realms, the advancement of justice, the protection of virgins, widows, and orphans, the relief of the oppressed, and for demonstrating the affection of our monarchs towards the estate of chivalry." F.A. (Ely.) The author of the "Treatise on Tenures," commented upon by Sir Edward Coke, was Sir Thomas Lyttleton (or Littleton), K.B. He was appointed a judge of the Common Pleas, in the fourth of Edward IV. year NOTICES. Correspondents who reply to queries would oblige by referring to the volume and page where such queries are to be found. To omit this gives us unnecessary trouble. A few of our correspondents are slow to comprehend that it is desirable to give not only the reference to the query itself, but that such reference should also include all previous replies. Thus a reply given to a query propounded at page 4, Vol. iii., to which a previous reply had been given at page 20, and another at page 32, requires to be set down (Vol. iii. 4, 20, 32). We shall be glad to receive contributions from competent and capable persons accomplished in literature or skilled in archæology, and generally from any intelligent reader who may be in possession of facts, historical or otherwise, likely to be of general interest. Communications for the Editor should be addressed to the Pub. lishing Office, 81A, Fleet Street, London, E.C. LONDON, SATURDAY, JULY 19, 1873. CONTENTS.-No. 72. LONDON RIOTS:-Sixty-six Nights of the O. P. Riots, 25. QUERIES:-Cromwell's Grave, 32-Subterranean Passage at Chelsea It was on the fifth night of this brief madness that Kemble came on in the second act of "John Bull," and said he had a proposal to submit which, he trusted, would restore tranquillity. He would entrust the accounts of the theatre to a committee of gentlemen of character. (Cries of No, no!) He then suggested the governor of the Bank of England, the attorney-general, the solicitor-general, or the accountant of the Court of Chancery, Sir Francis Baring and Mr. Angerstein. Yet even this proposal did not satisfy the malcontents, and after much tumult, fife playing, and choruses of "Hearts of Oak," and "Rule Britannia," Kemble stalked off like the injured ghost in "Hamlet." The general feeling seems to have been that the Lord Chamberlain was the only proper arbitrator to have been chosen, as he had been ten years before, when Johnstone, Fawcett, Pope, Knight, Munden, Incledon, &c. had fallen out; but then the rumour ran that the existing Lord Chamberlain was an O. P. The riot now increased to a perfect monsoon, the covering of the seats were torn, the doors spit upon. Fresh placards and caricatures were displayed; one entitled "A cure for Aitches," represented Kemble gibbeted. Another depicted Kemble as Macbeth, Harris as Banquo. The former exclaims "Thou canst not say I did it: " to which the latter replies: "A lie! upon my soul, a lie." Then the terrible O. P. dance followed, the tune beaten on the seats (from which rose clouds of dust), with choruses of O. P. The music of this wild war-dance was soon afterwards published and sold at every music shop. On the sixth night, Kemble produced the "Woodman," and the farce of "Raising the Wind," and no orders were sent in. The tumult was now at its height, and the toy shops in Exeter Change had been exhausted of every child's whistle and penny trumpet. Some madmen beat on marrow-bones with cleavers, and one ruffian clanged horrible dissonance out of a dustman's bell. The actors were pelted, the whole second tier was hung with placards, whilst hundreds of others And show at least you've common sense; To Kemble, his sister, and Madame Cat." We will not be cramm'd.' "John Kemble alone is the cause of this riotWhen he lowers his prices, John Bull will be quiet." "Tis no use to dissemble, Squire John Philip Kemble." "John Bull, John Bull, O! brave John Bull, Fear not to show disapprobation, For none of Kemble born shall gull the British nation." "Mountain and Dickons ! No Cat or kittens." "Fair prices!-Monopoly provokes. THE HOUSE THAT JACK BUILT. "This is the house that JACK built. "These are the boxes, let to the great that visit the house that JACK built. "These are the pigeon-holes, over the boxes, let to the great that visit the house that JACK built. "This is the CAT engaged to squall to the poor in the pigeon-hole over the boxes, let to the great that visit the house that JACK built. This is Joux BULL with a bugle-horn, who hissed the CAT engaged to squall to the poor in the pigeon-holes over the boxes, let to the great that visit the house that JACK built. This is the thieftaker, shaven and shorn, that took up JoHN BULL with his bugle-horn, who hissed the CAT engaged to squall to the poor in the pigeon-holes over the boxes, let to the great that visit the house that JACK built. people forlorn, and directed the thieftaker, shaven and shorn, to take "This is the manager, full of scorn, who raised the prices to the up JOHN BULL with his bugle-horn, who hissed the CAT engaged to squall to the poor in the pigeon-holes over the boxes, let to the great that visit the house that JACK built. "Bow-wow." This night Kemble again appeared and addressed the rioters. "Ladies and gentlemen," he said, "it has been reported that it is my aim to insult you. But how can I deserve this imputation? I who for twenty years have toiled hard to win your esteem." (Cries of "Come to the point.") The accounts were about to be laid before impartial judges, and, as they seemed to wish it, the engagement with Madame Catalani had been suspended. The mob would listen to no more, and the tumult so increased, that many of the rioters were seized, and, in default of bail, sent to prison. Lord Dartmouth (the Lord Chamberlain) forbidding further performances for the present, the theatre closed for ten days. During this armistice, which benefited the Lyceum, a clever squib, called "The New Chevy Chase," appeared in the Morning Chronicle, an extract from which we append to show the disgraceful attack on the great singer: "To chase the Cat* with howl and horn John Bull went to the play, And though she laughed him to scorn, I trow he won the day. "But John, whose skull with brains is cramm'd, Their schemes did soon unriddle; And if I have, may I be damn'd, (Quoth he) your Cat and Fiddle! * Catalani. 66 'What! Think you me to tax and gull For building this here house! Or thinks a CAT to catch JOHN BULL, Just as she'd catch a mouse? "Your modesty, upon my soul, Much with the ton increases, That fain would cram each pigeon-hole With seven-shilling pieces! "No, no, it will not do, Black JACK. Old plays and prices we'll have back, In the meantime the committee's statement was published. They reported, "that the rate of profit actually received upon an average of the last six years, commencing in 1803 (the period of the then co-partnership in the theatre), upon the capital embarked therein, amounted to 6 per cent. per annum, charging the concern with only the sum actually paid for insurance upon such part of the capital as was insured; that if the whole capital had been insured the profit would have been reduced to little more than 5 per cent., though, for want of this full insurance, the proprietors, being in part their own insurers, sustained a loss by the late fire, for which no compensation has been made, to the amount of their whole profits for the above period of six years." The receipts of six years had amounted to 365,9837.; the highest (the Master Betty year, 1804) being 70,7277. The average was 300l. a night, there being 200 acting nights in the year. The expenses in six years had been 307,9127. The rioters still remained discontented, and when the theatre opened again, October 4, no one would listen to the Beggar's Opera" in spite of Kemble's bows and deprecatory gestures. The chief placards were the following: "The comedy John Bull to-night; Dancing and tumbling by the troop, And then the farce of Who's the Dupe?" "He that is greedy after gain, Disturbeth his own house 'tis plain." "Fie, managers-why thus dissemble? The case--John Bull versus John Kemble, Having been left to arbitration, By which, to plaintiff's great vexation, A verdict the defendant won; The plaintiff, grieved by what is done, Resolves thereby not to abide, But moves that it be set aside." "No private boxes for intrigues; Remove those nuisances-those plagues." The managers now resolved to only open the theatre every second night. On October 6th they produced “John Bull" and "The Poor Soldier." The row this night was more tremendous than ever. The management had hired about 100 Jew pugilists to awe the mob, who, however, turned on them, and gave them a most tremendous drubbing. The next night, when "Richard III." was played, the Jews, led by Dutch Sam, assembled in a ring, eager for revenge. They were, however, pressed so close that they could not use their fists, and were then well belaboured; the O. P.s being led by an invulnerable hero, a man in a white hat, who called himself "Jemmy from Town." The great fighting was to keep up or pull down the placards, especially one decorated with a huge key, in allusion to the private boxes and an infamous house recently burnt down in Chandos-street. It was, however, at last torn down in spite of bludgeons, and half-a-dozen of its defenders were dragged off to Bow-street. A gentleman then got up in the pit, hissed, groaned, denounced the Jews, and cried, "I expect to be hauled off to Bowstreet by-and-bye, but I've got my bail, my boys." He then began to sing the following parody of "God Save the King." "God save great Johnny Bull, Long live our noble Bull, God save John Bull; Make him uproarious, God save John Bull! "Oh! Johnny Bull be true, Oppose the prices new, And make them fall; Curse Kemble's politics, Frustrate his knavish tricks, On thee our hopes we fix, Confound them all! "No private boxes let Thy right, John Bull; On October 10th they played "The Village Lawyer," and the riot did not commence till half price. The actors were cheered, and songs even encored. The Jews were again there, and several placards were inscribed "Turn out the fighting Hebrews, John Bull the fighting Hebrews smote." The following handbill was circulated:- "MENDOZA AND KEMBLE. "It is a notorious fact that the managers of Covent Garden Theatre have, both yesterday and to-day, furnished Daniel Mendoza, the fighting Jew, with a prodigious number of PIT ORDERS for Covent Garden Theatre, which he has distributed to Dutch Sam, and such other of the pugilistic tribe as would attend, and engage to assault every person who had the courage to express their disapprobation of the manager's attempt to run down the NEW PRICES. "This shameful abuse in the managers shall be proved to the satisfaction of "The Lord Chamberlain. "Oct. 10, 1809." "Submit, stubborn Kemble, submit, do, I pray, Thy Playhouse will always be M. T.' The next night Dutch Sam was still there with his Jewish boxers. Now, the rioters had agreed to trust to their lungs alone, and had laid aside their rattles and trumpets. Three actsof Colman's "Heir-at-Law" were played, but the farce, of the "Padlock" was not even attempted. A few bills were exhibited, but were as quickly torn down. "The Post runs down John Bull's placards, Thou know'st they cannot touch thy tongue." The catchpoles were on the alert, but the rioters in the boxes leaped down boldly into the pit and generally escaped. A lady rose and spoke, but no one listened; several persons were taken before the magistrates, who demanded heavy bail, and large bills were next morning posted in Bow-street declaring all rioters should be punished with severity. The chief placards on the following two nights were these "O! Bish for ever, Mendoza never!" "Foul means will never silence Bull." "A long pull, a strong pull, a pull altogether." One prose placard was a pretended magistrate's order forbidding people to laugh or hiss, because Brandon had arrested one of the audience for what he called "an unnatural laugh," &c. "Every night our voice we'll raise, To Kemble's shame and Britain's praise. 66 Brave Britons, never quit the field, This last placard was much fought over. The catchpoles "John Kemble he would an acting go, He rais'd the price, which he thought too low, With a rowley, &c., "Twill do,' says Manager Kemble. "He held by the tip of his opera hat, 'Indeed the concern is as poor as a rat.' Says John Bull, 'No, damme, we don't stand that, 'Twont do, great Manager Kemble.'" KEMBLE, LEAVE THE PIT ALONE. "Johnny, leave the pit alone, Let them crack their wit alone; Can't you let 'em sit alone, Let 'em sing O. P. Why with lawyers fagging 'em, More the blockhead he. Johnny leave the pit alone, "Other measures try at, O! Valiant boys are we "Despotism French is, O! Let 'em sing O. P." "Come all you lads and you lasses fond of sport "Then haste away, unto the play, where you can quickly be, ART AT THE INTERNATIONAL EX HIBITION. THE WORKS OF THE LATE JOHN PHILLIP, R.A., AND THE LATE THOMAS CRESWICK, R.A. THIS collection of paintings forms an excellent exposition of certain aspects of English art. It cannot be called great in point of idealism or expression, or in the more heroic forms of the art. Not that English life and English nationality are not capable of all these in an eminent degree, but, in the special sphere of action available for their development, the heights and depths of existence, with the studied insouciance of good society, are tacitly ignored. Attention is directed only to what appears upon the smooth level of ordinary circumstance. The more passionate life of the Italian expresses itself in passionate subjects and expressions of art. Heroic tragedy, divine comedy, the delights of Paradise, the depths of Hades, and the whole range of human life and the human heart, offer fields congenial to the inspiration and individuality of the genius of the south The dreamy and speculative, yet hardly less passionate German revels in sentiment less violent, yet equally intense' and, perhaps, more imaginative than that of the Italian' Poetry and idealism are far more important elements in art with our Teutonic cousins than with us. The Gallic pencil loves to chronicle horrors, the representation of which almost every Englishman would carefully exclude from his house and home. And the English picture-buyer moulds the English artist after his own taste; and, though occasionally some ambitious spirit, longing to escape from its trammels, may launch out into the commemoration of a great scene of history, allegory, or Scripture, as a general rule we find delineations of home life, society, familiar scenery, and subjects of a similar nature displayed upon the walls of our annual exhibitions. The pictures of Creswick may be taken as fair illustrations of what might be called this middle-class tendency in art. There is no aspiration and not much sentiment about them, though sometimes the latter quality does seem to work itself into prominence, almost in spite of the artist's realistic bent, yet chiefly so far as inherent in the character of objects themselves. He appears to avoid those convulsions and exceptional effects of nature, in which the imaginative artist revels with sympathetic delight. Green lanes, clear, calm brooks, and skies untroubled by elemental passion or presage, are the materials on which his fancy loves to dwell. There is a singular absence of artistic and imaginative motion in the works of the English painter. Instead of it we have, as before remarked, trees, woods, rocks, stones-all, with few exceptions, under the usual quiet daylight effect. But take this school for what it is-i.e., unadulterated realism and naturalism, with occasional slight touches of sentiment, the whole expressed by a certain technical skill which has reached a relatively appropriate standpoint sufficient to carry out its own special needs, and an honourable position may be at once conceded. The mistake is to cry it up as the one direction to be followed, or as the chief and special representative of British landscape art. And it has its merits. Its unaffected realism and truthfulness are undoubtedly refreshing after studio landscapes An HERTFORDSHIRE. (Continued from page 6.) IN the middle aisle of the chancel, the head nearly touching the extremity of the nave, is a black slab, well worn, with some portions of the inscription now illegible. Round the slab is inscribed the 40th verse of the sixth chapter of St. John, to which verse I would refer your readers for the elucidation of the existing breaks : AND THIS IS THE WILL O THAT SENT ME THAT EVERY ONE WHICH SEETH THE SONNE AND EVTING LIFE & I WILL RAISE HIM VP AT YE LA-—— 0.6 V 40TH BELEEVETH ON HIM MAY HA-E This slab commemorates that HERE LYETH YE BODY OF ANNA OF HERT VNDER CORR -TILL THAT GREAT DAY SHEE DEPARTED THIS LIFE YETH DAY OF DECE 42.* There is also in the middle aisle, and near the altar-rails, bristling with morbid theatrical effects. Creswick put into just named, the advance in breadth of tone, light and shade, his pictures what he saw, and he saw nature. As before and in effective and harmonious grouping are strikingly remarked, his are not the pictures in which the poet painter apparent. The painter has developed from the crude translates from air and sea and sky the mingled impressions draughtsman, and diligent but superficial copyist, into the which they have produced upon his imagination. Yet in artist, at whose beck light and shadow, and life and nature, some of his sea pieces, in which he has to deal with a large seem to become willing instruments. expanse of air and distance, in the larger and freer scope thus permitted to his brush, he seems to gain with the freedom of WORMLEY CHURCH AND MEMORIALS, his subject a certain elasticity of feeling and idea. example of this may be observed in the fine picture "St. Michael's Mount" (1344), the romantic natural situation of which gives rather the impression of some "castle in the air," than of a substantial English habitation. The light, fresh tones, and the general local characteristics of the Cornish coast are well rendered. The picture is the joint work of Creswick and Mr. Ansdell, R.A. The sky is breezy and full of motion, and the sea dashes against the shore in wild white jets of spray. A general feeling of space and freshness pervades the picture. On the opposite side of the gallery, we have the reverse of this in "The Kingfisher's Haunt "(1182). It might fitly be called a woodland interior, and is a picture one would be well pleased to have for a daily companion, refreshing to look upon at odd moments, with cool, deep water, pleasant to see on hot days. Near this are two interesting heads by Phillip, "Portrait of a Lady" (1184) and "Study of a Roman Peasant Girl" (1185). Á striking contrast they present-the sensitive and pensive reflectiveness of the northern lady, and the rich prononcé beauty of the peasant of the Campagna. Beneath these is a much older work of the painter, "Presbyterian Catechising' (1186). It has almost as many cracks on its surfaces a Holbein, and it is nearly as crude and hard as Holbein; but many of the faces are excellent in expression, the grouping is effective and agreeable, and as a picture of national characteristics it is specially valuable. Close by this (1188) is the "Sketch for the Picture of the Marriage of H.R.H. the Princess Royal with the Crown Prince of a similar slab, but bearing the following inscription :Prussia," which, at the time it was painted, excited admiration among artists for the skill with which the large and difficult masses of white were treated. A few steps further, and we have "Pasquccia " (1198), a grand Roman head with outline and bearing such as the Imperial city alone can boast; and near it "Doubtful Fortune" (1203) attracts the eye by its strength and vivacity. A fair Senora is awaiting the decision which the cager, cunning fortune-teller with her glowing smile is auguring from the cards in her hand. The work is a perfect gem, and a most excellent example of the master. Almost the most remarkable picture in this gallery is The Officer" (1332). This, the painter's last finished work, for life-like expression and thorough technical mastery, is unrivalled. The eyes possess a reality and speculation wonderful to behold, seeming to follow and look out upon the spectator wherever he may place himself. A decade, and even less, made all the difference in the artist's handling of the brush and perception of effect. If we look at the pictures painted about the years 1853-4 and those between 1864-7, the increase in grace, style, tone, and general taste, as well as the improvement in the artistic use of material, are most apparent. In the earlier pictures, we find energy and character abundantly present, but, at the same time, much vulgarity, and a hardness of outline and flesh extremely unpleasing. The flesh-painting of the later period, when narrowly examined, seems produced by a collection of indefinite touches. No distinct outlines are perceptible, but the faces have the semi-transparency of living flesh, with its brilliant tints and its delicacy of texture. A few of the paintings near the entrance of the gallery illustrate these remarks. Compare the two large pictures "Life among the Gipsies--Seville (1343), painted in 1853, with "The Early Career of Murillo" (1329), painted in 1865, or "Study of a Head" (1221), painted in 1859, with "Dolores, a Study" (1334), or "The Officer" (1332), painted respectively in 1864 and 1867. In the two largest of the works HERE LYES Y BODY OF MARY SHEERE WIDDOW YE RELICT OF ARTHVR SHEERE ESQ & DAVGHTER OF IOHN GARDINER DR OF YE LAWES WHO DYED YE 18TH DAY OF IVLY 1660 & IN YE 75TH YEARE OF HER AGE LEAVEING MARY HER SOLE DAVGHTER & HEIRE THEN WIDDOW & Y RELICT OF FRANCIS FORSTER ESQ. A black tablet on the north wall of the chancel is thus inscribed : : prope hic (in cœmeterio) iacet DAME MARY GLASCOCK LATE WIFE OF SR WILLIAM GLASCOCK KNT FORMERLY THE WIFE OF FRANCIS FORSTER ESQ. DECEASED SHEE DYED THE LAST DAY OF MARCH 1670 WITHOVT ISSVE SHEE WAS DAVGHTER OF ARTHVR SHEERE ESQ. & MARY (GARDINER) HIS WIFE BOTH DECEASED. all events will supply the missing portions: 1642. "Of Popes in the county of Hertford, Esq. Groaning under corruption till that great day. She dep. this life Dec. 9th, messuage and five acres of land in Cheshunt, now let (1826) to James A Thomas Tooke was a benefactor to this parish. "In 1684 a Ebbon, were purchased and conveyed to Trustees in trust every Christmas day in pursuance of a direction in the Will of Thomas Tooke, dated 9th June, 1670, to lay out 34., part of the rents, in providbonnets for three of the poorest boys and three of the poorest girls ing six blue coats, six yellow petticoats, six pair of blue stockings and of this parish, two of which six boys and girls to be yearly named by the owners of Wormley Bury and the others by the major part of the aged men and women of the parish, at the discretion of the major parishioners, and the rest of the rents to be disposed of to the most part of the parishioners. The present trustees are Sir Abraham Hume, Alexander Evelyn, Esq., Rev. T. M'Cullock, George WelAkers, and Mr. William Wiseman. 1826." stead, Esq., Mr. James Elliott, Mr. Richard Iredale, Mr. William |