bridge; 600. Dyckmans (b. 1811), Blind beggar; 400. David Roberts (1796-1864), Interior of Burgos Cathedral.

Room XX. MODERN BRITISH SCHOOL. To the left: 394. William Mulready (1786-1863), Fair time; 607. Sir Edwin Landseer (d. 1873), Highland dogs; 439. J. Linnell (d. 1882), Windmill; 452. J. F. Herring (d. 1865), The scanty meal; 407. C. Stanfield (d. 1867), View in Venice; 412. Landseer, Hunted stag; 614. W. Etty (d. 1849), The bather; 406. Stanfield, Lake of Como; 1111. J. S. Cotman (d. 1842), Wherries on the Yare; *1226. Landseer, A distinguished member of the Royal Humane Society; 395. Mulready (d. 1863), Crossing the ford; 1186. J. Glover (d. 1849), Landscape, with cattle; 443. G. Lance (d. 1864), Fruit; 409. Landseer, King Charles spaniels; 431. E. M. Ward (d. 1879), Disgrace of Lord Clarendon; 393. Mulready, The last in; 359. Etty, Luteplayer; 411. Landseer, Highland music; 426. Webster, The truant; 403. Charles Leslie (d. 1859), Uncle Toby and Widow Wadman in the sentry-box (from 'Tristram Shandy'); 444. A. G. Egg (d. 1863), Scene from the 'Diable Boiteux'; 404. Stanfield, Entrance to the Zuyder Zee; *604. Landseer, Dignity and Impudence; 408. Charles Landseer (d. 1879), Clarissa Harlowe in the spunging-house; 1040. W. J. Müller (d.1845), Landscape; 410. Landseer, High Life and Low Life; 423. Daniel Maclise, Malvolio and the Countess; 427. Webster, Dame-school; 450. Fred. Goodall, Village holiday; 615. W. P. Frith, Derby Day; 815. Clays, Dutch boats in the roads of Flushing; 1205. F. L. Bridell (d. 1863), Chestnut woods above Varenna, Lake Como; 241. Sir David Wilkie (d. 1840), The Parish Beadle; 183. Thos. Phillips (d. 1845), Sir David Wilkie; 810. C. Poussin, Pardon Day in Brittany. Constable, *130. Corn-field; *1207. Hay-wain; *327. Valley Farm. 124. John Jackson (d. 1831), Rev. Wm. Holwell Carr; 398. Sir Charles Eastlake (d. 1865), A Greek girl; 1253. J. Holland (d. 1870), Hyde Park Corner in 1825; 446. J. C. Horsley, The Pride of the Village (from Irving's 'Sketch Book'). Sir David Wilkie (1785-1841), 99. Blind Fiddler; 122. Village Festival. 453. Alex. Fraser (d. 1865), Highland cottage; 425. J. R. Herbert, Sir Thomas More and his daughter in the Tower observing monks led to execution; 317. Stothard, Greek vintage; 1175. James Ward, Regent's Park in 1807; 1204. James Stark (d. 1859), Valley of the Yare, near Norwich; 921. Wilkie, Blindman's Buff (sketch).

495

On SCREENS; *1210. Dante Gabriel Rossetti (the leader of the pre-Raphaelite movement in English art; 1828-82), Annunciation ('Ecce Ancilla Domini'); 379. W. J. Müller, Landscape, with Lycian peasants; 563. Thos. Seddon (a pre-Raphaelite; d. 1856), Jerusalem and the Valley of Jehoshaphat.

Room XXI. BRITISH SCHOOL OF THE 19th CENTURY. To the left: 402. Leslie, Sancho Panza in the chamber of the Duchess; 620. Lee (d. 1879), River-scene, the cattle by Cooper; *432. E. M. Ward, The South Sea Bubble; 120. Sir William Beechey (d. 1839), Nollekens, the sculptor; *356. Etty, 'Youth on the prow and Pleasure at the helm' (Gray). E. Landseer, 605. Defeat of Comus; 603. Sleeping bloodhound (painted in four days); *608. 'Alexander and Diogenes'. 922. Lawrence, Portrait of a child; 1142. Cecil Lawson (d. 1882), The August moon; *621. Rosa Bonheur, Horse-fair; 416. Pickersgill (d. 1875), Robert Vernon (p. 148). Ary Scheffer (d. 1868), 1170. SS. Augustine and Monica; 1169. Mrs. Robert Hollond, who sat for St. Monica in No. 1170. 397. Eastlake, Christ lamenting over Jerusalem; 401. David Roberts (architectural painter; d. 1864), Chancel of the church of St. Paul at Antwerp; *1209. Fred. Walker (d. 1875), The vagrants; 606. Landseer, Shoeing the bay mare; 814. Clays, Dutch shipping. Sir Edwin Landseer, 413. Peace; 414. War. 784. Opie, William Siddons, husband of the celebrated actress; 399. Sir Chas. Eastlake, Escape of the Carrara family from the Duke of Milan in 1389; 437. Danby (d. 1861), Landscape; 609. E. Landseer, The Maid and the Magpie; *430. E. M. Ward, Dr. Johnson in Lord Chesterfield's ante-room; 1029. Linton (d. 1876), Temples of Pæstum ; *422. Maclise, Scene from Hamlet; 340. Sir A. Callcott, Dutch peasants returning from market; 898. Sir Chas. Eastlake, Byron's dream; 900. John Hoppner (d. 1810), Countess of Oxford; *894. Wilkie, John Knox preaching before the Lords of the Congregation in 1559, after his return from an exile of 13 years; 1091. Poole (d. 1879), Vision of Ezekiel; 616. E. M. Ward, James II. receiving the news of the landing of William of Orange; 785. Sir Thos. Lawrence, Mrs. Siddons. On SCREENS in the middle of the room; 442. Lance, Little Red-cap; 917. T. S. Good (d. 1872), No news; 1225. Thos. Webster (d. 1886), His father and mother; 1112. Linnell, Portrait.

Room XXII. contains an admirable collection of paintings by J. M. W. Turner (1775-1851), the greatest English landscapepainter (comp. p. 166), chiefly bequeathed by the artist himself. To the left: *528. Burial at sea of Sir David Wilkie; 534. Арproach to Venice; *530. Snow-storm, steamboat off Harwich making signals; 472. Calais pier, English packet arriving; 470. Tenth plague of Egypt; 476. Shipwreck; 483. View of London from Greenwich; 813. Fishing-boats in a breeze; 480. Death of Nelson; 493. The Deluge; 481. Boat's crew recovering an anchor at Spithead; 488. Apollo slaying the Python; 477. Garden of the Hesperides; 513. Vision of Medea; 516. Childe Harold's Pilgrimage; 473. Holy Family; *497. Crossing the brook; 512. Caligula's palace and bridge at Baiæ; 558. Fire at sea (unfinished); 458. Portrait of himself; *538. Rain, steam, and speed, the Great Western Railway; 501, Shipwreck at the mouth of the Meuse; 520. Apollo and Daphne; 506. Dido directing the equipment of the fleet at Carthage; *502. Richmond Hill; 508. Ulysses deriding Polyphemus; 505. Apollo and the Sibyl, Bay of Baiæ; 474. Destruction of Sodom; *492. Frosty morning; 495. Apuleia in search of Apuleius; 559. Petworth Park; *535. The 'Sun of Venice' putting to sea; *524. The 'Fighting Temeraire' towed to her last berth to be broken up (one of the most frequently copied pictures in the whole Gallery); 486. View of Windsor; 548. Queen Mab's Grotto; 523. Agrippina landing with the ashes of Germanicus.

15. Royal College of Surgeons. Soane Museum.

Floral Hall. Covent Garden Market. St. Paul's. Garrick Club.

On the S. side of Lincoln's Inn Fields rises the Royal College of Surgeons (Pl. R, 31; II), designed by Sir Charles Barry, and erected in 1835. It contains an admirable museum. Visitors are admitted, through the personal introduction or written order of a member, on Mon., Tues., Wed., and Thurs. from 12 to 4 in winter, and from 12 to 5 in summer. The Museum is closed during the month of September. Application for orders of admission, which are not transferable, may be made to the secretary.

The nucleus of the museum consists of a collection of 10,000 anatomical preparations formed by John Hunter (d. 1793), which was purchased by Government after his death and presen presented to the College. It is divided into two chief departments, viz. the Physiological Series, containing specimens of animal organs and formations in a normal state, and the Pathological Series, containing similar specimens in an abnormal or diseased condition. There are now in all about 23,000 specimens. A Synopsis of the Contents is sold at the Museum, price 6d. Extended catalogues of the different departments are also distributed throughout the Museum for the use of visitors.

In the centre of the WESTERN MUSEUM, the room we first enter, is hung the skeleton of a Greenland whale; a marble statue of Hunter by Weekes, erected in 1864, stands in the middle of the floor at the S. end of the hall. The Wall Cases on the right side contain Egyptian and other mummies, an admirable and extensive collection of the skulls of the different nations of the earth, deformed skeletons, abnormal bone formations, and the like. The Floor Cabinets on the right contain anatomical preparations illustrating normal human anatomy, and also additional specimens of diseased and injured bones, including some skulls and bones injured by gun-shot wounds in the Crimean war. The first five Floor Cabinets on the left contain a collection illustrating the zoology of the invertebrates, such as zoophytes, shell-fish, crabs, and beetles. In the sixth cabinet are casts of the interior of crania. The Wall Cases on this side hold vegetable fossils, human crania, and human skeletons. In the case at the upper end of the room is the skeleton of the Irish giant Byrne or O'Bryan, 7ft. 7in. high; adjoining it, under a glass-shade, is that of the Sicilian dwarf, Caroline Crachami, who died at the age of 10 years, 20in. in height. Under the same shade are placed wax models of her arm and foot, and beside it is a plaster cast of her face.

The MIDDLE MUSEUM forms the palæontological section, where the antediluvian skeletons in the centre are the most interesting objects. Skeleton of a gigantic stag (erroneously called the Irish Elk), dug up from a bed of shell-marl beneath a peat-bog at Limerick; giant armadilloes

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from Buenos Ayres; giant sloth (mylodon), also from Buenos Ayres; a cast of the Dinornis giganteus, an extinct wingless bird of New Zealand; the huge megatherium, with the missing parts supplied. In the Wall Cases is a number of smaller skeletons and fossils. The Floor Cabinet contains in one of its trays specimens of the hair and skin of the great extinct elephant or mammoth, of which there are some fossil remains in one of the cases.

The EASTERN MUSEUM Contains the osteological series. In the centre are the skeletons of the large mammalia: whales (including a spermwhale or cachalot, 50 ft. long), hippopotamus, giraffe, rhinoceros, elephant, etc. The elephant, Chunee, was exhibited for many years in England, but becoming unmanageable had at last to be shot. The poor animal did not succumb till more than 100 bullets had been fired into its body. The skeleton numbered 4506 A. is that of the first tiger shot by the Prince of Wales in India in 1876. The skeleton of 'Orlando', a Derby winner, and that of a favourite deerhound of Sir Edwin Landseer, are also exhibited here. The Cases round the room contain smaller skeletons.

Round each of the rooms run two galleries, in which are kept numerous preparations in spirit, etc., including the diseased intestines of Napoleon I. The galleries of the Western Museum are reached by a staircase at the S. end of the room, those of the Eastern by a staircase at the E. end of the room. The galleries of the Middle Room are entered from those of either of the others. A room, entered from the staircase of the Eastern Museum, contains a collection of surgical instruments.

The Museum is conspicuous for its admirable organisation and arrangement. The College also possesses a library of about 35,000 volumes. The Council Room contains a good portrait of Hunter by Reynolds and several busts by Chantrey.

At No. 13, Lincoln's Inn Fields, N. side, opposite the College of Surgeons, is the Soane Museum (Pl. R, 31; II), founded by Sir John Soane (d. 1837), architect of the Bank of England. During April, May, June, July, and August this interesting collection is open to the public on Tues., Wed., Thurs., and Sat., from 11 to 5; in February and March on Tues. and Thurs. only. Strangers are also admitted at other times by tickets obtained from the curator, Mr. Wild. The collection, which is exceedingly diversified in character, occupies 24 rooms, some of which are very small, and is most ingeniously arranged, every corner being turned to account. Among the contents, many of which offer little attraction, are a few good pictures and a number of curiosities of historical or personal interest. A General Description of the contents, price 6d., may be had at the Museum.

The DINING ROOM AND LIBRARY, which the visitor first enters, are decorated in the Pompeian style, and contain a large cork-model, showing the state of the excavations at Pompeii as they were in 1820. Above it are a number of plaster models of ancient temples restored. The ceiling paintings are by Howard, and the principal subjects are Phœbus in his car, Pandora among the gods, Epimetheus receiving Pandora, and the Opening of Pandora's vase. On the walls are Reynolds' Snake in the grass, a replica of the picture at the National Gallery, and a portrait of Sir John Soane, by Lawrence. The Greek painted fictile vase at the S. end of the room, 2 ft. 8 in. high, and the vase and chopine on the E. side, all deserve notice.

We now pass through two diminutive rooms into a HALL containing numerous columns and statues. To the right is the PICTURE GALLERY. a room measuring 13 ft. 8 in. in length, 12 ft. 4 in breadth, and 19 ft. 6 in. in height, which, by dint of ingenious arrangement, can accommodate as many pictures as a gallery of the same height, 45 ft. long and 20 ft. broad. The walls are covered with movable shutters, hung with pictures on both sides. Among these are: Hogarth, The Election, a series of four pictures; Canaletto, Port of Venice, The Rialto at Venice, and The Piazza of St. Mark; Study of a head from one of Raphael's large cartoons, perhaps by Giulio Romano; Calcott, Passage Point, a landscape. When the last shutter of the S. wall is opened we see below us a kind of small chapel with an altar and stained-glass windows, illumined by a yellow light from above, and on a beam above it a copy of a nymph by Westmacott.

From the hall with the columns we descend into a kind of crypt, containing the tombstone of Lady Soane. Here we thread our way to the left through numerous statues, both originals and casts, and relics of ancient art, to the SEPULCHRAL CHAMBER, which contains the most curious object in the whole collection. This is an Egyptian sarcophagus, found in 1817 by Belzoni in a tomb in the valley of Beiban el Maluk, near the ancient Thebes, and consisting of a piece of alabaster or arragonite, 9 ft. 4 in. long, 3 ft. 8 in. wide, and 2 ft. 8 in. deep at the head, covered both internally and externally with hieroglyphics and figures. A light placed in the sarcophagus shines through the alabaster, which is 21/2 inches in thickness. The hieroglyphics are interpreted as referring to Sethos I., father of Ramses the Great. On the E. side of this, the lower part of the Museum, is the MONUMENT COURT, with an 'architectural pasticcio', showing various styles, in the centre.

The above-mentioned chapel, which is known as the MONK'S PARLOIR, contains objects of mediæval and Renaissance art and some Peruvian antiquities. The Oratory, in its N.E. corner, contains a fine Flemish wood-carving of the Crucifixion. The remaining rooms on the ground-floor (to which we now re-ascend) are filled with statuary, architectural fragments, models, and bronzes, among which some fine Roman portrait-busts may be noticed. In the BREAKFAST Room are some choice illuminated MSS., including the Conversion of St. Paul by Giulio Clovio after Raphael, and Stoning of St. Stephen after Giulio Romano, with fine ornamentation. Also a pistol which once belonged to Peter the Great.

The first floor contains, among numerous other articles, the celebrated series of pictures of the Rake's Progress, by Hogarth (8 in number), and a carved ivory and gilt table and some chairs from the palace of Tippoo Sahib at Seringapatam. Opposite the windows is a collection of exquisitely delicate miniature paintings on silk, by Labelle. In the second room, at the window, is a small but choice collection of antique gems, chiefly from Tarentum. It also contains a landscape by J. van Ruysdael; a *Seapiece by Turner, representing Adm. Tromp's barge entering the Texel; the Cave of Despair, by Eastlake; and various architectural designs by Sir John Soane. In the glass-cases in the middle of the room are exhibited the first three folio editions of Shakspeare, an original MS. of Tasso's 'Gerusalemme Liberata', and two sketch-books of Sir Joshua Reynolds. On the second floor are exhibited cork-models of ancient temples, architectural drawings in water-colours, and a few pictures.

The museum also contains a collection of valuable old books and MSS., most of which are only shown to visitors by special permission of the Curator. The most interesting of them are, however, those exhibited on the first floor (see above).

The Floral Hall in Bow Street, adjoining the Royal Italian Opera, Covent Garden, a Crystal Palace in miniature, will scarcely repay a visit. It is sometimes used for concerts, in connection with the Covent Garden Theatre (p. 40). Nearly opposite is the New Bow Street Police Court, the most important of the 17 or 18 metropolitan police courts of London. At the corner of Bow Street and Russell Street was Will's Coffee House, the resort of Dryden and other