Sir Anthony would have had two stately mansions so close together; for the Coach and Horses inn abuts upon the premises then occupied by Sir Anthony, and would have left no room for the extent of ground usually attached to such residences. We, therefore, think that the Coach House, or Coach Houses, has been confounded with the Coach and Horses; and that Brandon House-if ever it was in Brook-street at all-occupied the scite on which the houses have been built extending from the corner of the Old Butter-market, to the passage leading to Saint Stephen's churchyard; for thirty years ago, the premises now occupied by Mr. Dickerson, were then the Coach House, or rather Coach Houses, attached to the adjoining mansion, then occupied by the fate Mrs. Parish.

In the Tankard public house, some curious remains of the decorations of Sir Anthony's mansion still exist, particularly in a large room on the ground floor; the oak wainscot of which - beautifully carved in festoons of flowers, and a variety of devices - was formerly gilt, but is now painted blue and white. The ceiling is of groined work, carved, and wrought something after the manner of Henry VIIth's chapel at Westminster. In various compartments of this ceiling, numerous coats of arms are sculptured, and have been emblazoned in their proper colours: most of which are defaced, but still several of those of the Wingfield family, encircled with the motto of the Order of the Garter, remain in tolerable preservation. This room is twenty-seven feet long, sixteen feet nine inches wide, and only nine feet five inches high. The ceiling is divided into panels sixteen inches and a half square; there are twelve of these in the length of the room, and eight in the breadth: each panel is bordered with a band, and alternately emblazoned with a coat of arms, or filled up with a projecting ornament, in the shape

THE NEW YORK PUBLIC LIBRARY

ASTOR, LENOX AND
TILDEN FOUNDATIONS.

of an inverted pediment, with concave sides, richly carved, and pendentive six inches from the ceiling: each of these projections terminates nearly in a point, tipped with a leaf or rose. There is one large beam intersects the ceiling, in the centre, the whole length of the room, and two smaller transverse ones-one of them a little deviating from its original horizontal position.

Whatever defect there may be in the description, has been amply compensated by the accurate and beautiful engraving from a drawing by Mr. H. Davy; which at once stamps him as a master of his profession.

Over the fire-place is a basso relievo, rudely carved in wood, and colored in a tasteless style. On our inspection of this curious relic, it was melancholy to note how the figures have been mutilated, beheaded, and defaced. We were told that this wanton mischief was principally perpetrated by the military, when this was a garrison town: and we were rejoiced to find that the sober citizens of Ipswich were not guilty of such an outrage against decency and taste.

The interpretation of this sculpture has been thus given, agreeable to the generally received but ridiculous tradition, that it represented the battle of Bosworth Field. "Leicester town, in one corner; several warriors in the centre; Sir Charles William Brandon, standard-bearer to the earl of Richmond, lies dead by his horse, and on the other side the standard; at a distance is the earl with the crown placed upon his head by Sir William Stanley; in another is Leicester Abbey-the abbot coming out of the porch to compliment the earl." Now one would think that this was clear enough, but the magic wand of another conjuror turns the whole picture into the Judgment of Paris, and its consequences, in five compartments. " In the first," says this writer, "he appears seated, habited in the Phrygian robe and bonnet, amusing himself with his lute, when the three goddesses present themselves. The next scene is his adjudgment of the prize; when Juno, as Queen of Heaven, leads the way, followed by Venus disclosing all her charms, and Pallas with the Gorgon's head and Ægis. Paris, won by the attractions of the Goddess of Love, and her assistant son, who hovers above in the air, decrees to her the prize which he holds in his hand. We next view him armed cap à pié, reclining perhaps at the foot of the statue of his patroness, meditating his conquest; his lance lying beside him, and his horse standing saddled and bridled. The reclining warrior and the horse are the only figures in the piece, that could possibly suggest the idea of the battle of Bosworth Field; but the latter might, with as much propriety, have been taken for the Trojan horse, as for that of Richard III. or Paris for that king. Below, in the left corner, we see Paris and some of his friends, with horses, preparing to carry off Helen; and, in the distance, they appear offering up their vows in the temple of Venus, or perhaps solemnizing their nuptials, while the horse or horses are waiting without."

Were we not aware into what absurdities antiquarians will run, when led astray by conjecture, we should have thought it impossible that two persons could have given such different descriptions of one and the same thing; but in this, as in all other doubtful cases, we recommend our readers to see and judge for themselves. There is no appearance whatever of a warlike engagement. There is no other figure of an armed man but one; who is reclining on the ground, with a lance lying by the side of his horse, and, according to the perspective, many yards in length. Now, as one soldier cannot make a battle, it clearly has no reference to the desperate conflict between