suggests that the progress of Gothic architecture was arrested before it had attained the full development of which, no doubt, it was capable.

This, however, is a subject not now to be discussed. There is no common ground of argument as between the two branches of art. Sculpture and painting, being strictly imitative, must be judged by an existing and admitted standard-Nature. In architecture there is no such sure guide, nor, indeed, any guide at all, of the kind. Judging by the varieties in Gothic, in the forms and mode of its outward presentation-showing in this the absence of fixed principles, and, in its rapid decline, the want of vitality-the degree of popularity or admiration each has obtained, may not improbably be mainly referred to fancy and fashion. This is not so with the imitative arts. Here there is a foundation, and a standard which is of all time; and this standard is the highest, as well as the safest, that can be offered for our guidance.

Proceeding now to examine the works somewhat in detail, it may be observed that the sculpture in Westminster Abbey must be regarded under various aspects.

First, in its relation to the architecture, simply as decoration.

Secondly, as "subject"-sculpture; that is, when it is employed to illustrate Scripture, or to represent historical or legendary scenes and incidents.

Thirdly, as "memorial"-sculpture; especially in its

application to monuments to the dead, in tombs and similar erections.

The two latter classes only will form the subject of this discourse, as holding a higher rank in art than works of mere accessorial enrichment or ornament.

Though there are works in the Abbey of an earlier date than those to be brought immediately under notice, there are none of greater interest, in their way, than the series of rilievi which decorate the screen on the west side of the chapel of Edward the Confessor. The whole length of this sculpture is 38 ft. 6 in., by 3 ft. in height. The principal figures are about 1 ft. high. The relief is very bold, the irregular concave ground being much hollowed out behind. This curious and interesting work comprises a variety of subjects, real and imaginary, in the life of that pious monarch, King Edward, derived from a chronicle written by Ailred, an ecclesiastic of the time of Henry II. This record was presented by its author to that prince in the year 1163, when, after his canonization, the remains of the Confessor were removed into a new shrine. The subjects are fourteen in number, and they are separated from each other by trefoils, rudely formed by a running ribbon. Commencing on the left hand of the spectator, the designs occur in the following order :

1. The first refers to the difficulty which arose when Ethelred, the "Unready," proposed to nominate a successor to the crown. Various claimants were considered and rejected. It was then decided by the Council to swear fealty to the child of which the queen Emma, "the pearl of Normandy," was then

pregnant. The nobility are here represented as taking the oath, and the Queen is represented standing crowned and robed, in the midst of a crowded assembly, with her left hand placed upon her waist. On her right hand stands a mitred dignitary of the Church. All the figures are greatly dilapidated.

2. The next compartment represents the birth of Edward, which is supposed to have occurred in 1002. The queen is lying on a couch or bed; in the background are two attendants holding the infant, and other figures are ministering.

3. The third subject is the coronation of Edward. He is seated under a canopy of state, and the crown is being placed on his head by the two archbishops of Canterbury and York, who are expressly mentioned in the chronicle as officiating on that occasion. This is a very full composition, showing a large attendance of nobles and courtiers, and expresses the busy character proper to so important a ceremony. Unfortunately it is impossible, owing to the injury the work has received, to make out accurately any of the minor details of this work.

4. The next compartment illustrates one of the curious legends invented in relation to the abolition by Edward of the Danegelt, or black-mail, paid to the Danes to bribe them not to commit their ravages in this kingdom. "The king," according to Ingulphus, was induced to do so by the great alarm into which he was thrown on seeing the devil sitting and mocking (Diabolum, super saccum sedentem et ludentem) on the tribute collected in one of the royal chambers."

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The money, according to the sculpture, was contained, not in sacks but, in casks or barrels. If the figure of the devil was, as is probable, represented sitting or dancing on the treasure, it has disappeared.

5. Represents a scene of King Edward's merciful treatment of a young man who entered the chamber where the king was supposed to be sleeping, and, finding a coffer open, took from it, at three several times, a large sum of money. The king, who had witnessed the whole proceeding, hearing some one approaching, said, "Youth, you are too covetous; but take what you have, and fly." The thief, astonished, fled and escaped pursuit. Hugoline, the chamberlain, on coming back, perceived the loss his negligence in leaving the coffer open had occasioned. Edward, seeing his distress, comforted him by saying, "Be at peace; perhaps he that has taken it has more need of it than ourselves." In the sculpture the story is very simply told, but it requires the above explanation to give it interest. The king appears reclining in his bed, a rich and stately piece of furniture, and a figure-the thief -is kneeling before a chest or coffer.

6. Represents the miraculous appearance of our Lord to King Edward, when partaking of the Sacrament. This vision is related in various ways, one account saying that the wafer itself was converted into the figure of a boy, who first gave his benediction to the king, and then to his attendant, Earl Leofric. This compartment is so much damaged that it affords no means of judging of the art exhibited in it. The king kneels before what looks like a lectern. The officiating

priest is headless, and hands and arms also are wanting. In the background, behind a screen, are seen parts of figures looking on.

7. Exhibits another of the wonderful visions with which the Confessor was said to have been favoured on account of his great sanctity. The king was observed to laugh when, during High Mass, the Sacrament was being administered to him. The explanation he gave of this seeming impropriety, according to his biographer, was that, at the very moment, he saw in a vision the King of Denmark preparing to embark with his army on an expedition to invade England; and that just as he had got into a boat to go on board his ship, he fell over into the sea and perished. "These," said the king, "are the circumstances with which, by Divine revelation, I was made acquainted, and which gave occasion to that hilarity of countenance you remarked." It was subsequently found, on due inquiry, says the historian, that all these events had really happened on the day, and at the hour, and in the manner in which they had been so miraculously revealed to the king. In the foreground of the sculpture a knight in armour is represented as fallen out of a boat into the water. Behind is a vessel filled with armed men. On the right is a castle or some towers, and these also appear to be falling.

8. The eighth compartment represents five persons at a table, and is said to refer to the prophecy of King Edward of the troubles which would arise in consequence of the feuds between Tosti and Harold, the sons of Earl Godwin, and of the death of both these