stones employed in its decoration brought from France

in 1281.

There is a peculiarity in the base of this tomb, which is worthy of remark. On the south side-that within the chapel-there are three sunk compartments. The centre one has a pediment supported by pilasters, with an architrave. The side recesses have trefoil heads. It is supposed that these recesses were used as "ambries" or lockers, in which sacred vestments or other objects, and possibly relics, were kept. At the back of each is a cross in mosaic.

It will be observed that the style of architecture exhibited in this work is of a very mixed character, and is highly suggestive of a foreign origin. It is known that Pietro Cavalini was employed by Edward I. in the execution of this tomb, as well as that of Queen Eleanor, and this may fully account for the nonGothic treatment of the architectural portions of the design.

The monument immediately adjoining that of Henry III. merits attention for the extraordinary elegance and beauty displayed in some of its details. It is that of Eleanor, the wife of Edward I. She died in 1291. The figure, of bronze gilt, is recumbent, habited in the royal costume. There is a calm, gentle expression in the face, which is extremely touching, and the hands especially are designed with the utmost grace.

There has been a question as to the authorship of this very beautiful work, as well as the monument and statue of Henry III., and a patriotic desire has been shown by

some writers to attribute them to native artists. Competent judges, and Flaxman among the number, have however inclined to the opinion that foreign sculptors were employed on this and many of the more important works in this country; and Flaxman even thought that the name of Torell, goldsmith, which occurs in a document of the time, should be written Torelli. It may be so; but the expression "goldsmith" may possibly refer only to the gilding of the bronze figure, and this may easily have been done by an Englishman. The best argument for believing that foreign artists were employed in the more important portions of these designs, especially in the figures, is in the general inferiority of those minor decorations which would necessarily be executed by such workmen as could be found in the country; and the mention of a certain Pietro Cavalini, who was, no doubt, employed in a contemporary work, gives strength to this opinion. This is a subject of great interest, but it is not possible at this time to give it the consideration due to it. The occurrence of unquestionably English names in the documents connected with public works proves the existence of native artists or artisans; and it is natural that art-historians should endeavour to show that some of the most interesting works were produced by native sculptors. In some of these, as at Wells, there certainly is no appearance of foreign interference. The gaunt and ill-proportioned figures on the exterior of that building, whatever interest they may have on other grounds, are of the rudest character; and the history and date of the erection of the edifice would justify the belief that

ordinary English craftsmen may have executed every part of the work. The sculptures at Lincoln are amongst the best Gothic sculpture existing; and they show a very different and improved feeling, both in design and practice, compared with any work of the kind existing in this country.

The sculpture in the shrine of Henry V. has already been referred to. At the east end of the Chapel of the Kings is the tomb of Henry, with his effigy, or rather what remains of it. It is of oak, much mutilated and headless. It is said originally to have been plated with silver gilt, and that the head itself was of solid silver. Nothing is now left of this work but the rude wooden form upon which the "fine embroydered and gilded plates" were fastened; and it is only here alluded to with reference to the practice, of which there is another example in Westminster Abbey, of plating metal on a nucleus or form of wood.

The next monuments especially worthy of remark are in memory of King Edward III., his Queen Philippa, both in the Chapel of the Kings, and of two of their children. This king died in 1377. The royal effigy, of bronze, lies on a table of the same metal, and the whole has been richly gilt. In this statue there is evidence of great care in the portraiture of the deceased monarch. The face is long, and there is a remarkable fall in the lower lip. The hair is also, doubtless, represented as worn by the king. It is long and slightly curling, and the beard is ample and flowing. Altogether it is an interesting example of attention to nature, in trans

mitting to posterity the likeness of one of England's greatest sovereigns. There are at the same time those conventionalisms of treatment which, while they give its character to Gothic art, remove the work out of the category of really good sculpture. The long drapery in which the king is habited, though extending to the feet, shows a want of truthfulness in the disposition or fall of the folds. They are composed, in straight parallel lines, as if the figure were standing. Among the careful details, it will be observed the shoes are what are now termed "rights and lefts;" erroneously believed to be a very modern fashion of shoemaking. This tomb, like all others in the Abbey, has suffered greatly from neglect, and, there can be no doubt, intentional ill-usage. Much of its enrichment has disappeared, and many of the numerous small statues that decorated it have been stolen. Some of these representing the sons and daughters of Edward were in solid brass gilt.

The tomb of Queen Philippa, the consort of Edward III., still shows proofs of its former magnificence, though it is one of the most injured of the monuments in the Abbey. No fewer than thirty small statues are said to have stood in niches surrounding the tomb, not one of which remains. The effigy of this princess, though injured, happily is in a condition to afford a good idea of her person, as well as of the art of the day. The portrait is evidently carefully studied, and the sculptor who was able to give so much natural character in the treatment of the details was no mean practitioner. Such a work affords additional evidence

that there were artists of widely different schools employed in these productions; though it will be seen they were still under the influence of the peculiar mode or style which characterises all, even the best, Gothic sculpture. The costume of this effigy, and especially the cushioned head-dress, gives great antiquarian value to this monument of Queen Philippa.

Leaving for a moment the Chapel of the Kings, in order to include in this notice the monuments of the family of Edward III. existing in the Abbey, attention may be directed first to a small tomb of Petworth marble in the chapel of St. Edmund, on which repose two very small alabaster figures of children of the above king and queen. They represent William of Windsor and Blanche. This interesting memorial of these young persons stands near the fine monument of John of Eltham. It has been much damaged, and the feet not broken but cleanly cut off. The costume of both is characteristic. The prince has flowing hair, with a fillet; the princess, who died in 1340, is represented in a studded bodice, petticoat and mantle, and a raised or horn head-dress, now much broken.

The next monument in the Chapel of the Kings, and the last to be noticed in this part of the Abbey, is that of Richard II. and Anne, his queen. The tomb is of grey Petworth marble, and on each side are canopied niches, with other rich architectural details. The statues are recumbent, and of bronze. It is recorded that the moulds were made and the images cast by certain coppersmiths, Nicholas Broker, Godfrey Prest, of Wood Street, and others, and that the gilding cost above