now remain, showing out from the deep red or chocolate ground on which the group of adoring angels are painted. This background has been thickly powdered with small black plates on which the monogram ibs has been painted in white. The floating dresses and peacock-feather wings of the angels have been white. Each angel has borne one of the emblems of the passion, such as the crown of thorns, cross, nails, etc., and several of these may still be distinctly seen, though the whole picture is very much obliterated and

aisle. Our drawing from it (Fig. 4) will save any lengthy description, as enough of the outline remains to enable anyone to supply the contour of the whole design when complete. The housing of the horse is fairly perfect. The shaded stripes are red, and the other part of the cloth is white. The surcoat of the saint is also white with red stripes, and he wears a red belt. There is also another belt, worn lower down, with cylindrical ornaments upon it, probably a sword-belt. The left arm is gone, but there

indistinct in parts. Judging from the feathers of the angels' wings on this painting being the same as those in the spandrels of the clock at the other end of the nave, we may perhaps infer that the date of both is very nearly the same, i.e., fifteenth century; but they do not rank so high as works of art, as do all the others we hope now to illustrate.

We may conveniently notice next the remains of what, when perfect, was a very bold and spirited drawing of St. George and the Dragon. This occupies the whole of the wall space above the north door in the north

VOL. XXXIV.

remains the long-pointed tippet worn from the sleeve, which has a knob or piece of a tassel at the extremity; such appendages were common in the time of Edward IV. Only a part of his lance remains. As is nearly always the case with wall-paintings, this picture shows traces of a former painting; and singularly, in this they are parts of the same subject of an older date. It will be noticed that there are three legs of another horse, two in front and one behind. There is also part of the neck of this horse, and above it are traces of the head of the rider, which appears to have had a

L

nimbus. Nothing is left of the dragon. There is a curious head of an animal between the forelegs of the second horse, which does not appear to belong to either of the St. George pictures, and it may be a fragment of a still older subject. The legend of St. George appears to have been a favourite one, as the South Kensington list, published in 1883, gives a list of seventy-two places where it has been found, though many of them have been destroyed since that time.

it nothing remains except traces of two letters. There is no trace of the hermit with his lantern, who is usually seen on the opposite side of the river, nor does there appear ever to have been such a person; but behind him there is a rock and a naked man upon it holding up his hands, probably in terror of the large serpent seen creeping round the rock on his right. The colouring is nearly all gone; but it may be mentioned that the dress of the Christ-child was brown madder colour, and so was the

St. Christopher was also a very popular subject for representation in sculpture, stained glass, and brasses. The South Kensington list enumerates eighty of this subject. Fig. 5 is a copy of the painting on the north wall of the nave at Raunds. The legend is pictured much as usual. The colossal figure with the Christ on his shoulder, crossing the stream leaning upon a young tree, which he uses as a staff. A scroll floats from him on his left, upon which there was an inscription, but of

robe of the saint; his hair and beard were white. The sapling staff was brown ochre, so were the rocks, and the naked man was a cadaverous gray. The whole background has been seeded with a very pretty brown-madder diaper, of which we give a somewhat enlarged example on the margin. The figure is very large, and occupies the whole of the space between the nave arcade and the sills of the clerestory windows.

The drawing and composition is good, and

finely diversified by wood and dale, and in the summer time must be extremely beautiful. The Cathedral of Durham, although always a fine object, does not show to much advantage when approached from this side, and the entrance to the town is by no means splendid. The part of the town nearest Darlington on the side of the Weare is called Elvet, and contains the Church of St. Oswald, the Gaol, and County Court. A bridge over the Weare leads into the main part of the town, in which are the Cathedral, Castle, and four parishes, etc. The river winds completely round this part of the town, and is crossed by another bridge, which leads into the suburb called Crossgate, through which the road to Newcastle passes. There is also a third bridge of very elegant and handsome. workmanship built by the Dean and Chapter, and forming a communication between the College and some beautiful walks on the opposite side of the river. The general character of the streets (especially in the main part of the town) is very great steepness, narrowness, and dirt. The Houses are mostly mean and untidy, and the town is full of very small filthy allies and courts. The buildings in Elvet are of rather better description, and the streets wider. The street leading from Elvet bridge to the Gaol is handsome, and of great width. We happened to fall in with the Assizes; consequently our Inn was filled with limbs of the Law. There was, however, no reason to complain of any want of civility, or of exorbitant charges at the Waterloo Hotel.

"Feb 28th-This morning we went to the Cathedral, the situation of which is certainly unequalled by any other in England. It is seated on a lofty rocky bank overlooking the Weare, and presents its west front and towers to the Crossgate side of the river. Nothing can be more striking than the grand effect produced by the stately front of the Cathedral, together with the venerable Castle, both seated on the same lofty rock, which is well covered with trees. The opposite bank is adorned with the finest wood, and is laid out in handsome walks. The Cathedral is a magnificent edifice, and is chiefly remarkable from two singularities in its plan. At the west end is a small low Chapel called the Galilee, the only instance

of the kind in England, and very singular in its plan and style. The other singularity is the Eastern Transept or Chapel of the nine Altars, situate at the Eastern extremity of the Church, which is very rich and elaborate in its style of Architecture In other respects the plan of the Cathedral resembles most others, being composed of a nave with aisles, a North and South Transept, and a Choir with aisles. At the West end are two low towers, and another loftier one rising from the centre. On the North Side are the Cloisters and Collegiate buildings. The Central tower is Perpend', but of good work. The finishing of it is rather abrupt, and it seems to want pinnacles. The effect is rather injured by the upper story being as it were a smaller tower raised upon the lanthorn tower, and appearing somewhat heavy. A spire instead of the upper story of the tower would have been an improvement.

"WEST FRONT.

"The West front of the Cathedral has a very noble and majestic appearance when viewed from the opposite bank of the Weare. The Chapel of the Galilee has the appearance of a large porch, being very low. The Western towers which flank the front are

not of great height, but of very elegant Early English work of an early period, the arched mouldings with which they are adorned being but slightly pointed. They are crowned by crocketed pinnacles, which have been erected of late years, and though of a style long subsequent to the towers, still have an elegant appearance. The great west window between the Towers is of peculiar but very elegant Decd tracery.

66 GALILEE.

"This chapel, which is quite unique, there being no other instance in the kingdom of a chapel in a similar situation, displays architecture the style of which it is difficult to determine whether it be Norman or Early English, there being features of each style blended together. It consists of 5 aisles divided by semicircular arches springing from very slender clustered columns. The arches are ornamented with the chevron or zigzag moulding, which seems a genuine Norman ornament, but the clustered columns partake

more of E.E. The windows are decidedly Early English, consisting of 3 lights of lancet form contained in a large pointed arch. At the Eastern extremity of the chapel was formerly an altar, and the walls and ceiling still retain traces of gaudy painting.

"NAVE.

"The principal entrance to the Nave is in the North aisle through a splendid Norman doorway. The massive grandeur is very striking, and perhaps almost unrivalled. On either side of the Nave is a row of semicircular arches springing from piers of various descriptions, some of them being massive circular pillars, and others plain piers with half columns set in recesses at the extremities. The ponderous circular columns are many of them adorned with mouldings, some of which are lozenge-wise, some ribs, etc. The arches are deeply moulded, some having the embattled moulding, and most of them the zigzag. The triforium is likewise ornamented with the zigzag moulding, and the Clerestory is formed by a large semicircular arch between two smaller, resting on slender shafts with capitals. The roof is groined with stone, and the ribs are of massive and substantial formation, and are elegantly moulded with zigzag. The windows are mostly with round heads, but filled with Perpend' or Decorated tracery. At the west end is the Font, which is a vile modern composition; but the canopy which surmounts it is of extremely rich carved work of the 16th century, and rises to a great height. On the north side is a magnificent Norman doorway leading to the Cloisters.

66 TRANSEPTS.

"The Transepts resemble the nave in their architecture. That to the North has a large window of very beautiful Decorated tracery. The great South window is Perpend'. Under it in the south transept is a very large clock, which is surmounted by a very rich carved canopy.

66 CHOIR.

*

"The choir is separated from the Nave by a very rich and elaborate wooden screen carved very exquisitely, but apparently erected at that period when the Gothic architecture was supplanted by the less chaste work of the Italians. On it stands a very fine organ, adorned in the same style as the screen. On entering the Choir, the effect is very imposing, the magnificent circular window of the Chapel of Nine Altars, the elegant and light altar screeen, and the highly-wrought tabernacle work over the stalls, all forming great and striking features. The cieling is more ornamented than that of the nave, being varied by the 4 leaf flower. The triforium is formed by a large wide semicircular arch, divided into 2 lesser arches by

a central shaft. The main arches are semicircular, and spring from various piers as in the nave. The stalls are surmounted by most exquisite tabernacle work. The Bishop's throne, also of very fine work of the 14th century, is raised up very high. Its basement story is formed by the tomb of Bishop Hatfield, its founder, which is of good

Decorated work. The north aisle of the

Choir has windows of Perpend' tracery, under which runs a range of intersecting semicircular arches. The Eastern end of the Choir or Chancel is of highly enriched Early English work, in some parts approaching to Decorated. On the last pier before the altar table are 6 enriched trefoiled niches, from which rise 4 shafts ending in corbels, from which spring fine canopies richly foliated and terminating in finials. The

triforium is of the most rich Early English work. On either side of the altar are 3 enriched canopied stalls.

All this has since then been demolished by the "restorer."--ED.

"Immediately behind the altar is a very elegant skreen erected at the expense of John Lord Neville in 1380. Its style is very early Perpend, and consists of 3 stories, 2 of which are of open work, and have a particularly light appearance. It is crowned by light pyramidical pinnacles, and on the whole is an extremely light and elegant work. The Neville arms are carved at the back of the skreen. Behind this screen, and projecting into the Chapel of Nine Altars, is the feretory of St. Cuthbert, which at present displays but few traces of its ancient grandeur. The stone is, however, much worn by the feet of pilgrims who formerly resorted to it. We next proceed to the elegant and curious

66 CHAPEL OF THE NINE ALTARS. This chapel is so called from having formerly contained an altar under each of its nine eastern windows, and forms a second transept, and south walls of the Choir. Its archias it extends considerably beyond the north tecture is nearly entirely E. E., but in some parts approaches to Decorated. The windows are very numerous, and give a peculiarly light effect. Most of them are long and narrow, and supported by slender shafts. One, however, in the centre of the East front, is circular, and of large size, and forms

a most noble feature when viewed from the Choir. The Eastern front of the Chapel externally has been lately repaired, and has a very fine effect. It is adorned by octagon towers, from which rise lofty pyramidical

turrets. On the towers are various curious

sculptures, which have been lately restored. The whole of the Cathedral is kept in a most exemplary state of neatness and repair, and has a large sum annually expended on it. The South side as yet is untouched by repairs, and from the decay of the stone presents rather a ragged appearance. The Cloisters are not remarkable for any elegance,

being extremely plain. They are, however, quite perfect, forming an entire quadrangle. (To be continued.)