No. I.

The Lord appears unto Abram. "The Lord said to Abram, Get thee out of thy country.........So Abram departed....... And there he builded an altar unto the Lord, and called upon the name of the Lord."-GENESIS xii.

"And Abraham took bread, and a bottle of water, and gave it unto Hagar, (putting it on her shoulder,) and the child, and sent her away." "" The child perishes with thirst. Hagar lifts up her voice, and weeps: the angel of God consoles her. Ishmael becomes an archer.-GENESIS xxi.

Despectio.

Slighting.

Zelotypia.

Fealousy.

Fœcun

Fuga.

Expellitur Agar cum Filio. Abra-
ham dat commeatum. Puer siti perit. plorat
Agar angelus eam solatur fit Ismael sagittarius.

Desperatio. Consolatio. Commiseratio. Obediencia. Fruitfulness. Flight. Despair. Comfort. Commiseration. Obedience.

Liber Pater.

Bacchus.

Obedientia.

Obedience.

Vita Silvestris.

Rural Life.

No. III.

"And the servant, Eliezer, put his hand under the thigh of Abraham, his master, and sware to him that he would not take a wife unto Isaac of the daughters of the Canaanites, but of his own kindred. And the servant took the camels of his master, and his goods, and went to Mesopotamia."-GENESIS xxiv.

Animi promtitudo.

Inquisitio. Acceptatio. Promissio. Delitas. Alacritas. Invocatio.
Seeking. Acceptance. Promise. Fidelity? Alacrity. Invocation. Promptitude.

No. IV.

Sarah taken by the Egyptians; is returned with gifts. God shows Abraham the land of Canaan.-GENESIS xii.

No. V.

God appears to Abraham; promises a son; Sarah laughed within herself. Abraham prays for Sodom. fire of heaven, with other cities.—GENESIS xvii.

It perishes by the

Sarah dies. Abraham purchases the field as a burying-place. Takes Keturah as his wife. He dies, and is buried.-GENESIS xxiii., xxv.

No. VII.

To avoid strife, Abraham gave Lot the choice of a place for his house. Abraham dwelled in the land of Canaan, and Lot departed to Sodom.-GENESIS xiii.

Abraham is commanded by the Divine oracle to offer his only son, Isaac, as a burnt sacrifice.-GENESIS xxii.

Henry Eighth's Great Watching or Guard Chamber.

AR more ancient in look is this chamber, though it has not escaped the modern paintbrush. Tudor badges of the rose, fleur-de-lis, portcullis, &c., hang from its flat but square panelled ceiling. A bay window of unusual form, being semicircular, nearly opposite the entrance, projects into the Kitchen-court. The lower part of this very curious and almost unique bay window has been recently ornamented with suitable stained glass. The upper portion represents the arms of Henry VIII., the lower, those of Wolsey, and those of the bishoprics of Durham, Bath and Wells, Winchester, Lincoln, and York, which he held. The length of the room is about 70 feet; the breadth 29 feet; and the height about 20 feet.

Capestries in the Great Watching Chamber.

The tapestries here were hung in the time of Wolsey, and they manifestly belong to a period anterior to those in the Hall. In Henry's Inventory, we find "Three pieces of arras of the three fatall ladies of Destenye, lyned with blue buckeram." These hangings, formerly darkened by time, have been cleaned and mended, so that one now may trace the forms of the figures, and decipher the inscriptions they bear. A recent acquisition for the South Kensington Museum of three similar tapestries shows that these are part of a set of six designs illustrating the six Triumphs written by Petrarch. Quaint, formal, and incongruous as designs, they will nevertheless well repay a scrutiny, as historical memorials of the day when they were executed. A Westminster Reviewer acutely observed that, "Neither are the glaring incongruities and anachronisms of costume to be placed at all to the account of these particular artists. The want of all just conception of the history and progress of society and manners, which these inconsistencies evince, was a grand deficiency, or rather immaturity in the intellectual culture of their time, which equally pervaded the poem, the romance, and the drama, as well as every branch of imitative art. We of this day, however, are gaining by this species of historical ignorance in the writers and artists of that period. It is better for us that they should have gone the simplest way to work, by dressing both classical and scriptural subjects in the manners and costumes of their own time, than that they should have made an ineffectual or even a successful effort to exhibit them with perfect historical propriety. In the latter case they could have taught us nothing but what we have more abundant

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