by Hans Holbein, and presented by him to that prelate, together with a head of his friend Erasmus. Archbishop Parker, an original, painted in 1572, in all probability, by Richard Lyne, an artist of great merit, retained by the Archbishop on his establishment, under whom he jointly practised the arts of painting and engraving. This portrait strongly resembles the small print of the Archbishop, engraved by R. Berg (Remigius Hogenburg,) which is mentioned by Granger, who says it was thought by Vertue to be the first portrait engraved in England. The same author informs us, that the Archbishop so much loved and patronized the arts, that he employed, besides the above painter, two engravers at Lambeth Palace.-Martin Luther, a small head on board, from an old collection of pictures at Nuremburg, but whether original or not, is unknown.-An imaginary head of St. Dunstan.-Archbishop Abbot, a very fine picture, bearing the date 1610, of great expression, and the colouring clear and brilliant.-Archbishop Chichely, painted on pannel: he is represented standing within a rich Gothic niche, in the attitude of giving the benediction.-Gilbert Burnet, Bishop of Sarum, in his robes as Chancellor of the garter.—Hough, Bishop of Oxford, afterwards of Worcester, date 1690.-Bishop Lloyd, (1699,) the predecessor of Bishop Hough in the sees of Lichfield and Worcester, and one of the seven prelates committed to the Tower by the despotic and infatuated James II. -Patrick, Bishop of Ely, 1691.-Bishop Thomas, of Winchester, 1761, and Bishop Terrick of Lon Y

VOL. III.

both by Dance.-Dr. Benjamin Hoadly, Bishop of Winchester, painted by his second wife, Mrs. Sarah Hoadly, (Curtis.)-Queen Catherine Parr: this curious picture (a three-quarter length) is painted on board; the dress is scarlet and gold, uncommonly rich. The face is much younger and handsomer, and bears not a single trace of the print among the Illustrious Heads engraved by Houbraken; but there is much greater probability of its being genuine.-The other portraits are, Bishop Moore, 1707; Dr. Fleetwood, 1714; Dr. Gooch, 1750; and Dr. Mawson, 1754: all Bishops of Ely; Dr. Pearce, Bishop of Bangor, in 1747, and a large full length of Charles I. copied from Vandyke.

The windows of this apartment are enriched with stained glass, containing the arms of many of the primates; particularly the bow window, in which are the arms of all the Protestant Archbishops from Cranmer to Cornwallis.

In the Vestry is a small piece unframed, representing an emaciated figure in bed, with a cap nearly drawn over his eyes, and apparently dead, reputed to be Archbishop Juxon after his decease. An ancient painting on board, with a man and woman (threequarter lengths), described as Martin Luther and his Wife, but totally unlike the common portraits of the former, both in dress and feature. The figures are beautifully painted: the man wears a cap of that form usually worn about the reign of Henry VIII. and is regarding the female, whose hand he holds, with a look of uncommon satisfaction. The lady

appears with child, has a sort of Dutch face, but very handsome and fair, and a most admirable expression of modesty. A curious painting on board, and probably a genuine resemblance, of Cardinal Pole. Dr. Whichcote, Mr. L. E. Dupin, and Williams, Bishop of Chichester, with the date 1694. A young man in a clerical habit, or rather in the garb of a student, with a motto beneath," Rapido contrarium orbo," supposed to be Archbishop Sancroft when young; date 1650. Archbishop Tillotson, unframed, 1694. Bishop Evans of Bangor, afterwards of Meath, 1707. Gardiner, Bishop of Lincoln, 1694.

The Chapel bears sufficient marks of antiquity to warrant an opinion of its being coeval, or nearly so, with the period when this estate first became a fixed archiepiscopal residence. It consists of a body, measuring 72 feet in length, in breadth 25 feet, and in height 30 feet, but divided into an inner and outer chapel, by an elaborately-carved screen. On each side are three lancet-shaped windows, which bear a near resemblance to those in the choir of the Temple church, and a larger one is at each end. The west window is divided into five lights, the others into three. In the midst of the former, which is partly walled up, is a small Gothic shrine, or niche, supported by an angel holding a shield of arms. This chapel has a flat pannelled ceiling, painted in compartments, which was executed at the charge of Archbishop Laud, whose arms are painted over the communion-table. They are also in the ante-chapel, above the west door, as are likewise those of Arch