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court-yard in the brightness of the summer's sun, with the trailing vines and flowers against the walls, is positively beautiful. The glow of the sun on the red brick walls is of a delicious orange colour, which no painter, except Mulready and Turner, has hitherto been bold enough to represent. The library, dining and meeting halls, chapel and kitchen of the hospital, all abound in pictures suggestive of old English life. The colour and forms in all offer most seductive studies to make one loiter here with a sketch-book. The visitor should survey all these parts, which retain almost untouched their ancient features. The kitchen especially would furnish a famous study for William Hunt's imitative pencil. Adjacent is the dining-hall, rich with the colour of the red-tile pavement and the oak-panelled walls. Above it is a chamber of nearly similar dimensions, which has an elaborately-carved chimney-piece. Further east, on this side, is the chapel. The windows are vivid with bright coloured glass, attributed to Albert Durer; but without reason,

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we think, for the date seems nearly a century later, and there is nothing in any of the compositions to warrant the assumption that the famous old German had anything to do with them. The subjects are taken from the Old Testament. The founder's portrait hangs in the chapel. The Abbot family produced three children, all distinguished men. The parents, Maurice and Alice, were honest cloth-workers in Guildford. Their children were educated at Edward VI.'s free-school, higher up the street. The eldest became Bishop of Salisbury; the second, George, the founder of the hospital, Archbishop of Canterbury (he died at Croydon, August 4, 1633); and Maurice, the third son, who, as a merchant, was one of the earliest East India directors, represented the city of London

Mayor of London in 1638. The original Maurice and Alice Abbot must have been noble, sound-hearted folk, to have had three such sons. The library or presence-chamber, as well as the master's apartments, should be seen if possible. The library belongs to the deanery, and is the place of meeting for the clergy. In the master's room are portraits of Wickliffe, Fox (the martyrologist) and Calvin.

Pursuing our course further eastward, the Grammar School, with its gables, square-headed Tudor windows, buttresses and pinnacles, is the next object which attracts notice. It is on the opposite side of the street to the hospital, near to where the High-street unites with Spitalstreet. It bears the legend, “Schola Regia Grammaticalis Edwardi Sexti, 1550,” though it owes to the young king rather its enlargement than its foundation. Its founder was one Robert Beckingham, a citizen of London, in the preceding reign :

“For first in Guildford, by his gyft,

The name of free-schole came." Edward VI. endowed it with 201. a year out of the dissolved Chauntry revenues, and it henceforth has borne his name. Its buildings—the schoolroom, dining-hall, library, dormitories, which form a quadrangleall retain their old massive and solid features, and are worth exploring when there is time, which will not be the case with the visitor of a single day. The library was founded by one of its scholars, Parkhurst, bishop of Norwich, in 1574, one of the translators of the “Bishops' Bible." It is rich as a provincial library in early typographical specimens, and at one time could boast of a Caxton's Historye of Troye Towne. The number of scholars is limited to a hundred, and, by an ancient statute, “ every scholar is bound to pay quarterly one penny towards the provision of brooms and rods to be used in the said school."

The school is the last of the features of the town to tempt the visitor further eastward. Continuing in this direction, he will come to a large modern building—the “Union;" but it is a thing, in respect of its architectural appearance at least, rather to fly from. We therefore retrace our steps as far as Trinity Church, glancing for a moment at Spital-street-which, until late years, could boast of its maypole-and take a passage around the churchyard, leading southward, whereby we may reach South Hill. We pass in our way some old cottages, not wanting in picturesque forms and colours. We will not pause just now to examine the Castle, but proceed up the hill. We could have wished the Jail had been placed anywhere but on this spot. It is one of the most commanding points of the town, and presents some of its most delightful prospects. Crossing a stile, we reach a very beautiful spot, and there is a bench, formed out of the trunk of an old tree, called “ Warwick's Bench," where we may rest and enjoy the scene. The foreground of corn-fields, at the summit of the chalk cliff, is sufficiently broken and varied; the river winds through the valley between steep banks of rich foliage and sand-rock. In the midst are the ruins of St. Catherine's Chapel, on a steep knoll of sand, with a background of dense wood, and the distance, as far as the eye reaches, presents a view of immense extent and variety — hill, dale, water - delicately to the water's edge, we should bear to the eastward for about half a mile, until we gain a view of the ruins of St. Martha's Chapel, also situate on an eminence, which terminates the most lovely valley of Albury. But a walk to this spot must be a theme for a separate Excursion ; so at present we can only say to the tourist, take a short peep at what is in store for another occasion.

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Descending the hill, through the fields, a well-worn pathway leads us into a high road : this we cross, and, passing through a gateway into a park-like enclosure, we reach the ferry at the base of St. Catherine's. A shout summons the ferryman quickly to us. If the tourist is not afraid of a scramble, let him pass round the sandy hill, and ascend it through a steep-wooded path, which will lead to the summit. The position of the ruined chapel, without roof, or even a mullion in a window left, is its sole attraction, but that is great indeed. Both St. Catherine's and St. Martha's are spots which will be recalled

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to mind whenever the finest scenery is spoken of, whether in England or abroad. On this hill, and under the shadow of the ruins of the chapel, the annual fair of Guildford is held. The bustle of the scene and its picturesque groupings, in the midst of the beautiful panorama, are worth witnessing.

We may descend from the hill, by the side of the cottages, to the ferry, and so return into the town on the banks of the river, or keep to the main road, which has its beauties, and passes by St. Catherine'sterrace, where some rather attractive houses have recently been erected, trian, however, will prefer the towing-path of the river side, as fullest of interest and greatest variety, and exhibiting the town under favourable points of view, which are nowhere else obtainable. New pictures of the town and its churches, and the keep of the Castle, present themselves at every winding of the stream, which, with its sharp reflections and its banks, fringed with sedges and docks and flowers, occasional weirs and rushing waters, barges and their towing-horses, makes beautiful foregrounds. The river's walk leads by the lock and the mill: both of them are objects of pictorial interest. Close to the mill a high, narrow flight of steps takes us into Quarry-street; and before we pass the Castle gateway opposite, we will turn in the opposite direction, and survey St. Mary's Church, the only ecclesiastical remain of antiquity of which Guildford can now fairly boast. The exterior is remarkable for the rounded apses of its two aisles, respectively the chapels of St. John and St. Mary. The east end of the chancel, too, was rounded until 1775, when the barbarians sliced it away; and the same operation was again repeated in 1825, in order to widen the road. The inside of the church will well repay a visit. Though neglected, dilapidated and abounding in incongruities, it has many kinds of interest-artistic, historical, antiquarian. The ascent to the altar by a series of steps, reminds us how imposing it once must have been. The massive circular columns in the nave carry back the age of the church many centuries; and the depressed semicircular and Romanesque arches in the chancel, still earlier in date, show an intimate relation with the twelfth century. The chapel of the Virgin was in the south aisle, and some of its decorative timber-work remains in dusty neglect, making a slut's corner for firewood, &c. The chapel of St. John, in the opposite aisle, now serving'

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as the vestry, contains some very perfect vestiges of wall paintings between the groining of its roof, and in the spandrels of the great arch. Our wood-cut is too much reduced to give anything but an indication of the position of these paintings : they are among the most perfect

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