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purbeck stone, was dug up, which had been ornamented with brass, under it were some bones. sinking a cellar six more stone coffins were found; one of which was very large, being, in the inside, six feet eight inches long: they all had a place shaped for a head, and all or most of them had two or three holes at the bottom, their covers made of several stones. Near them two pots or urns were found, which probably contained the bowels of those who were buried there. On a skull belonging to some hopes, which lay in a stiff blue clay, there was some black cloth, which might be the cavl of one of the monks. Pieces of shoes were also taken up. A large piece of a body had the flesh remaining, which looked white both on the outside and inside, as if time had not penetrated its substance, and it was tough when cut with a knife.

WOBURN HOUSE was almost wholly rebuilt by Flitcroft, for John Duke of Bedford, about the middle of the last century. This extensive and magnificent building, situated in the midst of a large park, occupies four sides of a quadrangle. It has experienced many considerable alterations and improvements, particularly during the time it was in the possession of his grace the late Duke of Bedford. The additional buildings were designed and executed under the direction of Mr. Holland, the architect of Drury Lane Theatre. The west front is of the Ionic order, with an insulated basement. The principal floor or suite of rooms on this side, consists of a saloon, state bed room, drawing and dining rooms. The south

contains the library, breakfast, etruscan, and duke's rooms. The east the vestibule, servants' offices, &c. and the north the French bed-rooms, and various other chambers. The state apartments are fitted up in a stile of costly magnificence. The gallery exhibits a large and most interesting collection of portraits, and many fine paintings are dispersed in other

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rooms. Mr. Pennant gives the following description of the most remarkable:

"The first which struck me was a lady, who defied the strictest scrutiny; a small full-length, in widow's weeds, with her head on her hand, and a book by her; with a countenance full of deep and silent sorrow: the sad relict of the virtuous Lord RUSSEL, and daughter to the good and great Wriothesly, Earl of Southampton.

"I now turn my eyes to a lady, whose felicity consisted in a different fate; in being early cut off from the embraces of a capricious tyrant, whose inconstancy and whose lusts would probably have involved her in misery, had not Heaven, in its mercy, taken her to itself. Lady Jane Seymour, the lady in question, became queen to Henry VIII. in 1536, and was released from him by death in 1537. The portrait expresses the elegance of her person. She is dressed in red, with great gold net work sleeves, and rich in jewels. Her print among the illustrious heads does her little justice."

"That gloomy insipid pair, Philip II. and his consort Mary, are painted in small full-lengths, by Sir Antonio More. The first of these ungracious figures is dressed in a black jacket, with gold sleeves and hose: the queen sitting in a black and gold petticoat and furred sleeves. Her black conic cap is faced with gold and jewels. A rich chain of great pearls and small vases, red and gold, are ornaments to our bigotted sovereign. The date is 1553. Sir Antonio was sent from Spain to draw her picture, so has placed them in a scene of awkward courtship; for they were not married till the following year. When two such sanguinary hands were joined, it is lucky for mankind that no issue was the consequence. The intrepidity of the Tudors united with the unprincipled policy of Charles V. and Philip, might have depopulated Europe, and formed as desolate a waste of empire as that of the Ottomans,

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"Another remarkable portrait, by the same painter, is that of Edward Courteney, last earl of Devonshire of his name; who, for his nearness in blood to the crown, was imprisoned by the jealous Henry, from the age of 10 till about that of 28. His daughter Mary set him at liberty, and wooed him to share the kingdom with her. He rejected the offer, in preference to her sister Elizabeth, for which, and some false suspicion, he suffered another imprisonment with Elizabeth. He was soon released. He quitted the kingdom, as prudence directed, and died at the age of 30, at Padua.

He is represented as a handsome man, with short brown hair, and a yellow beard, a dark jacket with white sleeves and breeches; behind him is a ruined tower; beneath him this Inscription, expressive of his misfortunes:

"En puer et insons et adhuc juvenilibus annis:
Annos bis septem carcere clusus eram.
Me pater his tenuit vinclis, quæ filia solvit :
Sors mea sic tandem vertitur a superis.
"Fourteen long years in strict captivity,
Tyrant-condemn'd, I pass'd my early bloom,
Till pity bade the generous daughter free
A guiltless captive, and reverse my doom."

R. W.

"Sir Philip Sydney is painted in the 22d year of his age, in a quilled ruff, white slashed jacket: a three-quarter length. He was a deserved favourite of queen Elizabeth, who well might think the court deficient without him; for, to uncommon knowledge, valour, and virtuous gallantry, was joined a romantic spirit, congenial with that of his royal mistress. His romance of Arcadia is not relished at present: it may be tedious; but the morality, I fear, renders it disgusting to our age. It is too replete with innocence to be relished. Sir Philip was to the English,

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what the Chevalier Bayard was to the French, "Un Chevalier sans peur, et sans reproche." Both were strongly tinctured with enthusiastic virtue: both died in the field with the highest sentiments of piety."

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Isabella, daughter to Henry Benet, Earl of Arlington, and wife to the first Duke of Grafton, is represented a half-length, in white, with long flowing hair, very handsome."

"A capital picture of the Plague. The dead bodies appear infectious by the attitudes of the living. To increase the horror, the artist has placed a live infant by its dead mother: a circumstance not unknown in the dreadful pestilence in London of 1665. By Nicholas Poussin."

A fine view of Pont Neuf, with numbers of figures, by Wovermans.

A fine landscape by Claude Lorrain, with a view of the sea. The figures are shepherds and shepher

desses.

David, and Abigail averting his wrath. Her beauty and suppliant looks are admirable. By Lucca Jordano.

A Landscape, by G. Poussin, with the figure of an old man begging.

Four pieces, representing Alexander's Campaigns, by old Parocel. The first is a repose after a march; he and his companions feasting under a tree. Two others are battles.

A Landscape, by Mr. Gainsborough; containing cattle, figures, and an ancient tree: a piece that

would do credit to the best masters.

A large family picture, by Jervis, of Elizabeth Howland, Duchess to the first Wriothesly, Duke of Bedford, in her weeds, with her four children. Above her, in the back part of the picture, hangs the portrait of her lord; the same who built Covent Garden Church, and was called the "good duke."

A full

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A full length of a Nobleman, in a hat with a red crown and feather, square black beard, red earrings and stockings; in his robes, with a white rod in his hand. This was brought from Thornhaugh, a seat of the family in Northamptonshire.

Opposite to him is a portrait of a lady, in black, and a red and white petticoat, flat ruff, and a great string of pearls across her breast.

Two children in one piece, Lady Diana, and Lady Anne Russel, daughters of William, first Duke of Bedford. They had the misfortune of being poisoned, by eating some noxious berries, which they met with Lady Anne died; Lady Diana survived, and is again painted, in more advanced life: by Sir Peter Lely.

A man, with his jacket grey, breeches red, short hair, and small beard: a stick in his hand, and helmet by him. Date 1592, æt. 28.

Elizabeth Bruges, or Bridges, aged 14, 1589, painted in a flat stile, by Hieronymo di Gustidio, of Antwerp. She is represented in black, flowered with white, with full sleeves, a gold chain, a great pearl set in gold on one shoulder, and a gold ornament on the other. This lady was eldest daughter to Giles, Lord Chandos, and wife to Sir John Kennada, Knight: she died childless, the whole fortune of her family devolved to his second sister, Catharine, Countess of Bedford.

A full-length of that fantastic lady, Lucy, countess of Bedford, in a dancing attitude, dressed in as fantastic a habit, with an immense transparent veil distended behind her. Her vanity and extravagance met with no check under the rule of her quiet spouse, Edward, Earl of Bedford, whom she survived only one year.

A strange figure of a man, in half-length, in a close black cap, and a letter in his hand, directed to Pr. de Nassau. I am informed by a very able herald, that, from the arms on the picture, the per

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