latish Pointed period. For triple chimneys in Salle des Pas Perdus, see drawing. The interior of the Jesuits new church is very good.

ANGOULEME.-Abbadie, very good at the new Hotel de Ville (Early Pointed). (Crocket your gables.) Cathedral: principal cornice Renaissance. Sculpture: Jesus and emblems in top centre, angels in clouds above; ten (?) pateræ of busts of prophets beneath. Twelve pateræ of busts of apostles on left (in arches), six ditto on the right, the rest foliage. Two patera with busts by each jamb of arch, and angels ministering round the archivolt; angels, scriptural and allegorical subjects, in small arches beneath and around; capitals of composite character. Sculpture, with the draperies hung upon pegs, as at St. Gilles. In the big arches, Christ the Teacher; foliage, hunting and monsters below: character of folds and figures strongly Byzantine, almost Assyrian. Tower very fine, with fine arcades of mixed Byzantine, Roman and Norman character.

CHARTRES.-All the work on spire openings, corbels and capitals, above the first arcade, lost (too small). Round and pointed arches are here together; arches of the choir stilted and narrow, as usual. Transept windows and roses (figures large) unrivalled of their kind: still they make the interior too dark, though lighter than usual; this in a measure arises from the depth of the blue. Internal sculpture, capitals, bosses, &c., mostly foliage; very little, if any statuary. Proportion rather too high for width; sculpture of screen round the choir excellent in parts (late). Renaissance sculpture of screen exceedingly delicate, figures good, and the whole not inferior to the best Italian examples, whether for design or execution. The brackets and capitals especially good and varied, and being all near the eye can be appreciated, whilst the lowest windows even of the Cathedral could never have been distinctly made out. The big statues of the portals, though draped with thin and poor folds, and their faces showing a strong family likeness, are still a great improvement on the Byzantine school type, and hold an interesting middle place between them and such works as those of the Pisani, Lincoln choir, Auxerre, &c. The small figures of the portal are much better than the big ones.

The whole building, which is grand and massive by night, is cut up, when seen by daylight, by numerous buttresses, counterforts, pinnacles, gurgoyles and ornament, and sins against the very first principle of grandeur, viz.—simplicity of form and ornament: still it is very picturesque and effective.

GOTHIC.—I object to statues round arches, as appearing ready to tumble out and deposit themselves on our heads. VARIA. The tower of St. Mary, Warwick, 1694. The hospital a very good half-timbered building, A.D. 1571. A fifteenth century stained glass window in the Beauchamp chapel, very good. The fine tomb has good translucent enamel in armorial bearings, in circles at end of the hearse covering, and also in large arms in panels at the base.

KENILWORTH.-Transition Gothic chimney piece in white marble, A.D. 1571, with Bear and Ragged Staff and R. L., almost entirely Renaissance. The ragged staff was also borne by the Duke of Orleans, on which account Jean Sanspeur of Burgundy bore the rabot, or plane, with which to smooth that ragged staff.

ENAMEL CROSS.-Queen Dagmar's pectoral cross, in the Copenhagen Museum, of the twelfth century or so, resembles Beresford Hope's.

TRADE. The old Oriental trade with North Europe was by the Black Sea, Volga, Novorogod and Gothland from. the eighth to the eleventh century. There are 20,000 coins of Persian caliphs in the Stockholm Museum. The southern route was by the Levant, Marseilles, Aigues. Mortes, Bordeaux and St. Denis (fair). In the "Antiquaires du Nord" the vessels on several Danish incised monuments appear to be placed on skates: was it so?

CARLISLE. A Renaissance open worked screen in the cathedral (not bad).

"There are two opposite, which together display different charms, and the beauty of one appears from contrast with the other." (This is applicable also to design in architecture.)-Neameh and Noam., Lane's "Arabian Nights," &c.

In a round arched opening, the faces of bands should increase as they ascend, and the soffits decrease, otherwise all looks unequal and not concentric. For an example see

the apse of St. James's Hall, London. The jambs of the soffits should decrease as they ascend, to obviate this bad effect.

EMBLEMS.

ANIMAL CREATION.-Lion, power; tiger, fierceness; dog, faithfulness, intelligence; squirrel, activity; pig, greediness and sloth; wild boar, savage rage; horse, docility; greyhound, speed; bull dog, combativeness; St. Bernard's dog, benevolence; seal, affection; elk or stag, swiftness; hare, timidity; lizard, grace; fox, cunning; wolf, lawlessness; pike, voracity; bee, industry; ant, economy; and

so on.

FLOWERS.-Rose bud, youth and beauty; tulip, worldly pride; violet, humility; jasmine, sweetness; sensitive plant, timidity; peony, boldness; &c.

TREES.-Weeping willow, grief; poplar, grace; oak, strength; ivy, affection; palm, triumph; cypress, immortality; &c.

Discouraged and uncertain what course to pursue, I lost the greater part of the year 1860; at the close of which, however, I made a tour round France, visiting the principal southern cities, and made notes with pencil and pen, of which latter most are here appended, and returned to London at the end of the year. In 1861 I applied both to South Kensington, and to my old friend Mr. T. Fairbairn, for employment on the approaching International Exhibition, and through the kind interest of the last named was appointed, in April, Superintendent of the Architectural Gallery in the Exhibition and of the Classes for Furniture, Earthenware and Glass, Goldsmith's Work and Jewellery, and Objects used in Architecture.

This fully occupied my time till after the opening of the Exhibition in May, 1862.

Mr. Day, who had published a large work on the Exhibition of 1851, by Mr. M. Digby Wyatt, "The Industrial Arts of the Nineteenth Century," was desirous of producing another but much larger work of the same description on the Exhibition of 1862. He applied to me in the matter, and the result was "Masterpieces of Industrial Art and Sculpture," consisting of 300 coloured plates,