old man with a pendulum, counting the seconds of time, as Mr. Flamstead makes his observations, with his great mural arch and tube, on the descent of the moon on the Severn, which at certain times forms such a roll of the tides, as the sailors corruptly call the Higre, (instead of the Eagre,) and is very dangerous to all ships in its way. This is also expressed by rivers tumbling by the moon's influence into the Severn. In this gallery are more Arts and Sciences relating to Navigation.

"In the four angles of the ceiling, which are over the arches of the galleries, are the four elements, Fire, Air, Earth, and Water, repre sented by Jupiter, Juno, Cybele, and Neptune, with their lesser deities accompanying, as Vulcan, Iris, the Fauni, Amphitrite, &c.

"At one end of the great oval is a large figure of Fame descending, riding on the winds, and sounding forth the praises of the Royal Pair.

"The whole raises in the spectator the most lively images of Glory and Victory, and cannot be beheld without much passion and emotion.”

From the Saloon thus described by the pen of this celebrated writer, we ascend, by a second flight of steps, to the Upper Hall, the ceiling and sides of which are likewise adorned with paintings. In the four corners of the ceiling, are the arms of England, Scot

land, France, and Ireland; between which are Europe, Asia, Africa, and America, with the emblems and productions of each. In this ceiling also appear Queen Anne and Prince George of Denmark, accompanied by various emblematical figures. On the left hand, as we enter, is a painting in imitation of bassorelievo, representing the Landing of William III.; and on the right and left of the entrance are allegorical pictures of The Public Weal and Public Safety. Over the chimney, is the Land, ing of George the First at Greenwich; and, at the farther end of the Hall, portraits of the same monarch and his family; with many emblematical figures, among which is a portrait, introduced by himself, of the painter, Sir James Thornhill.

The whole of this grand series of Paintings occupied from 1708 to 1727, or nineteen years, in the execution, and cost £6685; estimated at the rate of £3 per yard for the ceiling, and £1 per yard for the sides.

The original interior of the CHAPEL was destroyed by fire on the 2nd of January, 1779; and was consequently restored, in the most elegant style of Grecian architecture, from designs by James Stuart, Esq., then Surveyor to the Hospital, and author of the "Antiquities of Athens." The entrance is by an octangular

vestibule; in which are four niches, occupied by statues, from designs by West, of Faith, Hope, Charity, and Meekness, executed in artificial stone at Coade's manufactory, Lambeth. By a flight of fourteen steps, we ascend to the chief portal, over which, in letters of gold, is that appropriate passage from the Psalms:-"Let them give thanks whom the Lord hath redeemed, and delivered from the hand of the enemy." Within, this portal is seen to consist of an architrave, frieze, and cornice, of statuary marble, the jambs of which are twelve feet high, in single pieces, and enriched with excellent sculpture. The frieze, by Bacon, consists of two angels, with festoons, supporting the Sacred Writings. The folding doors are of mahogany, highly carved. A portico of six fluted marble columns, fifteen feet high, with Ionic capitals and bases, after Greek models, completes the interior view of this entrance. The columns support the organ-gallery, and are crowned. with an entablature and balustrade, enriched with suitable ornaments.

At the sides of the organ-gallery are four grand columns; their shafts of Scagliola, by Richter, and their capitals and bases of statuary marble. At the opposite end of the chapel are four similar columns, which, together with the four first, support the arched ceiling and roof.

These columns are of the Corinthian order, and, without their pedestals, are twenty-eight feet in height.

Against the sides of the Chapel, between the upper and lower ranges of windows, are the two galleries, in which are pews for the officers of the institution and their families; those of the Governor and Lieutenant-Governor, which are opposite each other, being distinguished by the naval crown, and other suitable insignia. Underneath these galleries, and the cantilivers supporting them, are ranges of fluted pilasters. The cantilivers are decorated with antique foliage; the entablature over the pilasters with marine ornaments; the interval between them with festoons, &c.; and the pedestals of the balustrade in front of the galleries with tridents and wreaths. The tablets in the middle of each balustrade contain the hospital arms, by Coade, and the frieze below is carved with foliage in the Greek mode. Over the lower range of windows are paintings, by Rebecca and other artists, in chiaro-scuro, of the principal events in the life of our Saviour, which are accompanied with the ornaments of candelabra and festoons.

Above the galleries is a richly-carved stone fascia, on which stands a range of pilasters of the Composite order, their shafts of Scagliola,

and appearing, jointly with the eight great columns, to support the epistylium which surrounds the whole chapel. This epistylium is enriched with angels, bearing festoons of oakleaves, dolphins, shells, and other suitable ornaments. From this rises the curved ceiling, which is divided into compartments, and decorated with foliage, golochi, &c. in the antique style. In the recesses between the upper pilasters are painted, in chiaro-scuro, the Apostles and Evangelists.

At each end of the galleries are concave recesses, the coves of which are ornamented with coffers and flowers in stone; and in these recesses are the doors of entrance to the galleries, decorated with enriched pilasters and entablatures, and a group of ornaments, consisting of the naval crown, wreaths of laurel, and tridents. Above the doors are circular recesses, containing paintings, in chiaro-scuro, of the Prophets Isaiah, Jeremiah, Moses, and Daniel.

The Communion-table is a semi-oval slab of statuary marble, nearly eight feet long. The ascent to it is by three steps of black marble, on the uppermost of which is fixed an ornamented railing, representing festoons of ears of corn and vine foliage. The table stands on a white marble base, and is supported