The great Hospital is constructed like a church, with beds and chambers, open at top, under three vast roofs, covering a nave and aisles. The entrance to this is like a fore choir or antechapel, and dedicated for divine worship. It contains no less than five altars, three of which are under the arches of three screens, the stonework of which is probably the oldest in Lubeck, and to which I should assign the date of the middle of the thirteenth century. The upper part of the loft, consisting of carved panels and paintings, is a work of the fifteenth century. It is worthy of remark that, although the Lutheran religion has exclusively prevailed in this city for several centuries, many of the branches set up to burn tapers in front of the images in this and other churches bear the date of 1664, and even later. St. James's church contains several wooden screens of a remarkably early date. They are certainly not later than the middle of the thirteenth century, and are most exquisitely carved with heads of saints, stringcourses, bratishing, images of doctors and evangelists in quatrefoils, and in style of art corresponding to the early work in Wells cathedral. As this treatise is devoted to the subject of screens, I have confined my remarks to them, but I must add that I consider the churches of Lubeck to be the most interesting, as regards fittings and details, of any ecclesiastical buildings remaining in Europe. There are examples of metal-work, early painting, and wood-carving, of the thirteenth, fourteenth, and fifteenth centuries, and the finest monumental brass in the world, most probably by the same artist as produced the famous one at St. Alban's, but much larger and more elaborate. MUNSTER. The churches of this city having been completely sacked during the usurpation of the infamous John of Leyden, present few traces of the ancient furniture, and they are for the most part fitted up in the vilest possible taste. But the cathedral has by some good fortune retained its ancient screen and choir, which, with the exception of the high altar, remains in its original state. The screen is of stone, most richly carved, and composed of five bays, the centre one elevated over the others; under this is an altar, according to German custom, with two doors leading into the choir on each side. In the two external compartments there are two other altars, but these I conceive to be modern additions. The eastern elevation of this screen, towards the choir, is most beautiful; there are three richly-canopied stalls at the back of the altar, and the loft, which is very spacious, is ascended by two openwork spiral staircases, of most elaborate design. The present rood is modern, and by no means commensurate in beauty with the screen; but there are evident marks of the former existence of a very large rood, partly supported by iron ties from the vaulting.