Further on, and on the same side of Trumpington Street, is the Fitzwilliam Museum. In 1816 died Richard, Viscount Fitzwilliam, who bequeathed his library and pictures to the University. He left also £100,000 for the building of a museum to receive them. His princely benefaction was, of course, accepted; and, pending the erection of a building, the collections were deposited in the old Perse School, now the Engineering Laboratory. Building was not begun till late in the thirties, when Basevi was employed to execute the present design. Basevi, however, fell from the great tower of Ely before the work was finished, and what he had begun was continued by Mr Cockerell. This architect had earned a dubiously just reputation for his proceedings at the University Library; here he had an excellent plan to work on, and did justice to it. The Fitzwilliam Museum, with the exception of certain decorations, was completed in 1847; the collections, augmented meanwhile by private bequests, were brought from the Perse School in 1848. Differences of opinion exist as to the merit of the building and the collections, but there can be no doubt that the façade is, after that of St Paul’s, one of the best of its kind anywhere. It is astonishingly good for its period. The decoration of the entrance hall is splendid but meretricious, and the lavish profusion of coloured marbles is almost suspicious. A statue of the Prince Consort is the cynosure of this brilliancy, and there is a portrait of him in the basement, dressed in his Chancellor’s robes, with a red curtain and the great gate of Trinity in the background. For the most part the basement is devoted to the University Museum of Antiquities, the nucleus of which was bequeathed by Samuel Disney of the Hyde, Essex. In memory of this gentleman has been founded the Disney Professorship of Archæology. On the ground-floor also is the valuable Fitzwilliam Library, and a very perfect library of musical works. In one of the rooms part of the valuable collection of engravings is exhibited. This comprises specimens of early Flemish and German artists, Albert Dürer, the Little Masters of Germany, and most of the best workers in wood-cut, steel-engraving, and mezzotint. Others may be found upstairs among the pictures. The pictures are of various merit, and many are copies. The fine Paul Veronese, “Mercury turning Aglauros into stone,” which faces the principal door of the west gallery, is undoubtedly genuine, and there are some good examples of the Venetian school, especially two small pictures attributed to Palma the younger. Lovers of early Italian art will find a small Madonna and Child by Pinturicchio, while the disciples of the now unpopular Bolognese school will admire the picture of St Roch and the Angel, by Annibale Caracci. The room also contains a doubtful Rembrandt, two exquisitely finished little pictures by Gerard Douw, some good Ruysdaels, a Teniers or two,