The painted glass in the hall shows numerous coats of arms, and anyone acquainted with heraldry will find here a rich field of study. The windows could have been filled over and over again with the arms of former famous members of the College, but the matter has been managed in a haphazard way, and many distinguished sons of the House are unrepresented. In spite of some bad glass the collection is interesting. Perhaps however any further account of it here would be more technical than would be justified in a paper like this. Of other glass in the College, the windows in the chapel are typical of the art of 1870, and are only moderately satisfactory. The window at the south end of the library, executed in 1775, was made by Peckitt of York, after a design by Cipriani: it illustrates some curious points in the history of the art of stained glass, but the design is impossible, and the scheme of colour atrocious. Sculpture, unless it is absolutely first rate, does not represent a man as well as portraiture. The number of pieces of statuary of the first class in Great Britain is small, and in the possession of such pieces the College is extraordinarily fortunate. The statue of Newton, with its proud inscription "Newton qui genus humanum ingenio superavit," in the antechapel by Roubiliac--"the marble index of a mind for ever voyaging through strange seas of thought alone"--is of the highest merit. It was described by Chantrey as "the noblest of English statues," and I have never seen any modern piece of statuary anywhere which can be ranked superior to it: the man lives and almost moves. Thorwaldsen's statue of Byron, rejected by the authorities of Westminster Abbey on account of his alleged atheistical opinions, which stands in the library, and that of Bacon in the antechapel may also be reckoned among examples of first-class statuary. Of these three pieces two are by foreigners. There are also in the antechapel statues of Barrow, Macaulay, Whewell, and Tennyson, and in the library a large number of busts. The statues of Edward III on the clock tower, of Henry VIII, James I, Anne of Denmark, and Prince Charles on the great gate, and of queen Elizabeth on the queen's gate are interesting, though not to be reckoned as works of art. Old Silver Plate has a peculiar beauty. We have some fine specimens though they are fewer and later than from our history we should expect. Most of the pieces are kept in the butteries, and can be seen by visitors. Twice a year anyone entering the hall will see the junior bursar there with all the plate spread before him checking it by his lists, a pretty spectacle which always suggests to me the picture of the king "in his counting house counting out his money," and formerly in "May-week" typical pieces were set out on show in the hall.