Given, therefore, Miss Giberne’s ardour in the matter, and her frequently-recurring opportunities as a visitor, it would seem almost certain that she would not have let slip any chance of portraying so noticeable a luminary as Hurrell Froude, often absent, like herself, from Oxford, during 1831-1833, and away from it almost altogether afterwards. Her discovered sketch-books, preserved in the hands of relatives and friends, yield, so far, but a single page in which Froude appears. She groups and labels him with other conspirators’ at a historic moment,[5] in the one Oxford Common Room which ‘stank of logic.’ Something in the too quiescent gesture of the graceful person ‘on the box,’ as well as in the nature of the circumstance, make one suspect that the whole was drawn not on the spot, nor from memory, but from hearsay at the time. Were such the case, the implication would be that Miss Giberne had a good prior knowledge of Froude’s face and figure, and even that she was not committing these to paper for the first time. This little drawing is the property of her nephew, George Pearson, Esq., of Manchester; it is owing to his courtesy and kindness that it is here made public. The picture of Dartington Parsonage, the antique house in the vale three miles from Totnes, Devonshire, where Hurrell Froude was born, and where he died, is from a larger water-colour drawing by Arthur Holdsworth Froude, in the possession of his sister, the Baroness Anatole von Hügel. The Parsonage, in its mediæval simplicity, was first sketched by Archdeacon Froude, then the newly-appointed Rector, in 1799; this sketch yet exists on a fly-leaf of the Parish records. He at once rebuilt the whole west wing, planted shrubs and vines, and drained away the pond; but there were no other alterations until after his death and the removal of the family in 1859-60, when his grandson Arthur drew the house from memory. Even now, the porch, and everything to the right of it, upstairs and down, is practically the very same as in Hurrell’s time; elsewhere the gables have disappeared, and the tourelle has changed its place. The Parish Church (of fourteenth century work, like the Hall) is from an old negative by Messrs. Brinley and Son, of Totnes. This view from the south-west shows the low railing over the Froude vault, which lay in the angle of the porch, next the wall. The Church being taken down in 1878, the strong plain Tower was left alone and intact, standing sentinel over the dead; and the large slab shown in the foreground of the modern photograph, covering the burial-place of Hurrell Froude and of his kindred, is as it looks to-day. The print of Oriel College great quadrangle is from a photograph copyrighted many years ago by Messrs. Henry W. Taunt and Co., of Oxford, and here used by their permission. The inner top tier of three windows next the angle of the Chapel marks the rooms occupied by Froude. They are on the second floor of Staircase No.