faithful and spirited etching here introduced, the reader will obtain a much clearer idea of the subject than from any description. It is strictly historical, and was designed by Rossi. It is probable, however, that this admirable institution did not originate with Alfred, but that it was only improved and perfected by him[33]. On the right of the gateway stands the Baronial Chapel, a modern erection of florid Gothic, with pinnacles, niches, buttresses, all in the best taste and of elaborate workmanship. The interior is not finished, but the duke intended to have done so after the models of ancient Saxon and Norman churches, copies of which had been already procured at the time of his demise. Adjoining the chapel is the <g>Barons’ Hall</g> or banquet-chamber, a building much admired. Over four beautiful Saxon arches is a raised parapet, along the base of which are seen, sculptured in stone, a variety of hieroglyphic figures, taken from antique designs, illustrative of the family history, and procured from the Herald’s College, of which his Grace is hereditary Earl Marshal. [Illustration] The south side of the quadrangle is part of the ancient structure, restored from the ruinous condition in which it had been allowed to continue from the last siege, down to the accession of the late Duke to his family honours. It consists of an entirely new front of massive stone, which differs from the others in exhibiting the insignia of the Howards in union with those of their predecessors. The grand entrance is in the Norman style. It is twenty-eight feet wide from the abutments, fronted with Portland stone, curiously carved, and worked with infinite intersections of wreathed vine-leaves, roses, laurel, oak, acorns, and other vegetable emblems. The top is finished with a line of artificial stone in the shape of fence-work, a little elevated. On the right of the doorway is a colossal statue of Hospitality; and on the left is another of Liberty, as seen in the view of the Court already introduced.