The north-east wing, which contains <g>the Library</g>, was commenced in 1801. Its basement is formed upon the Norman model; its upper part is in the style of Henry the Sixth, with a projecting square tower in the centre, and lighted from an oriel window. The sculpture and carving upon the windows and doorways exhibit much delicacy and beauty of workmanship. Those under the bas-relief, in front of the Alfred Saloon, are of elegant design and finish. The Library here mentioned is an apartment of great magnificence; it measures one hundred and seventeen feet in length by thirty-five in width, and is, beyond doubt, one of the finest specimens of modern Gothic in England. It displays the grandeur of ancient designs under the delicate finish of modern art, and brings into one view specimens of almost every ornament of which, during the fourteenth and fifteenth centuries, the graceful Gothic presented so many exquisite combinations. The book-cases and reading-galleries are supported by fifteen columns wrought out of the richest Spanish mahogany; while the ‘spidered roof’ displays a beauty of workmanship and delicacy of carving, enriched with fruit-foliage, which have seldom been surpassed. It is divided into several compartments for reading recesses, and communicates with the Alfred Saloon by two magnificent folding-doors. At present, however, the shelves are sparingly furnished, and the mahogany--rich and elaborate as it is--offers a striking contradiction to those ideas of antiquity which the Gothic carving might otherwise convey. The chimney-pieces are of fine Carrara marble, and in their sculpture exhibit pure classical taste. <g>The great Drawing-room</g> is a spacious noble apartment, and commands an extensive view of the winding vale of the Arun. It is chiefly remarkable, however, for the family portraits which adorn its walls and, to the eye of the historian, throw open a vast and interesting field of retrospection: “For, by dim lights, the portraits of the dead Have something ghastly, desolate, and dread. ..... Their buried locks still wave Along the canvas; their eyes glance like dreams On ours, as stars within some dusky cave; But death is imaged in their shadowy beams.” Of these portraits we noticed about sixteen, one of which is a beautiful historical piece, by Mather Brown, representing Thomas Howard, Earl of Surrey, vindicating himself before Henry the Seventh for the part he took at the Battle of Bosworth. Henry upbraided him with having served in the cause of the late usurper and tyrant, Richard the Third. “Sir,” replied Surrey, “he was my crowned king. If the authority of Parliament had placed the crown on that stake, I would have fought for it. Let it place it on your head, and you will find me as ready in your defence.” In the back-ground of the painting, the Princess Elizabeth, sister of the young princes who were smothered in the Tower, is seen displaying the red rose as an emblem of the two houses.