Another interesting portrait is that of “Jocky of Norfolk,” father of the preceding, who fell with Richard at the battle of Bosworth. A third is the portrait of Henry Howard, Earl of Surrey, “the delight and ornament of his age and nation,” whose bright life and tragical end are familiarly known to every reader.--But to this we purpose to return in a subsequent part of the work. A fourth is that of Thomas, Duke of Norfolk, painted by Holbein, whose evil fortunes are so closely associated with those of Mary Queen of Scots. Also the portraits of his wife, Mary Fitzalan, the last of her family, who died in her eighteenth year; and of her only brother, Henry Fitzalan, Lord Maltravers, painted at Brussels. There are also portraits of the celebrated Cardinal Howard, of “belted Will Howard,” and of various other members of the same house, by the eminent painters of the day. In the furnishing of these state apartments there is little to excite attention; it combines elegance with simplicity, but contains nothing gorgeous in colour or texture. The woodwork is nearly mahogany throughout. Nothing, however, could be more out of place--a wood that has been known in this country little more than a century, is ill associated with the Gothic ornaments of a baronial hall. Old English oak is, beyond doubt, that which best harmonizes with our ideas in such places. A piece of old oak carving is an object of never-failing interest to the mind of an antiquary; but in Arundel Castle we observed no specimens of native ‘gnarled oak,’ except in the “Windsor rooms.” <g>The Dining-room</g>--formed, as we have already mentioned, out of the ancient family chapel--is a lofty, spacious, well-proportioned room, and chiefly remarkable for its great window of stained glass, which still throws “a religious light” over the banquet. It is quite modern, and the historical subject selected for its embellishment is the Meeting of Solomon and the Queen of Sheba--portraits of the late Duke and Duchess-dowager of Norfolk. “On each side is a beautiful transparency on plate-glass--one representing the Mercy-seat in the Jewish tabernacle, the pillars protected by cherubim, with Aaron’s pitcher and rod lying at the foot of the altar; the other is a fine representation of the Interior of the Tabernacle, as transmitted to us in the Biblical account; and both serving to soften and modify the light as it falls on the great painting in the centre[34]. [Illustration]