The drawings are most beautiful. The small Lionardo head and the large Madonna are unmistakable and beyond praise, and may be contrasted with a singularly beautiful head which displays his taste for “monsters,” and the portrait of Ludovico Sforza is excellent. There are two drawings by Masaccio, and the Titian Landscapes are capital. The visitor should not miss the red chalk head attributed to Gentile Bellini, we suppose rightly: it is hard to say who else, except his son, could have done it. To give an account of the portraits in the Hall would set us adrift on general history. Locke and the Marquis of Wellesley, the two Sir Joshua bishops, Cyril Jackson looking forth at a world he knew the worth of, Wolsey and Henry VIII.--founders, crowned heads, members of the foundation--survey the College dinner like guests departed. They are forgotten, or their remembrance is like his that tarrieth but a day. _Note on the Date of the Cathedral._ Mr. J. Park Harrison has most kindly enabled me to give his conclusions on the dates of the cathedral in his own words. Having inspected the building with him, I entirely adhere to them. I think they are fully borne out by the remains of the old building, and scarcely to be got over when one has seen the joints and ornamentation inside, and the foundations without. 1. “The commonly-assigned date of the cathedral, 1160-1180, is absolutely incorrect. 2. “The late Norman work, attributed with much probability to Prior Robert of Cricklade, is an addition to the old church restored by Guimond in the earlier part of the twelfth century. 3. “There is no document, or anything tending to show that the original fabric, as restored by Ethelred, was ever rebuilt on a new plan. 4. “Several of the choir capitals differ essentially in their ornamentation from any others in the cathedral; but resemble very closely the ornamental work in illuminated MSS. of Ethelred’s time. They[262] should consequently belong to the church as enlarged by him in 1004. 5. “The east wall of the ‘ecclesiola’ built by Didanus in the eighth century still exists, with two arches once communicating with apses, whose foundations have been discovered about two feet below the ground, with a third midway between them.” The junction of the eleventh century, or Ethelred’s, work with the twelfth century, or Norman, is clearly visible at the north and south-west corners of the choir, and the abaci though resembling each other are of different thickness. The ashlar work is different, and the courses are not continuous. XIV. TRINITY COLLEGE. BY THE REV. HERBERT E. D. BLAKISTON, M.A., FELLOW OF TRINITY.