The annexed engraving represents a view of that side of the Citadel which looks across the moat towards the castle; that is, across the place where a bridge once stood, and opposite the Fountain Court. Commencing from below we observe a gothic doorway, which was the entrance to the draw and the permanent bridges. Over the arched interior of this entrance is a chamber or cell, measuring about seven feet by five feet, and better than six feet high in the centre. On the outside front of the cell are seen indications of two square places; and above them, one to each, two upright channels or grooves, each one foot wide and the same in depth. Adjoining is another groove but terminating at bottom in two lesser grooves of four inches and a half in width, connected a little way up with the large groove. This second portion has a distinct cell behind it, less in dimensions than the first. From the summit of the three large vertical channels to the ground measures forty-six feet. Now it would have been quite possible to work a small steam boiler in each cell, and the pipes from those boilers might have been enclosed in the grooves described, entering inwards at top to discharge their contents into a cistern on the Citadel roof. And the boilers might have been conveniently supplied with water from the moat either by hand pumps, or by forming a vacuum for that purpose. It is here, however, unnecessary to enter upon mechanical details, as the subject will appear at large when describing his matured Invention. That inimitable portrait painter Vandyck, who was born 1598–9, studied under Rubens, and was an especial favourite with Charles the First, has undoubtedly left us a faithful portraiture of the features of both his Lordship and of Elizabeth his first wife; the former dating probably between 1621 and 1626, the latter between 1628 and 1635. The portrait of Lady Herbert, three-quarter size, is to be seen in the dining-room at Badminton House. It displays an intellectual countenance of a serious, dignified and most pleasing cast; her dark auburn hair is combed close from the forehead backwards, but so as still to leave a fringe of small curls in front; her hair braided and knotted behind is entwined with a string of pearls, while a portion of her tresses from behind falls in abundant ringlets about her neck and shoulders. She wears a large plain pearl necklace; with single pearl-drops as ear-rings. Her dress is low-bodied, of white satin, with the usual long tight stomacher, full short sleeves and large white vandyked frills or cuffs; on her arms, near each elbow, are single strings of pearls, like bracelets. Over her shoulders is thrown a light narrow fur tippet with long ends terminating backwards in short tails. The artist has represented her looking slightly aside as she might appear crossing her drawing-room, in the highly graceful and becoming style which Vandyck always so happily selected for the subjects of his magic pencil.