In a glass case, on the right hand as we approach the Aviaries, are some beautiful and interesting Lizards (Lacerta agilis). These perfectly harmless little reptiles are found in all the warm parts of Europe, frequenting dry, stony places, and old ruined buildings. Their food is flies, beetles, moths, and other like insects. The present specimens are from Guernsey, in which island they greatly abound. Near to these, in the centre of the Transept, are some of the most curious of the reptiles, and which are perhaps better known by repute than even the most common species daily under our feet. These are the Chameleons. The changes of colour in this animal, so often spoken of, are not generally so rapid as is supposed, nor do they possess so great distinctions as are popularly ascribed to them. In all their habits they are so slow as to be generally almost immovable, save in respect of their restless eyes, and the tongue, which is very long and adapted peculiarly to its purpose, which is to secure their food; they can dart it with almost invisible rapidity upon a passing fly or insect, which is immediately thus drawn into the mouth. They appear most generally to assimilate their colour to the objects on which they rest, or which surround them. This may be a means of protection to them, but it is most probably only a method of concealment for the more effectual capture of their prey. It, however, answers the double purpose. If we now proceed by the extreme end of the building toward the eastern end of the North Transept, we shall find both on our right and left hand a complete set of casts from the Ægina Marbles. These most interesting monuments of ancient Greek art are now in the Glyptothek at Munich. They were discovered in the Island of Ægina, and are supposed to have ornamented the tympana of the east and west fronts of the temple of Minerva in that island. The group, representing the Contest over the Body of Patroclus, belonged to the western, and the five figures descriptive of the Battle of Hercules and Telamon against the Trojan king Laomedon, were in the eastern tympanum. They are most remarkable examples of Greek sculpture during its second period, or from the close of the 6th to the middle of the 5th century B.C. The conception, the anatomy, and beauty of form found in these statues denote a highly cultivated artistic taste and power, to which the peculiar faces, the invariable smile on the mouth, and a certain stiff angularity of treatment, form a marked contrast. We observe in them that turning-point in the history of Greek sculpture, when the conventionalities of an earlier system were receding before that love of nature and extraordinary perception of the Beautiful, which subsequently rendered the Greeks so pre-eminent in art.