examples of German Romanesque, which is frequently also called the Lombard style, as indicative of its origin; and beyond these again, in the extreme angles, are interesting specimens of the Norman style as practised in England during the 12th century. These examples will enable the visitor to judge in some measure of the differences that characterise the three. To the left is a very curious Norman doorway, from Kilpeck Church, in Herefordshire; the zigzag moulding around it is peculiar to the Norman; and in the sculptured reliefs which surround the doorway a symbolism is hidden, for the meaning of which we must refer our readers to the Handbook of this Court. Next to this is a doorway from Mayence Cathedral, the bronze doors within it, which are from Augsburg Cathedral, in Germany, being interesting examples of the art of bronze-casting in the latter half of the 11th century. The rudely-executed subjects in the panels are mostly taken from the Old Testament, but no attempt at chronological arrangement has been made. Above the St. John Lateran cloister is an arcade from Gelnhausen in Germany, a good specimen of grotesque and symbolic sculpture quite in the style of the early Lombard work in Northern Italy. The doorway on the opposite side of the St. John Lateran cloister is a composition showing the general characteristics of the Romanesque style; the doors are from Hildesheim Cathedral, and were executed in 1015, by order of Bishop Bernwardus. They contain sixteen panels, arranged in proper order, eight representing scenes in the Old Testament, commencing with the creation of man, and eight representing subjects from the New Testament, beginning with the Annunciation. Next to this, and corresponding to the Kilpeck doorway, is a second side door from Shobdon Church, Herefordshire. The circles ornamented with foliage over the Shobdon Chancel Arch, are from Moissac. On the side wall next to the Arch, is the monument, from Salisbury Cathedral, of Bishop Roger, who died A.D. 1139; it is transitional in style, from the Norman to the Early English. On either side of the fountain in this court are placed the celebrated effigies of Fontevrault Abbey (the burying-place of the Plantagenets), consisting of Henry II. and his Queen Eleonora; Richard I.; and Isabella, wife of King John. These date from the 13th century, and they are not only interesting as works of art, but valuable as portraits, and as evidences of costumes of that period. The effigy of Henry II. is the earliest-known statue of any English king. An effigy of King John from Worcester, and another of Berengaria, wife of Richard I., from the Abbey of L’Espan, near Mans, in France, are also to be found here. The inlaid marble pavement of the Court is copied from churches in Florence, and is of the beginning of the 13th century.