Indeed all the subjects in this Court are full of value and interest, and the numerous examples of Gothic art here collected, which we have not space to describe in detail, form a museum in which the visitor may obtain no inadequate idea of the rich treasures in this wise of our country. Passing beneath the Rochester doorway, we enter a vaulted and groined vestibule, the window of which is a beautiful example of the Decorated style, from Holbeach, in Lincolnshire, filled in with rich stained glass. Beneath the window is the painted monument of John of Eltham, son of Edward II., from Westminster Abbey, on either side statues from Wells Cathedral. In the centre is the very richly-decorated font, from Walsingham, in Norfolk, an excellent example of the Perpendicular style. The walls of the gallery are lined with statues and monuments; those on the Garden side are all English, principally from the façade of Wells Cathedral; those on the side of the Court are chiefly from Germany and France. Amongst the latter, we draw particular attention to the bas-reliefs on the walls, from Notre-Dame, Paris, as excellent examples of early French Gothic. Amongst the central monuments should be particularly remarked, behind the German Mediæval Court, the Arderne tomb, from Elford church, Staffordshire; the monument of Henry IV., and Joan of Navarre (his queen), from Canterbury Cathedral; the tombs of Sir Giles Daubeny, Richard II., and Anne of Bohemia (his queen), from Westminster Abbey, of about the year 1507; and behind the French and Italian Mediæval Court, the splendid monument of Richard Beauchamp, Earl of Warwick, from Warwick, one of the finest Gothic sepulchral monuments remaining in England. Passing beneath the arcade, near the Beauchamp monument, we enter the next architectural illustration of the series. THE FRENCH AND ITALIAN MEDIÆVAL COURT,[15] On the walls of which, on the ground row, are ranged a series of arches from the choir of Notre-Dame, at Paris, the greater number of the canopies which surmount them being taken from the Cathedral of Chartres, both fine examples of early French Gothic art. The very excellent statues, bosses, &c., are from various French churches. The statue on the floor is by the great Italian sculptor, Giovanni Pisano (13th century), and serves as a lectern, or reading-stand. The subject towards the nave is composed of portions of the celebrated altar-piece of Or San Michele, at Florence, by Andrea Orgagna (14th century). One of the two statues nearest the gallery is by Nino Pisano, son of Giovanni. The very elaborate example of iron-work near the nave entrance is from one of the great west doors of the Cathedral of Notre-Dame, Paris, and evinces such consummate skill in workmanship as to have obtained for its artist, when first made public, the unenviable credit of being in close league with the Evil One. The exact date of this iron-work is not ascertained, but it is of the best period of the French Pointed style.