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behind which, at a considerable altitude, is the organ-gallery. The lower gallery is supported by three gothic arches, the centre one forming the entrance to the Pit. These western galleries are built with stone, and beautifully harmonize with the general style of the edifice which they adorn. A noble and rich-toned organ, recessed within the gothic arch, behind the upper gallery, completes the beauty of the west end of the church. This fine gothic edifice is adorned with a handsome and lofty tower, crowned with four turrets, surmounted however with somewhat unsightly balls, but containing twelve remarkably musical bells, which are rung on all public occasions. Before the commencement of Acts, and Congregations in the Senate-House, a bell is tolled for one hour, and also (on behalf of the Parish) every morning at six o'clock, and every evening at nine. The chancel was the burial-place of the celebrated reformer, Martin Bucer, whose body was disinterred in the reign of Queen Mary, and burnt (with that of Paul Fagius, who had been buried in St. Michael's Church,) in the marketplace. It may not be improper to mention, that all distances from Cambridge are measured from the south-west buttress of the tower. Trinity College enjoys the patronage of the Incumbency.

THE FITZWILLIAM MUSEUM.

Richard, Lord Viscount Fitzwilliam, formerly of Trinity Hall, (M.A. 1764,) who died 5th February, | 1816, bequeathed to the University his splendid

collection of Books, Paintings, Drawings, Engravings, Busts, and other valuable Curiosities, together with 100,0001. stock in the New South Sea Annuities; the interest arising therefrom to be applied to the erection of a Museum for their reception, and for the maintenance of proper officers to superintend the establishment. The Will is dated August 18th, 1815, and an extract from it may be seen in the University Calendar. On his Lordship's decease, this magnificent collection was in due time removed to Cambridge. This truly munificent bequest comprises

I. A Gallery of Paintings, 103 in number, for the most part very fine, and by the first Masters.

II. A large assemblage of DRAWINGS, Busts, ANTIQUES, &c. by Artists of the greatest eminence.

III. A collection of invaluable ENGRAVINGS, ancient and modern, contained in not fewer than 520 bulky folio Volumes, substantially, as well as most splendidly, bound in morocco.

IV. A Library containing above 7000 Volumes.

V. The most extensive and valuable collection of Music in the United Kingdom; his Majesty's alone excepted.

An edifice for the reception of these rarities, in pursuance of the will of the Founder, is now in progress. In the meantime, the Free-School, in FreeSchool Lane, behind Corpus Christi College, has been prepared for their temporary reception. This building consists of two rooms : the first, which is spacious and lofty, is appropriated to the twofold purpose of a Library and a Picture-gallery. Bookcases of wainscot are ranged along the sides of the apartment; the Pictures occupying the space above them. Two elegant pieces of library furniture run down the middle of the room, serving both for bookcases and tables.

The Paintings (of which the largest are displayed in this apartment) present some of the best specimens of the most celebrated masters of the Italian and Dutch schools. Without attempting to enumerate all the pictures of merit in this superb collection, we will endeavour briefly to describe some of the most remarkable.

I. “The Portrait of a Dutch Officer,” by Rembrandt, is suspended over the entrance door. The officer is arrayed in a loose outer dress of crimson velvet, with a body armour of steel : he holds a sword in the left hand, leaning the elbow on a pedestal, and having the right hand placed on the hip. On his head he has a Spanish hat with feathers; and he is looking out of the picture with a quiet gravity of aspect that finely harmonizes with the intended impression of the colouring. This painting, executed in an eminently bold and splendid style, is justly considered to be one of the finest in the whole collection, and for taste in colouring, rich depth, and glowing harmony, is inferior to none of the productions of that extraordinary master.

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III. “Marcus Curtius leaping into the gulph ; with a view of the Amphitheatre, &c." by Pannini, introduces very finely a classical incident into an Italian scene.

IV. “Landscape, with figures,” by Zuccharelli. - Very pleasing.

V. A large picture, from the Orleans Collection, including “the Portraits of Philip the Second of Spain, and his Mistress the Princess D’Eboli,” is a magnificent specimen of Titian's finest style: the principal figure is, in fact, one piece of glowing vitality.

VI. “ Portrait of Lady Eleanor, wife of the second Viscount Fitzwilliam.”—Sir Peter Lely.

VIII. “A Storm at Sea,” by Van de Velde, is greatly admired for the force and truth which pervade every part of this appalling scene. Three vessels at different distances are seen labouring before the gale, with their cordage straining till you may fancy that it creaks, and the little flags at their top-gallant masts ready to fly in pieces in struggling to escape from their places. The effect of the lightning breaking out from behind the black clouds in the centre, is inconceivably fine.

IX. “St. Roch and the Angel,” is a fine specimen of Annibal Caracci's vigorous and natural style. The figures are expressed with great simplicity and truth of character, and the colouring is very striking.

X. “Portrait of Fiamingo, a sculptor,” by Velasquez. In this picture there is a freshness and reality that is truly admirable.

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XIII. “Christ and the Angel appearing to the Virgin Mary,” by L. Caracci. The figures are nearly the size of life. On the left, the Saviour is advancing majestically towards Mary, who is kneeling on the right, in an attitude of adoring love. The angel stands at a short distance behind, immediately between the two other figures, and is leaning, in admiring contemplation, on the staff of a red-cross flag which he bears: one of his outspread wings finely fills up the space left by the kneeling attitude of Mary. Above the Saviour, two cherubs are seen, shedding from their faces and wings a golden glory round his head. This may, on the whole, be regarded as one of the noblest pictures in this room.

XIV. “The Adoration of the Shepherds," by Giorgione, is an admirable specimen of his fine Venetian taste, both in colouring and expression. The Virgin’is full of grace and sweetness ; and the figure of one of the shepherds, who is leaning over the infant Saviour, is very nobly conceived.

XVIII. “A Stag Hunt,” by Snyders, is full of eager expression and forcible execution.

XXI. “A Larder, with Game," by the same master, is very fine, and includes a capital figure of a female, by Rubens.

XXV. “St. Jerome,” by Bassano, is a fine specimen of rich and harmonious colouring ; as is also

XXVIII. “Cattle and Shepherds.” by the same distinguished artist.

XXVI. “A view of the Church Salute, with other

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