THE PAINTINGS IN THIS ROOM,

Are a full-length portrait of lady Anne Coke, and her son, over the chimney piece-Sir Godfrey Kneller. A portrait of the countess of Salisbury-Jarvis. A portrait of Mrs. Price-Sir P. Lely. Portrait of Richard Coke. Ditto of Mary Rouse, his wife. Ditto of Robert Coke, their son. A whole-length portrait of lord Coke. A whole-length of the earl of Leicester-C. Casali. Ditto of the countess of Leicester-the same. Over the door leading to the dressing room, a Venetian lady and her son-Giorgione; being an early specimen of that master.

Red and yellow Dressing Room. A veined statuary marble chimney piece, with a tablet of red porphyry-Pickford. Ceiling, from Inigo Jones, and the enrichment of its soffit from Degodetz. Begin over the chimney-piece.-The Reconciliation of Jacob and Esau-Pietro da Cortono. Over the side doors, are two pictures representing the four elements. Lord chief justice Coke-Chevalier Casali. His first wife, Mrs. Paston-the same. Over the door, archbishop Land-Vandyck. Over the centre door, sir Thomas More-Holbein. Henry Coke, of Torrington, fifth son of lord chief justice Coke-Chevalier Casali. Margaret Lovelace, his wife -the same.

Red and yellow Bedchamber. The tapestry hangings of this room are from designs by Watteau, and executed by Vanderbank. Chimney piece, Plymouth and statuary marbles. Ceiling, after the manner of Inigo Jones. Over the chimney was a whole-length portrait of the first duke of Richmond— Vandyck; now removed to the south diningroom. On the chimney cornice a small antique head: the bust part is modern.

Small Dressing Room to ditto. Chimney piece, statuary and Giallo Antico marbles-Pickford. Ceiling in the manner of Inigo Jones, enriched with ornaments taken out of Degodetz. The pictures in this room are a Landscape and Ruins, figure of Time, and two boys sitting on a column, over the side door-Gisolfi. Deborah and Barak-Solimene. Under the above, a Landscape-Bout and Boudwin. A ditto-the same. Over the centre door, Ruins-Viviani. On the right, Apollo and Daphne-C. Maratti. And on the left, Ruins and Figures-Viviani. Over the chimney glass, a sea Storm-Livi Meus. Over the side door, Figures and Ruins, with a church-M. Angelo Carravaggio. Below, on each side the door, a View of Naples-Occhiali. A View of ditto-the same. On the window side, are two small paintings of Fish and Fowls-Dupret. Under those on the left, a View of Naples -Occhiali. On the right, Landscape and Figures-Poelemburg.

Blue and Yellow Bedchamber. Chimney piece, a Fior di Persica, statuary marble, frieze enriched with a goloss, executed by Pickford. Ceiling in the manner of Inigo Jones, ornamented from Degodetz. Above the chimney piece, a painting of Cupids sleeping, and Nymphs of Diana clipping their wings-Crespi. Over the doors are four Landscapes-Luccatelli, The other pictures in this room, are Lot and his Daughters-Dominichino. St. John preaching in the Desert-Luca Giordano. St. Jerome, in a Landscape-Dominichino. The Virgin Mary reading--Carlo Maratti. Diana and her Nymphs-Dominichino. An allegorical representation of Youth and Age-Lanfranco.

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Yellow Dressing Room. Chimney piece, black and yellow, with statuary marble ornaments- Pickford. Ceiling in the style of Inigo Jones, enriched from Degodetz's antiquities. Begin the pictures with that over the chimney piece. A portrait of T. W. Coke, esq. painted at Rome-P. Batoni. Cincinnatus at the plough-Luigi Garzi Its companion, Sophonisba―the same. The Elysian Fields-Conca; this picture was painted for the earl of Leicester at Rome: it is a large piece full of figures, amongst which his lordship is represented in the character of Orpheus. Opposite to the above, is Galatea—Albano. Over the doors, a Landscape-Claude. Ditto--N. Poussin.

Yellow Bedchamber. The tapestry of this apartment, is from designs by Watteau. The ceiling and entablature are in the style of Inigo Jones. Chimney piece, Dove marble, an idea of Mr. Kent's, executed by Pickford. Over the doors, are four pieces of Flowers and Fruit, from the pencil of the Miss Blackwells and Mr. Reinagle.

Brown Dressing Room. Ceiling, an oval in an oblong square frame, after the manner of Inigo Jones. Chimney piece, green and sienna yellow marbles, and Derbyshire spar, executed by Pickford. Opposite the fireplace, a large Chiaro-scuro painting on board, of a part of the celebrated Cartoon of Pisa, by Michael Angelo. Vasari, in the life of M. Angelo Buonarotti, gives the following account of it. "At the time that Pietro Sodenini was Gonfaloniere of Florence, he employed Michael Angelo to paint part of the council hall, in concurrence with Leonardo da Vinci. For which purpose Michael Angelo had assigned to him an apartment in the Ospital of the Dyers of San Onofrio, where he begun a very large cartoon, filled with naked men bathing in the river Arno during the heat of the day. In that very instant was heard towards the country a beating to arms, under the pretence of an attack from the enemy. In the hurry and confusion occasioned thereby may be observed soldiers getting out of the water to dress themselves, the great eagerness of others arming themselves in order to assist their companions, some employed in buttoning on their own dress, and others in putting on different parts of their armour." It was purchased out of the Barberini collection. This room is particularly worthy the attention of admirers of the fine arts, as it contains a very rare and large collection of original drawings, by eminent masters, part of which were purchased at Rome, for the earl of Leicester, by Mr. G. Hamilton. Begin over the door leading into the Anti Room. A drawing of Hannibal passing the Alps. Soldiers breaking down a bridge, in bistre-Parmegiano. By the glass, St. John baptizing our Saviour, pen and bistre--Carlo Maratti. A Historical Subject. An Academy Figure, in black and white chalk— Lanfranco. A study of a Man, in red chalk-Corregio. An Academy Figure, in ditto-Andrea Sacchi. The Flight into Egypt, with the pen -Agostino Carracci. Restoring Sight to the Blind-Geovanni Bonati. Christ with the Cross, pen and wash-Gieusepi D'Arpino. Christ bearing his Cross-Lucco D'Olanda. A study of a Figure-Raphael. The Salutation-Carlo Maratti. Left side of the door, Jacob's Journey, in red chalk--Castiglione. An Academy Figure, in ditto-Andrea Sacchi. A ditto, in ditto-the same. The Madonna, in ditto-Carlo Maratti. The Annunciation, in ditto-the same. St. Francis healing the lame Man-Andrea Sacchi. The Virgin and Child, in red chalkCarlo Maratti. The infant St. John, in red chalk—Guercino. A fe

male Portrait, in ditto-Titian. Over the door, Virgin, Child, and St. John-Raphael. Right side of the door, an Academy Figure, in red chalk-Bernini. Landscape, in ditto-Bolognese. Its companion -the same. A Fox-Annibal Carracci. The Assumption of the Virgin -Pietro da Pietre. A Saint preaching-Pietro da Cortona. Cupid and Psyche-Julio Romano. Study of an Apostle, in pen and ink— Titian. An Academy Figure-Guercino. Opposite the fireplace, begin at the upper tier. A Figure from the antique, in red chalk. A Historical ditto, in ditto. Head of a Man, in black chalk-Corregio. A Historical Subject, in red chalk. A figure of Esculapius, from the antique, in red chalk. An Academy Figure, in red chalk-Andrea Sacchi. A Battle Piece-M. Leander. The Marriage of Joseph and the Virgin Mary-Agostino Masucci. An Historical Subject, in black and white chalk. A man's Head-Corregio. Venus and AdonisGuercino. Battle Piece-Allegrini. Wise Men's Offering, in bistre -Pietro Perugino. A female Head—Carlo Maratti. The Martyrdom of St. Andrew-Pietro da Cortona. The Ascension-Carlo Maratti. On each side of the window, in the upper tier, two girl's Heads, said to be Benedetto Luti's daughters, drawn by himself. Four circular Drawings, in red chalk, from Dominichino's paintings in the church of St. Sylvester, upon Monto Cavallo-Giacomo Frey. A female Head, red chalk on blue paper-Carlo Maratti. Two Heads, in red and white chalk-Mr. Kent. A female Saint-Carlo Maratti. A study of a Head, black chalk on blue paper- Guido. Head of a MadonnaCarlo Maratti. A Female bathing-Guisepi D'Arpino. On the chimney piece, a small bust of the duke of Bedford.

Corridor leading to the Statue Gallery. Over the bookcase is placed a fine antique bust of the emperor Šalonius. A plaster cast of the little Apollo in the Villa Medici. A ditto of Camillus in the capitol. A ditto of the Venus di Medici. A cast of the muse Urania. On the window side, a bust of sir Joseph Banks.

Tribune of the Statue Gallery. Statues and busts in the tribune of the gallery: begin with that on the right hand.-A large statue of Lucius Verus, in a consular habit, which is very entire, and also an excellent likeness of that emperor, so well known by his medals. This antique statue was purchased at Rome. Lucius Antonius the orator, and brother of Marc Antony. A very capital antique figure, purchased at Rome. Agrippina; an imperial figure, in the character of Ceres. She has the diadem on her head, which is antique, so is the whole figure, except the arms and hands, and some few plaits in her drapery. This was restored by Cavaceppi. In Rome there are many statues of a large size, such as the Sabini Matrons, in the Loggia of the Villa Medici, Livia Mattei, and others, but none superior to this in excellency of sculpture. It was purchased of Belesario Amedei, who procured it from the Villa Ginetti, at Veletri, in the Roman territory. A statue of Juno, queen of the Gods, of a size nearly colossal: the head, torso, and legs, are antique, and in a very high state of sculpture: her drapery, which is held up by her arm, and disposed in large flowing folds, not commonly to be met with in the antique, adds much to the majesty of the goddess. The late Mr. Roubiliac, when at Holkham, prefered this statue to any in the gallery, though he held many others in the highest estimation.

Statue Gallery. The statue gallery is the most complete in this kingdom, for the manner and style of finishing, and is a grand and distinguishing feature in the plan of the house; it bears analogy to that in the late earl of Burlington's villa, at Chiswick, undoubtedly taken, though with many deviations, from the Marchese Capris, built by Andrea Palladio, near Vincenza. Chimney piece of veined and statuary marble, and sienna tablet, were taken from Inigo Jones, and executed by Pickford. The ceiling of this room is plain, with only a single cornice under it, which is Palladio's Corinthian, but more enriched. The heads of the niches at the end of the gallery are decorated with the Lozenge Mosaic, taken from the temple of the sun and moon, out of Degodetz, and richly gilt.

Antique Statues and Bustoes in the Gallery. On each side the entrance into the gallery from the vestibule, are two busts: on the right hand a bust of Cornelius Sylla, the famous dictator, is the least in the gallery, said to be the only one of him now remaining. For the age in which he flourished, the style of the sculpture is very excellent. On the left, a very rare bust of Metredorus, the philosopher and scholar of Epicurus, upon a console near the angle; remarkable for its fine execution. Begin the Statues with that on the left hand side of the entrance into the Vestibule. A small statue of Ceres, of excellent workmanship; crowned with wheat ears and poppies; bearing a cornucopia, one of the characteristic marks of that goddess. A small statue of Minerva, of excellent workmanship; the head, breastplate and toga of which, are perfect. A figure of a young Bacchus, purchased of Cavaceppi, who restored the right hand and left arm; all the rest is entirely antique, and in good preservation. In a large niche contiguous, that makes a centre between the chimney piece and that end of the gallery, stands the celebrated figure of Diana, purchased and sent out of Rome by the earl of Leicester, for which offence his lordship (known at that time by the name of Cavalier Coke)* was put under arrest, but released soon after at the solicitation of the grand duke of Tuscany. This statue, one of the most excellent amongst the drapery figures of the ancients, and perhaps the most beautiful representation of that goddess anywhere to be met with, is, for the conveniency of removing it, composed of two pieces of Parian marble; the upper piece is fitted to the lower under the folds of the garment, above the cincture, which effectually conceals the joint: her right arm is raised, and the hand bent backward, in the attitude of reaching an arrow from her quiver, which hangs on the same shoulder, while the other hand holds the bow; the left foot advances, and the right falls gracefully back, to preserve the equilibrium of the figure: by this movement the limbs are gently contrasted. The cavalier Camillo Rusconi, an eminent sculpture of great merit, whose fame is well known in Italy, added the head and some of the fingers, which are the only parts of it that are modern. It is supposed, on very good authority, that this statue of Diana was formerly in the possession of that admirable Roman orator and statesman Cicero. A statue of Venus, in wet drapery, almost entirely antique, and of exquisite workmanship: her left hand, in which she holds a vase, is the only

This nobleman was the first virtuosi who brought a statue of high merit, the one in question, into England.-Vide Dallaway's Lord Orford, voL. 1., p. 360.

part that is modern. This statue and its companion the Meleager, were purchased of Belisario Amedei, the merchant in Piazza Novona. It was restored by Cavaceppi. In a niche over the chimney piece, a statue of the Pythian Apollo, of Greek workmanship: the tripod on which he leans is antique: purchased in Italy. A head of Cybele, over the Apollo in the open pediment of the chimney frame, is excellent; the style is Grecian and entirely antique. A statue of Meleager, in Parian marble; the left arm, legs, and boar's head, were added by Cavaceppi. This seems to be of Roman sculpture: the proportions are very suitable to the character. A statue of the god Faunus, in Parian marble; a very entire and capital antique figure; he is crowned with pampini. Canova pronounced this to be the finest statue which ever made its escape out of Italy. It may not be improper here to remark, that there were two kinds of the Parian marble used by the ancients; one of the fine, the other of a larger grain: this is of the latter sort, called by the Romans, Marino Salino, from its sparkling particles resembling salt. This figure was dug up in the Campagna of Rome, and first purchased by cardinal Albani, from whom it was bought soon after, in the condition in which it was found, encrusted over with the tartar of the earth. This statue still bears the marks of the chisel, and is supposed to be a rival in excellence, to the famous statue of the Apollo Belvidere. A statue of Neptune, in Parian marble, and well preserved. Statues of that deity are extremely rare. This was purchased of Carlo Monaldi. On each side the entrance into the vestibule from the gallery, are two fine antique busts. On the right, that of the elder Brutus, the founder of Roman liberty. On the left its companion, Seneca, in Travertine stone, remarkable for the strong marks of age in the face, for the likeness to his other busts, and for its fine preservation. On each side the entrance into the vestibule, are two young Fauns, standing erect, with one leg across the other, playing fistulas, of Parian marble; their attitudes are the same as that in the Villa Borghese, to which in character and workmanship they are very little inferior: one was purchased of cardinal Alexander Albani, the other of Cavaceppi the sculptor. On the cornice of the chimney piece, are two marble busts, both copies from the antique: Marcus Aurelius, and Caracalla, both emperors of Rome. Under the window piers of the gallery, are two very beautiful tables of Alabastro Peccorella, purchased of Cavaceppi. In the centre window, a curious Mosaic marble table, purchased from the Villa Adrian, near Tivoli.

Vestibule to Statue Gallery, an octagon, twenty-one feet diameter, and thirty-two feet high. This vestibule is fitted up with four bookcases, in large niches, containing a collection of maps and other valuable books. Above the doors and bookcases are placed six antique marble busts: Adrian, emperor of Rome; Julia Mammea; Julia of Titus; Marcus Aurelius, emperor of Rome; Gallienus, emperor of Rome; and Geta. The whole length of the gallery, including the tribune and vestibule, is one hundred and five feet.

Corridor. In the corridor leading from the tribune of the statue gallery to the libraries, is a large picture of the trial of Algernon Sidney, painted by Solomon Williams, member of the Clementine academy, Bologna. This picture was won at a raffle by the late