the Tichborne trial. On the south wall is a tablet to Samuel Cooper, the miniature-painter, the "Apelles of England" 1672. Near the chancel door is a monument to William Platt and his wife, 1637, removed from Highgate.

The neighbourhood of St. Pancras was peopled at the end of the last century by noble fugitives from the great French Revolution, and for the most part they are buried in this churchyard, which is crowded with remarkable memorials of the dead. On the right of the church door is the gravestone of William Woollett, the famous engraver (1785), which bore the lines

"Here Woollett rests, expecting to be sav'd;
He gravèd well, but is not well engraved :"

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an inscription which is supposed to have led to the after erection of a tablet in the cloisters of Westminster Abbey. On the north of the churchyard is the tomb of William Godwin (1836), described on his tombstone as Author of Political Justice," known chiefly by his novel of "Caleb Williams," "the cream of his mind, while the rest (of his works) are the skimmed milk.”* With him rest his two wives, of whom the first was the notorious Mary Wolstonecraft, author of the "Vindication of the Rights of Women,"† whose daughter Mary promised to become the wife of the poet Shelley by her mother's grave. Close by once lay the remains of Pasquale Paoli, the Corsican patriot, with a eulogistic Latin epitaph upon his gravestone.

Amongst the other graves of interest we may notice those of the exiled Archbishop Dillon of Narbonne; of Grabe

* Allan Cunningham, "Biog. and Crit. Hist."

✦ Their remains are said to have been removed to Bournemouth.

(1711), trained a Lutheran, but who took orders in the Church of England, and espoused the cause of the nonjurors; of Jeremy Collier (1726), the famous nonjuring bishop, who is simply described in the register as "Jeremiah Collier, clerk;" of Francis Danby the musician, famed "by playful catch, by serious glee;" of Abraham Woodhead, the Roman Catholic controversialist (1678), who did not allow his name to be affixed to any of his books-"quos permultos et utilissimos et piissimos doctissimosque edidit," erected by Cuthbert Constable of Yorkshire, who shared his faith. Near Woodhead, to whom he was united in friendship “per bonam famam et infamiam," lies Obadiah Walker (1699), the ejected Master of University College at Oxford, a native of Yorkshire, and also a convert to Roman Catholicism in the reign of Charles II.: his initials appear in an anagram. Dr. Bonaventura Giffard, Bishop of Madura in partibus infidelium, the second Vicar Apostolic of the district of London after England had been partitioned into four ecclesiastical districts by Innocent XI., was buried here in 1733. The tomb of Arthur O'Leary (1802), the Irish Franciscan monk who wrote against Wesley, who "prayed, wept, and felt for all," was erected by Lord Moira. The epitaph of Charles Butler (1832), the learned Roman Catholic lawyer, who was the antagonist of Southey, is a mere dry chronicle of his age and death.* This is the burial-ground where Norden said that a corpse lay as secure against the day of resurrection as in stately St. Paul's," yet Parliament has lately allowed the engineers of the Midland Railway to make a cutting through it, and to build a viaduct over it.

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* For further details see "Epitaphs of the Ancient Church and Burial Grounds of St. Pancras," by Frederick Teague Carsick.

In a further cemetery adjoining, which belongs to St. Giles's in the Fields, is the tomb erected by Sir John Soane, the architect and founder of the Soane Museum, to his wife, whose loss "left him nothing but the dregs of lingering time." He was himself laid beside her in 1837. The tomb is a kind of temple, with an odd railing decorated with Cupids mourning over their extinguished torches. Near the centre of the burial-ground are the massy tombs of John Flaxman (1826), his wife, and his sister Mary Anne. The great sculptor's epitaph truly tells that "his life was a constant preparation for a blessed immortality."

"Flaxman was one of the few-the very few-who confer real and permanent glory on the country to which they belong. Not even in Raffaelle have the gentler feelings and sorrows of human nature been traced with more touching pathos than in the various designs and models of this estimable man."-Sir Thomas Lawrence.

"The greatest of modern sculptors was our illustrious countryman, John Flaxman. Though Canova was his superior in the manual part, high finishing, yet in the higher qualities, poetical feeling and invention, Flaxman was as superior to Canova as Shakspeare to the dramatists of his day."-Sir R. Westmacott.

Canova nobly coincided with this opinion when he said—

"You come to Rome to admire my works, while you possess, in your own country, in Flaxman, an artist whose designs excel in classical grace all that I am acquainted with in modern art."

R

CHAPTER IV.

BY OXFORD STREET TO THE CITY.

ETURNING to Oxford Circus, let us now turn to

the east down Oxford Street. The second street on the left leads into Oxford Market, built for Edward, Earl of Oxford, in 1731. A little behind it, in Margaret Street, is the Church of All Saints, a brick building with a tall spire, built 1850-59, in the Gothic style of 1300, from designs of W. Butterfield. The interior is the richest in London, with every adornment of stained windows, encaustic pavements, and sculptured capitals, the latter being real works of art. Very pleasing contrasts of colour are obtained in this church by the use of simple materials,brick, chalk, alabaster, granite, and marble-and the effect is most delicate and harmonious. In the chancel, the place usually occupied by the east window is filled with fresco. paintings by W. R. Dyce, R.A.

On the upper floor of a carpenter's shop in 36, Castle Street, Oxford Market, was the poverty-stricken home and studio of James Barry the artist.

"Between the great room of the Society of Arts and that carpenter's shop, night after night, and morning after morning, for years, plodded James Barry. In the golden glow of the summer sunsets, and in the

thick darkness of winter nights, when the glow-worm oil-lamps, faintly glimmering here and there, scarcely served to show his way. Through hail and rain, heat and cold, mud and snow, the little shabby, pockmarked man went wearily homewards from his daily work. Now brooding over colossal figures of heathen divinities, over grace, light, and shade; now surlily growling curses upon the contemptible meanness which deprived him of both models and materials. At one time angry and peevishly fierce, having been insulted by the acting secretary of the society; at another hungry and perplexed, calculating the sum he dared venture to expend upon a supper.

“Picture him to yourself in an old dirty baize coat, which was once green, and is now incrusted with paint and dirt, with a scarecrow wig, from beneath which creeps a fringe of his own grey hair. . . . Protected by his appearance of extreme poverty from the footpads abounding in every thoroughfare, his dreary walk at last ends at the desolate house in Castle Street. The door being opened with some difficulty, for the lock is not in order, he gropes his way along the dark passage into his painting-room. The lamp outside, penetrating the thick dirt on the windows, enables him to find the tinder-box, flint, steel, and matches. Patiently he proceeds to strike a shower of sparks over the tinder until it ignites, when, carefully puffing to keep it burning, he applies the pointed or brimstone end of the flat match to it, and presently contrives to light his old tin lamp. Then we see the paintingroom, dimly but with sufficient clearness to note the two old chairs, the deal table, the tapestry-like cobwebs, a huge painting on the clumsy easel, old straining frames, dirt-concealed sketches in chalk and oil, a copper-plate printing-press, and, on the walls, the six sketches for his great paintings in the Adelphi.”—The Builder, Sept. 25, 1875.

In Wells Street, which opens out of Oxford Street a little lower down, is the Church of St. Andrew, a perpendicular building, erected 1845-7 by Daukes and Hamilton. Rathbone Place, called Rawbone Place in Sutton Nicholl's view of 1720, is the great centre for artists' materials.

On the right of Oxford Street we pass Wardour Street (which, with Arundel Street, commemorates Henry, third Lord Arundel of Wardour, who died in 1726), celebrated for its curiosity-shops, amid which John Bacon, the sculptor, had his first studio. Flaxman lived at No. 27 from 1781 to