years England has been proud to enshrine in her Pantheon the memories of two great and good Americans—George Peabody, the philanthropist, and Henry Wadsworth Longfellow, the poet.

Come with me, in spirit, my American friends, and let us wander down to Westminster on some warm June morning.

We will go down Parliament street from Trafalgar Square, along the road that English kings took in old days from the Tower of London to their coronations at the Abbey. Whitehall is on our left; and we remember with a shudder that King Charles stepped out of that great middle window and laid his unhappy head on the block prepared outside upon the scaffold. On our right "The Horse Guards"—the headquarters of the English army, with a couple of gorgeous lifeguardsmen in scarlet and white, and shining cuirasses, sitting like statues on their great black horses. Through the archway we catch a glimpse of the thorns in St. James' Park, all white with blossom; and we wonder whether their remote ancestors were the thorns of Edric's time. Next comes the mass of the Foreign Office and all the government buildings, with footguards in scarlet tunics and huge bearskin caps standing sentry at each door. Parliament street narrows; and at the end of it we see the Clock Tower of the Houses of Parliament high up in the air, and the still larger square Victoria Tower. Then it opens out into a wide space of gardens and roadways; and, across the bright flower beds, there stands Westminster Abbey.

What would Edric, the poor fisherman, think if he could see the Thames—silvery no longer—hurrying by the wide granite embankments—past Doulton's gigantic Lambeth potteries and Lambeth Palace and the River Terrace of the Houses of Parliament—covered with panting steamboats and heavy barges—swirling brown and turbid under the splendid bridges that span it, down to the Tower of London, and the Pool, and the Docks, where the crossing lines of thousands of masts and spars make a brown mist above the shipping from every quarter of the globe? Poor Edric would look in vain for fish in that dirty river; and full four hundred years have passed since "the Reverend Brother John Wratting, Prior of Westminster," saw twenty-four salmon offered as tithe at the High Altar of the Abbey.

What would King Sebert the Saxon think if we took him into the glorious building that has risen upon the foundations of his little church in the marshes?

WESTMINSTER ABBEY.—NORTH ENTRANCE.

At first sight Westminster Abbey is a little dwarfed by the enormous pile of the Houses of Parliament and their great towers. And St. Margaret's Church, nestling close to it on the north, mars the full view of its length. But when we draw near to it, all other buildings are forgotten. Crossing St. Margaret's churchyard where Raleigh sleeps, we seem to come into the shadow of a great gray cliff. Arch and buttress and pinnacle and exquisite pointed windows tier upon tier, are piled up to the parapet more than a hundred feet over our heads. Before us is the north entrance—well named "Solomon's Porch." It is a "beautiful gate of the temple" indeed, with its three deep-shadowed recesses, rich with grouped pillars supporting the pointed arches above the doorways—its lines of windows and arcades above and below the grand Rose Window, over thirty feet across—its flying buttresses and delicate pinnacles terminating one hundred and seventy feet above the ground—the whole surface wrought with intricate carving, figures of saint and martyr, likeness of bird and flower, grotesque gargoyles, fanciful traceries and lines and patterns—a stone lace-work of surpassing beauty.

We gaze and gaze, and try to take in the wonder of stone before us. Then, through the bewildering noise of London streets, the rattle of cabs and carriages, the whistle and rumble of underground railways, the ceaseless tramp of hurrying feet on the pavement—"Big Ben" booms out eleven times solemnly and slowly from the Clock Tower. We pass the photograph and guide-book sellers, and push open the doors under the central archway of Solomon's Porch. In an instant the glare and noise and hurry are left behind. We find ourselves in a sweet mellow silence—in a dim tender light—in a vast airy stillness, such as you find at noontide in the depths of a beech forest. But here the boles of the beech-trees are huge pillars of stone—the branches are graceful pointed arches that spring from them, and vaultings and ribs that flash with gold through the blue mist that hangs forever about the roof a hundred feet overhead. Outside the Abbey surge the waves of the great city. We hear a faint murmur of the roar and turmoil of its restless life breaking like distant surf upon the shore. But within these walls we are still and peaceful—and, if we will, we may read in "brass and stony monument" the story not only of England's worthies, but of her religion, her politics, her art, and her literature for full eight hundred years. Yes! for eight hundred years. For although the present Abbey is but six centuries old, there are still remains to be seen of an earlier building.

Morning service is just over. The choir boys have slipped off their white surplices, and are setting the music books in order. The crowd of sight-seers is beginning to wander about the Abbey. The monotonous voices of the vergers are beginning their explanations of tomb and chapel to the eager strangers. Let us get my good friends Mr. Berrington or Mr. Deer who show the tombs, to come quietly with us in their black gowns. Let us stand within the Sacrarium—the wide space inside the altar rails. The splendid reredos glittering with gold, mosaic, and jewels, blazes above the altar of carved cedar from Lebanon. Against the stalls on the opposite side hangs the famous picture of King Richard the Second. Beside us rise the gray stone canopies of the magnificent tombs of Aymer de Valence and Edmund Crouchback—two of the finest specimens of mediæval art in England. The great groups of pillars round the choir carry the eye upwards to the arcades of the Triforium, to the delicate tracery of the great clerestory windows, to the wonderful misty roof. But it is not overhead that I would have you look. Beneath your feet is the mosaic pavement that Abbot Ware brought from Rome in 1267, when he journeyed thither to be consecrated Abbot of Westminster by the Pope. Our guide stoops down, touches a secret spring, and lifts up a square block of the pavement. You look into a space some few feet deep. It is almost filled with a mass of rudely chiselled stone—the base and part of the shaft of a huge round pillar.

Look on that pillar with reverence. It has seen strange sights.

Under the arches it once supported, Edward the Confessor was buried. Under them William the Norman was crowned king of England.

It was on the twenty-eighth of December, in the year of grace 1065, that the Collegiate Church of St. Peter was consecrated. For fifteen years Edward the Confessor, the last Saxon king, who built it "to the honor of God and St. Peter and all God's saints," had lavished time and money and pious thought on the grandest building England had yet seen. It had cost one tenth of the property of the kingdom. Its vast size, covering as it did almost the same ground as the present Abbey, its great round arches, its massive pillars, its deep