to S. Paul’s by all that was noble and distinguished in the land, more immediately by all the Princes of the blood and the Prince of Wales.”

This account is taken from Dean Milman’s Annals of S. Paul’s. The Dean, then a youth, was present at the funeral, and could remember the solemn effect of the sinking of the coffin to its resting place, and the low wail of the sailors who bore and encircled the remains of their admiral.

The monument, by Flaxman, originally stood at the entrance to the Choir. When the Choir was extended westward in 1870, it was removed to its present much more favourable position in the South Transept.

THE MONUMENT TO LORD NELSON.

THE NAVE SEEN FROM THE WESTERN END OF THE CHOIR.

In this view the two portions of the organ are seen. These grand cases formed the eastern and western fronts of the instrument when it stood over the Choir Screen; they exhibit some of Grinling Gibbons’ finest work. The projecting portion on the north side formerly contained the Choir Organ; the corresponding projection on the south is a copy of the original work.

Looking westward the Great Entrance Doors are seen, and above them a large window of Munich glass, a memorial to Mr. Thomas Brown, a member of the great publishing firm of Messrs. Longman. The main subjects of the window are the conversion of S. Paul on the Damascus Road, and the restoration of sight to the Apostle by Ananias; right and left of the lower subject are kneeling figures of the donor and his wife.

Two of the Mosaics in the pendentives of the Dome are faintly indicated. The eight pendentives exhibit the four greater Prophets, Isaiah, Ezekiel, Jeremiah, Daniel; and the four Evangelists. The work was executed by Dr. Salviati of Venice. Above the Whispering Gallery, beyond the range of the picture, are carved stone figures of the four great Doctors of the Western and of the Eastern Church; for the Western Church, SS. Augustine, Jerome, Gregory the Great, Ambrose; for the Eastern, SS. Chrysostom, Basil, Gregory Nazianzen, Athanasius.

THE NAVE SEEN FROM THE WESTERN END OF THE CHOIR.

THE CHOIR, LOOKING EAST.

The most prominent object in this view is the stately Reredos, the work of Messrs. Bodley & Garner. The following description of it was read by Mr. Garner before the S. Paul’s Ecclesiological Society.

“The design consists of a basement, against which the altar stands, with small doorways to give access to the apse behind. Over these doors which are of pierced brass, are angels supporting the crossed swords and keys, the arms of the diocese, and emblems of S. Paul and S. Peter, and they are flanked by sculptured festoons of fruit and flowers separated by marble panels. Above this is a range of sculptured panels, with coloured marble backgrounds supporting an open colonnade of semi-circular plan. A large group of sculpture, a sort of carved picture in bold relief, occupies the centre, flanked on each side by twisted columns of rich Brescia marble, wreathed with foliage in gilded bronze. These support an entablature and rich pediment. The frieze is of Rosso Antico, bearing the inscription Sic Deus dilexit mundum, ‘So God loved the World,’ in bronze letters. The whole is crowned with a central niche and surrounding statues, at a height of between sixty and seventy feet from the ground.

“The general idea of the sculptured subjects is to express the Incarnation and Life of our Lord, beginning with the two figures at the extremities of the colonnade, which are those of the Angel Gabriel and S. Mary, and represent the