Vandyck In England.

Isabella playing on the Lute" is addressed to her : — " What moving sounds from such a careless touch ! So unconcern'd herself , and wo so much ! What art is this , that with so little pains Transports us thus , and o ' er our spirits reigns ?"

To this I Avill add , Avhat Waller ' s commentators do not tell us , that the poem " Of a Tree cut in Paper , " and the poem that follows in all editions of Waller ' s works '• To a Lady from whom he received the copy of a poem , entitled ' Of a Tree cut iu Paper / which for many years had been lost , " are both addressed to Vandyck's lovel y

sitter-in tho dining room at Chatsworth , is the Wharton and Houghton full-length , in white , of Philadel p hia Gary , daughter of Robert Gary , Earl of Monmouth , Queen Elizabeth ' s ¦ '• 'Robin , " and in Broxbourne Church ( Herts ) is the folloAving epitaph : — " Here lieth the Body of the Ri ght

Honourable Lad y Philadel p hia Gary , one of the Daughters of Henry Gary [ Earl ] of Dover , who departed this Life the 30 th day of March , Anno Domini , 1689 . " t I suspect that I have in this epitaph clearly identified the Chatsworth lady . At the same place and in the same room is a

full-length , in black , of Anne Cavendish Lad y Rich . This lad y died , 1638 , at Lees , in Essex , at the early age of twenty-seven , leaving an only son , married to the youngest daughter of Oliver Cromwell . Waller lias a fine poem on his death , and his tomb at Felstedin Essexis inscribed with

, , verses b y Godol p hin and prose by King Charles ' s Bishop Gauden . The Wharton full-length is at Wimpole , Lord Hardwicke ' s . A very charming three-quarter piece of Mrs . Olivia Porter , Avife of Endymion Porter , of the bedchamber of Charles I ., hangs at PetAvorth in

brown and blue , roses in ri g ht hand on table , and a jirofusion of fair ringlets . At Earl de Grey ' s in London , is a full-length of Mrs . Kirk , of the bedchamber of Queen Henrietta Maria . Duplicate at The Grove . A repetition ( I presume ) AA as exhibited at the British Institution in 181 o . ±

At Hampton Court is a fine three-quarter portrait of Mrs . Margaret Lemon , the mistress , it is said , of Sir Anthony . Another portrait of the same lady as "Judith Avith the Sword , " was sold at the Strawberry Hill sale for 75 guineas Earl Sp ' encer has a repetition of ifc at Althorp . A picture , called in the catalogue " Vandyck ' s Mistress , b y himself , " was sold in the six days '

Vandyck In England.

sale ( March 1741-2 ) of some of the effects of Edward Harley , Earl of Oxford the price £ 57 15 s ., * the purchaser , Mr . Hanbury Williams . At Warwick Castle is Lady Brooke , seated in an arm chair , in a black silk dress richl y adorned Avith jevcels : at her side her young * son , in a red

silk floAvered dress ; at her feet a greyhound . This is the Avife of Robert Lord Brooke , ' " '" fanatic Brooke , " Avho lost his life at Lichfield . In the drawing-room at Houghton hung the three-quarter portrait of Jane , daughter of Lord Wenman . "The hands , " says Walpole , "in

Avhich Vandyck excelled , are remarkably fine in this p icture . " Lad y Wemnan ' s portrait is HOAV at St . Petersburg . This Jane Wenman was the Avife , I see reason to believe , of Arthur GoodAvin . The Walpole full-length ( in blue ) of Margaret Smith , wife of Thomas Gary , of -the Bedchamber ,

brought , at the Strawberry Hill sale , £ 78 15 s . Bought for Colonel Tynte . Walpole calls it " a fine p icture of a lovely AA'oman . " In the marriage register of St . AndreAv ' s , Holborn , I found this entry - . " Thomas Gary and Margaret Smith Aveare maryed the 18 day July 1626 licens facult . "

The last I have to name is Lord Ly ttelton ' s socalled ] 3 ortrait of Lady Vandyck herself , a poor p icture of spurious parentage and name . PETEB CUNNINGHAM , in the Builder .

The Spirit Of Gothic Art.

THE SPIRIT OF GOTHIC ART .

( Concluded from page 201 . ) All art is symbolic , and symbolism is the life of all art . In true art , symbolism never detracts from the reality , nor sets aside the end iu view . Thus a Christian church is reared for the worship of God , and no symbolism can set aside that end ; the great truths of Christianity are conveyed to us in symbolsits praises are

, sung in symbolic language by the lisping infant , as well as the hoary saint ; much of its prayer is uttered in symbolic phraseology ; the most beautiful and soulstirring portion of modern preaching is indebted to allegory for much of its charm and fire . Turn we to the Bible , and wo find it full of symbolic language . What allegory is there iu the world of letters equal

to the Song of Songs P That learned German , Schlegel , says , that " the prevailing spirit of types and symbols so conspicuous in the Scriptures , —not alone in the poetical , but even in the didactic portions , —has deeply implanted and widely extended its influence over the whole thoughts and imagination of the Christian peoples , and not alone thesebut also over their imitative arts . "

, What Homer did for the ancients and Pagans the Bible has done for us , that is , is become a fountain from whence we draw the model of our images and figures . " It is true , that in cases where the deeper sense of symbolical mysteries was mistaken , or where the jjurrjose which the figure had been intended to serve was of a nature less serious and sacred , this spirit has not

seldom displayed itself in the corrupted form of idle and fastastical allegory ; for loaded ornament is at all times of easier attainment than native grace ; and the most brilliant display of art is a thing more common place than the deep gravity of truth . " Now it must be distinctly understood that Christianity is a thing which can never of itself be allegory , philosophy , or poetry , ov art of any kind , but rather the groundwork of all these . Apart from Christianity , these