thief (Dismas), whose soul, in the form of a new-born child, is welcomed by an angel: on the left is the impenitent reviler (Gesmas), whose soul is borne off in agony on the back of a red fiend.

Above the three centre lights of the window, in six small panes of the tracery, is a series of angels, bearing the instruments of the Crucifixion,-the cross, the sponge of vinegar set upon hyssop, the crown of thorns, the hammer, the scourge, and the nails. On the left is the moon, and on the opposite side the sun, to signify the supernatural darkness which spread

over the earth.

"Here let us hang our eyes and hearts on THEE,
And dwell upon Thy dying agony

On the accursed tree!

There let us flee, as to a holy tower,

Against the world; and learn the silent power

Of that sad awful hour!"-THE CATHEDRAL.

In the lower part of the north and south side-lights of the window are represented two royal personages, with crowns and mantles of state, kneeling at faldstools in oratories, beneath canopies. They are apparently the boy-prince Arthur and Catharine. However, the face of the Queen, which resembles that of Holbein's miniature, is very similar also to that of the Saint above her under a canopy-St. Catharine, which would lead us to believe that the figure below was that of Catharine of Arragon, especially as the pomegranate, represented in a pane of the tracery, was the badge which she first introduced into England. St. Catharine is clad in flowing robes, with an aureole circling her head, and bears an open book and a sword. At her feet is her symbol-a wheel; and the Emperor Maximin, with a golden tiara about his head,— the tyrant by whose cruel edict she suffered martyrdom at Alexandria, A. D. 455. Over the Prince is the Patron of England, St. George of Cappadocia, arrayed in full armour, bearing a banner partly unfurled, charged with a red cross, the symbol of the Faith for which he died in the persecution of Diocletian. Behind him lies a dragon, like that described in the Book of Revelations (c. xii. v. 3). Above the Saint is the red rose of

Lancaster, first assumed by John of Gaunt, charged with the white rose of York, borne by King Edward IV. to show that the ancient feuds were reconciled in the line of the Tudors, who claimed their descent from the royal lineage of Spain. To this circumstance reference is made by the pomegranate, for a pomegranate vert in a field or is the Arms of the kingdom of Granada; and John of Gaunt, Duke of Lancaster, married Constance, the eldest daughter and co-heiress of Peter King of Castile and Leon; and his brother Edmund of Langley, Duke of York, great-grandfather of Elizabeth, wife of Henry VII., married Isabel, the youngest daughter and co-heiress of the King above mentioned. The kingdom of Granada was added to Castile by Ferdinand V., a. d. 1478, who united Spain into one monarchy, having married Isabel, Queen of Castile and Leon.

The side windows of the apse are likewise glazed with stained glass. The north-east window is filled with gold Mosaic designs, interspersed with the Holy Monogram, the red and white roses, and the portcullis. In the centre is a Saint, (perhaps St. Iago of Compostella, the Patron of Spain,) bearing an open book. The crescent beside the rose Mr. Rickman thought denoted some expectancy of regal amplitude;" so Shakspeare,

66

"Pompey. My power's a crescent, and my auguring hope

Says it will come to the full."

ANT. AND CLEOP., act ii., sc. 1.

In this window and in that on the south-east side are the Arms of the founder, St. Edward the Confessor, represented as blazoned by the heralds about the time of King Henry VIII. The ground of the rest of this window is of the same design as that already described: the Saint in the centre is St. Michael overcoming the dragon.

MONUMENTAL REMAINS.

"Vive Moriturus."-EPITAPH ON THE TOMB OF MURILLO.

SOUTH AISLE OF THE CHANCEL.

1. "WM. CAXTON, who first introduced into Great Britain the art of printing, and who, A.D. 1477 or earlier, exercised that art in the Abbey of Westminster. This Tablet, in remembrance of one to whom the country is so largely indebted, was raised 1820 by the Roxburgh Club. Earl Spencer, K.G., President."

This chaste tablet, by Westmacott, was originally intended to have been placed in Westminster Abbey; but the fees attending its erection there were so great that application was made to the Churchwardens of St. Margaret's, who, as a mark of their respect to his memory, allowed it to be erected without any of the customary fees.

In the centre of the monument is a Device of Caxton, engraved in Dibden's "Typographical Antiquities." The monogram signifies 1474: the cross-like letter stands in Saxon characters for 4; and the figures 7 and 1 are united.

"William Caxton," says Fuller, "had most of his education beyond the seas, being thirty years in the Court of Margaret Duchess of Burgundy, sister to King Edward IV. He continued Polychronicon, beginning where Trevisa ended, unto the end of King Edward IV., with good judgment and fidelity. He also carefully collected and printed all Chaucer's works, and on many accounts deserved well of posterity when he died."

Caxton printed at Westminster,-The Dictes and Sayinges of Philosophres, 1477; Ouyde, his Booke of Metamorphose, fol. 1480; The Cronicles of Englond, "in thabbey of Westmynstre," fol. 1480; The Hystorye of Reynart the Foxe, "in thabby of Westmestre," 1481; Godefroy de Bologne, same place and date; The Pylgremage of the Soule, 1482; Liber Festivalis, 1483; Quatuor Sermones; Confessio Amantis, 1493 (1483?); The Golden Legende, 1483; The Booke called Cathon," in thabbaye of Westmystre," 1483; The Knyght of the Toure, 1484; The Subtyl Historyes and Fables of Esope, 1484; A Book of the Noble Historye of Kynge Arthure, "in thabbay Westmestre," 1485; Thystorye of the noble and ryght valyaunt and worthy Knyght Paris, 1485; The Doctrynal of Sapyence, 1489.