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 is an actual fact; if, therefore, an artist could create an old home thus, why not a poet? The poet's task would be by far the easier, for he can so easily generalise; the painter must particularise, the latter could not leave a "lion-guarded gate" to be imagined, he must draw it. Both poet and painter may romance, but the painter has not nearly such a free hand as the poet!

Pulling up at the front door of Scrivelsby Court we sent in our letter of introduction, hardly, however, expecting to be admitted at that early hour; still our usual good fortune prevailed, for not only were we admitted, but the lady of the house herself volunteered to show us over. We observed a few suits of armour in the hall, and some heralds' trumpets hung from the walls thereof with faded silken banners attached, but much of interest was destroyed by the fire of the last century, including the fine and famous old panelling carved with various coats-of-arms. A number of the coronation cups were brought out for our inspection; the majority of these were simply adorned with the initials of the different kings, below which was the royal coat-of-arms. Curiously enough the cup of George IV. was the most artistic by far—I might safely say the only artistic one. On this, in place of the royal arms in the centre, we have a figure of the Champion embossed there. He is represented in a spirited manner mounted on a prancing charger, holding his lance ready poised in one hand; and on the ground in front of him lies his gauntlet as a challenge to all comers. The whole design is enclosed in a raised