which was a border of gold, evidently of oriental workmanship. Her
hard bust was covered by many rows of the finest Asiatic pearls, and
depending from her girdle was a rosary of jet, which sustained a
richly embossed golden cross, probably enshrining a piece of wood of
the true cross from Palestine. The small gold crown which circled
her brows, and the sceptre she held, were evidently made by the same
skilful artist--probably the work of the celebrated Erembert, Abbot
of Wansfort. Her arms, which notwithstanding her towering statue were
disproportionably long, were covered by sleeves of the finest Bruges
linen, which however only appeared at the shoulders and elbows, the
rest of the arm being covered with the crimson cloth which formed the
tunic, and these were laced with gold cord down to the waist, where
the Bruges linen formed a cuff. Her form was harsh and bony, and no
grace of motion relieved its outlines; for she was so fearfully still,
you might have thought the living form had been placed in sight of the
Gorgon's head and so transformed to stone. Her features seemed alike
immovable, all sunk into a dark, fixed, and settled discontent with
life.

* * * * *


THE BRITISH MUSEUM.


[This is the seventeenth volume of the _Library of Entertaining
Knowledge_; and, like the majority of its predecessors, it aims
at rendering popular, and of obvious interest, subjects which had
hitherto been abstruse and uninviting. It is the first of a series
of volumes to be published on the Antiquities of the British