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tectural plauning-out, though the work is on so small a scale that this is not a serious drawback. The walls of this chapel, which nieasiu-es twelve feet by eight, are covered with designs embodying allegories of human life, with especial reference to the growth of the human soul from infancy through mortal life and death to spiritual resurrection. One form in which the allegory is displayed may be described as a type of the rest. Round the walls of the chapel, above the dado, is painted in endless convolutions the serjjent of eternity. In and out through the folds are seen passing the souls of men, which are given forth from the hands of the Creator on one side of the central picture at the altar end, and arc finally received back as jierfected by the same hands upon the other. We note that the souls, as they issue forth, seem as if asleep, and are enclosed in flames which appear to sweep them onward ; but on the return side these flames gradually develop into angel forms, embracing and bearing forward the now awakened souls, which here assume the featui-es of some dear to the artist, or to the world, who had lately passed away. The wall spaces are filled with subjects expressing ideas of the same order, which would take too long to describe, and suitable inscrip- tions are employed to give a key to their meaning. ' For so He giveth His beloved sleep ' is illustrated by a painting, where an angel receives the drooping form of a mortal toiler, whose hands drop from her work — represented here by an embroidei'v franie — wliile an open window in the background shows tiie in the figure-drawing. When one reflects how often in modern work accomplished technique is associated with poverty of idea, one is inclined to forgive this for the sake of the genuine feeling which is every- where apparent. Here all is so sweet and peaceful, that criticism is disarmed ; and it is interesting to know from the authorities of the Hospital that the spirit of the work is evidently recognised by the mourners, often of the humblest class, who come here on occasions when the mortuary is in use. The illustration here given from the painting- representing ' Motherhood,' shows the artist's style when she began to work upon the wall. The forms are a little hard, the effect thin and cold. The border of small medallions, eadi with a symbolical subject, is reminiscent of missal decoration. It is interesting to compare with this initial attempt at the mortuary, made three or four years ago, a piece of mural work on which Mrs. Traquair is at present engaged, in a hall in Edinburgh employed for the teaching and practice of sacred music. The portion of this work at present in hand is shown in our illustration. In the centre is a design of the INIaries at the Holy Sepulchre, with a landscape background from the valley of the Tweed. On the left Christ makes the dumb to speak ('Open thou our lij^s), and on the right the disciples wait the baptism of the Day of Pentecost (' He vho hath ears to hear let him hear"). The figures hei'e are three-quarter life size, and the enlarged scale of work has carried with it a change of stvle which is altogether for the

Sim setting behind a landscape that reproduces the features of the country round Melrose. The vein of mysticism running through the whole decoration carries us back to mediaeval art, and tliis impression is helped by the technical imperfections observable best. An increased simplicity and strength, and improved architectural feeling in the general scheme of decoration, give promise of a genuine success. The technical process employed — thin oil-painting with turpentine on a carefully laid ground of ivory