The churchyard of St. Olave adjoins the beautiful grounds of the Yorkshire Philosophical Society, where one of the most interesting local museums in the kingdom is situated, as well as fragments of ancient buildings, including a portion of the Roman wall of the city of York; the noble multangular tower, one of its defences, and the elegant ruins of the Benedictine Abbey of St. Mary. The original foundation of this once large and opulent religious house was prior to the Norman Conquest; the ruins we now look upon are the remains of the work of the Abbot Simon de Warwick, completed in the latter half of the thirteenth century, the Augustan age of Gothic architecture in England, when it exhibited the chastest proportion and the most elegant conception, combined with an amount of decorative enrichment controlled by the truest taste. These walls, beautiful in decay, bound the churchyard of St. Olave, the church being partly constructed of its stones; a series of arcades occupy the lower portion of the walls, and about their centre is a pointed arch, once acting as the northern entrance to the choir. This arch was closed, but was opened that the tomb of Etty might be seen from the grounds. This tomb stands exactly opposite the arch, and is slightly ornamented with Gothic panels and quatrefoils, forming a frame to the simple inscription—

"WILLIAM ETTY, ROYAL ACADEMICIAN."

Trees wave over it and peep beneath the arch; no fitter "framework" could have been desired for a painter's tomb; few have one in a more picturesque locality, fewer still have been thus publicly

honoured by their fellow-townsmen as Etty has been by the men of York. They are "honoured in honouring him," and it is pleasant that this true aphorism is now more generally felt in

England than it used to be. William Etty died on the 13th of November, 1849.

As a perfect specimen of the bold and brilliant style of Etty, and of his consummate skill in the management of vivid colour, his "Cupid in a Shell" will bear the keenest inspection and most searching criticism; of his more elaborate productions, "Ulysses