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The fifth chapel represents the birth of the Virgin. Having obtained permission to go inside it, I found the date 1715 cut large and deep on the back of one figure before baking, and I imagine that this date covers the whole. There is a Queen Anne feeling throughout the composition, and if we were told that the sculptor and Francis Bird, sculptor of the statue in front of St. Paul's Cathedral, had studied under the same master, we could very well believe it. The apartment in which the Virgin was born is spacious, and in striking contrast to the one in which she herself gave birth to the Redeemer. St. Anne occupies the centre of the composition, in an enormous bed; on her right there is a lady of the George Cruikshank style of beauty, and on the left an older person. Both are gesticulating and impressing upon St. Anne the enormous obligation she has just conferred upon mankind; they seem also to be imploring her not to overtax her strength, but, strange to say, they are giving her neither flowers nor anything to eat and drink. I know no other birth of the Virgin in which St. Anne wants so little keeping up.

This conversation was interrupted by loud ringing of the hall bell, and in another minute Bowles opened the parlor door and the sheriff and one of his deputies entered, and commenced their business. "Beg your pardon," said the sheriff, bowing politely, while his deputy deliberately took a seat and began a survey of everything within sight. "You must excuse any lack of ceremony on our part. It is a part of our duty to do these things, and we try to relieve them as much as possible of their painful features." Then taking Chapman aside, he suggested that the ladies better be got up stairs. And while this was being done the deputy entered the back parlor, and placing his hat on the pier table, began taking an inventory of all the furniture.

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