display of virtuosity in form, but simply the spontaneous falling of a play of ideas into the form most suitable to it, which turned out to be the classical form. Getting Married, in several acts and scenes, with the time spread over a long period, would be impossible.
On a fine morning in the spring of 1908 the Norman kitchen in the Palace of the Bishop of Chelsea looks very spacious and clean and handsome and healthy.
The Bishop is lucky enough to have a XII century palace. The palace itself has been lucky enough to escape being carved up into XV century Gothic, or shaved into XVIII century ashlar, or "restored" by a XIX century builder and a Victorian architect with a deep sense of the umbrella-like gentlemanliness of XIV century vaulting. The present occupant, A. Chelsea, unofficially Alfred Bridgenorth, appreciates Norman work. He has, by adroit complaints of the discomfort of the place, induced the