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The Round Table of King Arthur, made supposedly by the magician Merlin, has hung in Winchester's Great Hall for some six hundred years.

On the right the bay is dominated by the Grand Hotel (1867), designed by Cuthbert Brodrick from Leeds, and in the centre is Sir Joseph Paxton's splendid Spa Hall and Theatre (1880).

Despite entries from the likes of Thomas Telford, the competition was won by the still relatively inexperienced Isambard Kingdom Brunel.

Outside is a fine sundial erected in 1817 by the churchwardens Edward Osmond and John Francis.

By the end of the 1950s, outlying shops were competing with the new Town Centre development. Reckitts Blue—advertised on the fence—was a well-known bleaching agent of the time.

The attention of the lady in the fore ground is riveted by the crew in the fishing boats as they adjust their sails in preparation for leaving harbour.

A tidal race rushing into the harbour is used to good advantage by the sailing boat as she alters course to starboard, preparing to overtake the underwater mooring of an unmanned rowing boat.

Exeter's canal was built at the request of the Tudor merchants, who were exasperated by the weirs on the Exe that obstructed their vessels.

The solid, granite-built Red Lion inn, on the left, was kept in the early 1800s by the celebrated wrestler, Polkinghorne. Inside is a minstrel's gallery.

It was originally called Bartholomew's Gate, but was changed by order of Charles II who landed here in 1683, accompanied by the Duke of York, on his way to London.

Its churchyard, shadowed by the saddle-backed church tower, is one of the prettiest in the Cotswolds, and a good place to linger on a peaceful day.

This photograph was taken from Folly Bridge; the reach from here to Iffley Lock is used by the college eights for training, and for the bump races known as Torpids and Eights.

The people of Exmouth have always taken a great pride in the beauties of the gardens along the sea front; each lawn and flowerbed is carefully tended by the skilled workers of the local

This entire coastline is now owned by the National Trust.

The street was called 'the road to Oxford' as early as 1682, and when the land on the north side was bought by the Earl of Oxford the street's name was confirmed.

That function for the modern Theatre Royal (built roughly on the site of the GWR offices) is fulfilled by The Bank, which in this picture (behind the columns) is still a bank.

Though all of its woodlands, formerly used for pannage (grazing by swine), were taken for use by the Conqueror as hunting land, the villagers received no reduction in rent.

As we look past the children paddling, the seaward end of the pier is terminated by the Kursaal of 1899, replacing a smaller 1888 one that had cost a mere £250.

The groynes run out to sea in an attempt to prevent the pebbles being pushed along the beach by the action of the waves. The esplanade also helps prevent the erosion of the cliff.

One or two shops in Broad Street have retained the Victorian livery provided for them by the film's set designers.

The 'Ten Steps' lead up to the church entrance, though more had been added by the time this photograph was taken.

The present house, the Derbyshire home of the Duke and Duchess of Devonshire, was built by the 4th Earl between 1678 and 1707, and is one of the most popular visitor attractions in the county.

Today the estate is owned by the National Trust and is a magical place to visit. The little building on the left is a gatehouse sitting astride the moat.

The Bankes Arms, where the proprietor was Richard Clark, is now run by the Lightbown family.