where they would be," (Psalm cvii. 80). The lights are filled with a representation of Christ pointing to the "lilies of the field" (St. Matthew vi. 29), and our Lord "stilling the tempest," (St. Mark iv. 89); whilst on the scroll on the second is written "God knows best," and represents "The Sacrifice of Isaac " (Genesis xxii. 10-18) and "Mary sitting at the feet of Jesus" (St. Luke x. 39). On these we may remark, that the lilies, the hand of our Lord, and the expression in the face of the "beloved disciple," which seems to say "I never saw it in that light before," in the first; the anxiety of St. Peter, the timidity of St. James, and the obedient waiting of St. John, with his hand upon the oar, ready to to obey his Master's commands, in the second; the resignation of Isaac, the expression in the countenance of Abraham, and the light under the pinion of the wing of the Angel, in the third; and the expressiveness pourtrayed by the look and hands of our Lord in the fourth space, are each and all wonderfully rendered.

The Southern Windows deseribe "The expulsion from the Garden of Eden" (Genesis iii. 24); the visit of the Shepherds, (St.

Luke ii. 16). The text in the circle of this window is "Turneth the shadow of death unto the morning" (Amos v. 8). The return of the Prodigal Son (St. Luke xv. 20), and the raising of the widow of Nain's Son (St. Luke vii. 11-16). The passage in the crown of this is "I am the resurrection and the life" (St. John xi. 25). The features well worthy of notice herein are, the angel's countenance, the flaming sword, the forbidden fruit, and the figures of Adam and Eve, in the first; the child and garment of the shepherd, in the second; the long thin, wan arm, the tattered garment, and the hectic flush in the cheek of the Prodigal, as also, the sneer of the elder brother, as with mortification he utters the expression, and tauntingly upbraids his father with "Thou never gavest me a kid that I might make merry with my friends," in the third; and the wonderful rich colour of our Lord's cloak in the fourth compartment, tellingly bring back to memory, aye, and even to realization, each scene as it transpired.

We must now notice some of the recherché and delicate decorations of Mr. Collmann, above referred to, who, amongst the artists of modern days, occupies the first position.

The diaper work consists of different designs, whilst above it, around the top of the Chancel, is painted the Passion flower with attendant stems and leaves. Below, inside the Communion rails, within six compartments are painted the emblems of our Lord's passion, viz., the thirty pieces of silver and the noose (representing the betrayal); the lantern, sword, and club (arrest); column, thongs, and scourges (scourging); crown of thorns and reed (mocking); the hammer, auger. and nails (crucifixion); and the sponge, spear, and dish (death). The text above these emblems is " Behold, O God our defender and look upon the face of thine Anointed."

On the East walls are the emblems of the four Evangelists: St. Matthew, as a human semblance, because he begins his gospel with the human generation of Christ, and throughout speaks perhaps more of His human than His divine nature; St. Mark, as a lion, because, he sets forth the royal dignity of Christ, and begins with the mission of John the Baptist "roaring" or "crying" in the wilderness; St. Luke, as an ox, because he dwells upon the priesthood of Christ; the ox being the emblem of

sacrifice; and St. John, as an eagle, the symbol of the highest inspirations, because, he soared upwards to the contemplation of the divine nature of Christ.

Between these emblematic representations of the Evangelists, running along in a straight line, on either side of the East window is the text "Holy, Holy, Holy, Lord God of Sabaoth," and above that, "Thanks be unto God for His unspeakable gift."

Before we leave this exquisite portion of this sacred edifice, we may add that the reredos is made of Ancaster stone; the shafts being of marble, and the panels filled with tiles from Messrs. Minton, whilst the finials are studded with green and red stones, which have a very pretty effect. Respecting this part of our subject, may we not justly say, that as nature hates a vacuum, so it hates white, for she has trained our eyes to colours everywhere! Paintings on walls demanded paintings elsewhere, and thus by degrees the whole interior of sacred edifices, in the days of yore, became coloured. Painting became the handmaid of religion, the illustration

of sacred history, of Christian heroism and purity, have been for many an age, and still may be, the acts of an artist's faith and devotion; they are his tribute of reasonable service, they are the embodiment of his religious belief and hope, the language of his highest aspirations; and long after he has laid his palette and his pencil down for ever, his work remains, the abiding echo of his prayer. Works undertaken in such a

spirit will ever rouse a kindred sympathy, they have done so, they have ever been, and still may prove to be, the means of most valuable influences. The Pagan multitudes of our supposed Christian country are taught by the eye often more rapidly and surely than by the ear. They know but little of sacred things, and service. They need to be impressed with the idea of awe and reverence; bare barns and rugged walls will not help to this, but art can cover them with beauty and joy. She has power to attract, and greater power still to instruct and to impress. Those who come to daily and weekly services may be made to think, and those who come to stare may remain to pray.

The tower is Norman, bearing date about

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