We now come to the Chancel, bearing date about 1280, which contains so many marks of interest that it is difficult to "know where to begin," as I am sure it will be "to leave off." The first thing which strikes a stranger visiting this Church is, that this portion is very large and long compared with the other proportions of this sacred edifice.

The walls are richly decorated and the floors laid with encaustic tiles; the open roof of the Chancel being studded with quatre-foils, and gold stars in circles. Few country Churches can boast of a Chancel possessing such an unique specimen of Early English decorated work, or executed with such taste and happy blending of the useful and ornamental. Here is an excellent specimen of tre-foil headed sedilia, crocketted in the Early English style; adjoining it, Eastwards, is a fine decorated piscina, with tre-foil headed and floriated basin. On the

South side is a door, supposed to have been for the use of the officiating priest. Formerly there was a severing screen of carved oak, but at the time of the work of the restoration it was removed.

It is lighted by an East window, and three windows on the North and three on the South, of flowing tracery, with quatre-foil. heading. Five of these, including the East window, are filled with coloured glass, supplied by M. Capronnier, of Brussels. It affords me sincere pleasure to say, that I think without fear of contradiction, except it may be perhaps by here and there one, who is ever fanciful or difficult to please, that as works of Art, few windows could be found to surpass their beauty, or the delicacy and grandeur with which the subjects represented are brought out. They at once pourtray and convey to the gazer's mind the realities of the Scripture scenes, transporting him back to the days, the time, and the place, where each circumstance was enacted. They are like the pictures of an artist, which require to be gazed upon in order to be fully appreciated, and the more they are looked at and scrutinized, the more exquisite they become.

The East Window illustrates our blessed Saviour's agony in the Garden of Gethsemane (St. Luke xxii. 39-43); His bearing the Cross (St. John xix. 17); His burial (St. Mark xv. 43-47); His resurrection (St. Matthew xvii. 66); while the centre piece, in the corner of the window, represents the Ascension (Acts i. 9). The Agnus Dei and the Pelican, are represented between these compartments and the crown of the window.

In drawing attention to the points which the artist has brought out herein, we may say, that the visage of the Saviour in the first three compartments is, under each circumstance, wonderfully maintained, as also, that the "sorrowfulness unto death" of Jesus; the light upon the pinion of the wing of the angel; and the three disciples asleep, in the first; the sympathetic, loving feeling manifested by Mary towards Him when falling under the burden of the Cross; the attitude of John in warding off the blow intended by the Roman soldier, in the second; and the attitude of Joseph of Arimathea, and Nicodemus, in the third light, are admirably and expressively rendered.

The stone work of this window is a fac

simile of the one existing before. Mr. Sharp, the great fenestraologist, when describing it, says: "It is an interesting specimen of geometrical tracery of early character, and of that description to which Professor Willis has given the name of 'rolltracery,' from the circumstance that the surface moulding of the tracery is a roll and not a fillet. This feature is common in early examples. The roll in this case is so large as to be treated in the mullion almost as if it were a shaft having a base but no capital."

The centre piece is a fine sexa-foiled circle. The tracery contains only one order of mouldings.

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We now come to the two Northern Windows, which are filled with the Brussels glass. In the circle, or crown of the first is, an angel bearing a scroll, on which is written, "He bringeth them unto the haven

where they would be," (Psalm cvii. 30). 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. 39); whilst on the scroll on the second is written "God knows best," and represents "The Sacrifice of Isaac " (Genesis xxii. 10-13) 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.

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