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'only on as with mortification he

tauntingly as his father with "a never g me a kid that I might make meriy ..th 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 thee of thine Anointed."

John, with his hand upon mblems of the four Evangelists: St. Matthma. ข human semblance, because he begins capel 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

C

A.D. 1050, and contains three bells.

I am indebted to my friend, Mr. Lukis, the Rector of Wath, for the following description of the three bells in the tower.

"The inscriptions are as follows ;

1. Voco veni precare 1720. S.S. Ebor.

2. Tutamen Regis Solamen gregis. S.S. fecit 1664 W.P. W.V.

3. Celorum Christe placeat tibi rex Sonus iste 1590.

The 1st and 2nd bells were cast at York by Samuel Smith, whose device was a shield bearing a chevron between three bells impaling three tripod ewers, and this shield you will find on the 2nd bell. So far as I have been able to ascertain, he cast bells between 1663 and 1728; and he was one of the Sheriffs of York in 1723. Your 3rd, or heaviest bell, was cast by a man whose device is upon it, and is found widely scattered over several Northern counties. It bears a shield on which is a trade mark, with the letter R on one side and a bell on the other beneath crowns; but to whom to attribute it I do not know with any certainty."