Mk
 
 L I E) RARY 
 
 O F THE 
 U N I VER.S ITY 
 or ILLl NOIS
 
 FEW HINTS 
 
 PRACTICAL STUDY 
 
 ECCLESIASTICAL ARCHITECTURE 
 AND ANTIQUITIES 
 
 rOH THE USE OF 
 
 €f)t Camljrilige Camlim ^ocietj? 
 
 FOURTH EDITION. 
 
 CAMBRIDGE 
 AT THE UNIVERSITY PRESS 
 STEVENSON CAMBRIDGE PARKER OXFORD 
 RIVINGTONS LONDON 
 
 MDCCCXLIII
 
 " Now, generous reader, let me intreate thy furtherance thus farre, that, in 
 thy neighbouring churches, if thou shalt finde any ancient funeral inscrip- 
 tions, or antique obliterated monuments, thou wouldst be pleased to copie out 
 the one, and to take so much relation of the other as tradition can deliver ; as 
 also to take the inscriptions and epitaphs upon tombes and gravestones, 
 which are of those times ; and withall to take order that such thy collec- 
 tions, notes, and observations may come safely to my hands ; and I shall 
 rest ever obliged to acknowledge thy paines and curtesie." 
 
 Weever's Funeral Monuments. 
 
 - uiuc '
 
 A FEW HINTS, 
 
 <SfC. 
 
 It is hoped that the following Hints will prove not altogether 
 useless to those, who, having acquired from books some little know- 
 ledge of Ecclesiastical Antiquities, are at a loss how to apply that 
 knowledge to the examination and description of real buildings. To 
 facilitate and direct the researches of such, a brief enumeration of the 
 principal features by wliich the various periods of English Archi- 
 tecture are distinguished, and some explanatory remarks upon certain 
 particulars specified in the Church Schemes, are annexed to the 
 present edition of this manual; and although the limits of such a 
 work will allow only a concise aud imperfect sketch of the gener^ 
 principles of Ecclesiology, it is apprehended that it will nevertheless 
 suffice at least as a directory to the learner, until he shall have made 
 some advancement in the study, and familiarized his eye to those more 
 minute details, which should be seen to be thoroughly understood. It 
 is true that mere description is only the first step towards attaining a 
 practical acquaintance with the subject, and that considerable expe- 
 rience is required before a single glance at a church or a monument 
 or a moulding will be sufficient to determine its date and character. 
 The present volume is designed as a companion to church visitors; and 
 is intended rather to point out what should be observed, and how to 
 observe it by the rules laid down, than to attempt to supply complete 
 information on any point, which must be looked for in the larger 
 works referred to in page 17, or acquired by more extended obser- 
 vation. 
 
 (1.) The ancient Ecclesiastical edifices of this country may be 
 classed under two distinct kinds of architecture, the Romanesque, and 
 the Gothick, called also the Round and the Pointed; each of which has 
 its respective modifications, or orders, as they perhaps might be ap- 
 propriately termed. 
 
 (2.) The Romanesque is an imperfect imitation, or rather debase- 
 ment, of Roman Architecture, and may be considered to comprise the 
 Anglo-Saxon and Norman orders; though these are in reality only 
 branches of a widely extended continental style. The former indeed 
 is by some altogether excluded from the Romanesque, properly so 
 called, and by others not recognised as a separate style ; while it has 
 been proposed to designate the latter the late Romanesque. But what- 
 ever opinions may exist on this subject, we may thus for the sake of 
 
 1—2
 
 convenience in classification distinguish the two great divisions of 
 Christian architecture. 
 
 As the Romanesque originated directly from the Pagan or Classick 
 styles, so it must not he denied that the Gothick, by certain changes 
 and influences which cannot here be explained at length, arose out of 
 the Romanesque, and may therefore be ultimately traced, by regular 
 gradations, to the Grecian. But in the process of transition the 
 Gothick, as if unwilling to acknowledge any obligation to a Pagan 
 origin, worked itself so entirely clear of Pagan forms by diverging 
 into totally opposite principles, and studiously avoiding all recurrence 
 or approximation to its prototype, that it may rightly be regarded as 
 a style in itself independent of all others, the pure offspring of the 
 genius of the Christian religion, and not (as those who gave it the 
 unmeaning though generally received name of Gothick seem to have 
 believed) a barbarous departure from and corruption of the Classick 
 styles. 
 
 (3.) The Anglo-Saxon style is probably an indigenous invention 
 derived from the edifices erected in the land during its occupation by 
 the Romans. It may be said to have been in use from the time of 
 S. Augustine, a.d. 600, till about the time of William I. a.d. 1066, 
 when it is generally thought that the Norman was introduced from the 
 Continent : although, as it is known to have prevailed there long be- 
 fore that period, and as those English counties in which churches are 
 most frequently mentioned in the Domesday Survey now contain by 
 far the greatest number of Norman remains, it may well be questioned 
 whether some of these be not of a date antecedent to that period. 
 The history of the so-called Saxon, or earliest Christian style, is at 
 present altogether unknown ; and too few remaining specimens have 
 as yet been discovered to determine all its distinguishing features 
 with minuteness and certainty. It is clear, however, that it is mate- 
 rially different in construction and details from any Norman work, 
 of which some erroneously consider it to be merely a rude or early 
 kind. From a comparison of the sculpture on some examples, as 
 the Tower of Barnack church, Northamptonshire, with that on 
 ancient Runic Coffins and Crosses, it appears probable that some of 
 the existing specimens (above forty of which have been described) 
 are relics of the early British churches, built before the invasion of 
 the Danes. Evident representations of Anglo-Saxon masonry, cor- 
 responding with existing examples, are also to be met with in MSS. 
 and coins of the seventh and eighth centuries. There is strong 
 historical evidence that the church in the Castle of Dover, and that 
 of Brixworth, in Northamptonshire, were erected in the seventh 
 century ; and these have some of their principal features in common 
 with others of supposed Saxon foundation. A list of these churches is 
 given by Rickman, Bloxam, and in the Glossary of Architecture. Some 
 others may be added from the researches of the Cambridge Camden 
 Society; Bosham (a magnificent Anglo-Saxon Tower), Bishopstone,
 
 and S. Botolph, in Sussex; S. Mary, Bishophill Junior", York; a 
 doorway on the north side of Somerford Keynes in Wihshire; the 
 Minster, and perhaps Flixton, near Bungay in Suffolk. It is re- 
 markable that four out of these seven verify the remark of Rick- 
 man, that a large proportion of the Saxon remains exist in parishes 
 the names of which begin with the letter B. The Belfry arches 
 of Great Dunham church, Norfolk, and Ilketshall, Suffolk, appear 
 also to be of Saxon date. 
 
 (4.) The Anglo-Saxon style, (of wliich the tower of S. Benet's 
 church, Cambridge, is a plain but very perfect and interesting example,) 
 is distinguished by its rude and irregular masonry of ragstone or rubble, 
 sometimes set in the herringbone fashion ; its small and few wmdows, 
 splayed externally as much as internally, and sometimes divided by 
 a clumsy stone baluster; by its triangular-headed, or straight-sided, 
 arches ; by vertical or transverse stone ribs, sometimes, as at Barnack 
 church, springing from the crowns of the door or window-arches, 
 and occasionally, as at Earls Barton, crossing and intersecting each 
 other after the manner of timbers, so as to form a kind of stone 
 carpentry. This evident imitation of wood-work is a strong proof of 
 gfeat antiquity. There are neither stairs, buttresses, nor pilasters in 
 Saxon towers; and one remarkable and all but universal feature is the 
 peculiar construction of the angles, consisting of oblong quoins, placed 
 alternately horizontally and vertically, and thence denominated long 
 and short work. Although this peculiarity may be regai-ded as the 
 most certain test in the event of the discovery of more Saxon re- 
 mains, yet its existence is not, alone, an absolute proof of Saxon work, 
 since it may be found in a few Norman buildings, as in the ruined 
 church of S. Mary, Stourbridge, and in Rochester Castle : and on the 
 other hand there are some Saxon remains without it. Some Saxon 
 churches are built partly of what are generally called, though perhaps 
 in many cases incorrectly, Roman bricks; as the Abbey, and S. Michael's 
 church, S. Albans, and the curious church of Brixworth, which, how- 
 ever, recent discoveries have shewn to be in all probability a Roman 
 edifice converted into a Saxon church. Many Saxon remains are, or 
 appear to have been, covered with a coarse plaister, or roughcast, as 
 the tower of S. Benet's, till recently, was. There is therefore great 
 probability that more specimens may yet be brought to light, at 
 present concealed by this covering. Some of these early edifices have 
 been divided by an arch thrown across the Nave midway ; this still 
 remains at Brixworth, and there are similar instances at Dagling- 
 worth, Gloucestershire, in the curious desecrated church of Yaiu- 
 ville, near Jumieges in Normandy, and the ruined church called the 
 Minster, near Bungay. This seems a vestige of the early Basilican 
 arrangement, which is further confirmed by the fact of several 
 Saxon churches having had semicircular apses, as the last-men- 
 tioned example; Worth, Sussex; BrixAvorth, and the very remarkable 
 
 • See EccJrdolngifl, Vol. i. pp. 165. 190.
 
 remains still visible to the east of Little Welnetham church, Suffolk. 
 It is worthy of notice that Saxon churches seem to require more 
 minute classification than they have yet received; for while some 
 bear the marks of the remotest antiquity, in others there are evident 
 proofs of incipient Norman conformation. 
 
 (5.) The Norman style, borrowed from the Continent, was a great 
 advance beyond its predecessor. In its fully developed form it ex- 
 tended, in this country, (in which it was brought to its greatest perfec- 
 tion in the elaborate richness of its ornaments,) from about the year 
 1100 till 1160 or 1170. Before 1100, Norman buildings present a very 
 plain, massy, and even clumsy appearance. The piers are low and 
 enormously thick, and the arches square-edged, without any mould- 
 ings, as in the Transepts of Ely Cathedral, and S. Sepulchre's church, 
 Cambridge. Later edifices are frequently rich in detail, but usually 
 of a small size, and therefore deficient in effect ; though most of 
 our Cathedrals, as those of Ely and Peterborough, have considerable 
 portions of Norman work in them, the great size and solidity of 
 which impart a grandeur and magnificence scarcely surpassed by 
 any of the subsequent styles. 
 
 The principal features of Norman, as distinguished from Gothick, 
 Architecture, are so strongly marked, and so unlikely to be mis- 
 taken by the most casual observer, that it is hardly necessary to 
 recount them here at length. They consist chiefly in the evident 
 approximation to, or rather vestiges of, classical forms, and in the 
 predominance of horizontal rather than of vertical lines; in the 
 heavy semicircular or horse-shoe arches, the low massy piers, and the 
 large capitals and square abaci surmounting the piers and shafts, 
 which are sometimes, even in very early work, ornamented all over 
 with spiral fluting or other devices, as in the tower of Winchester 
 Cathedral, and in the crypt of Repton church, Derbyshire. We find 
 small and few semicircular-headed windows, usually having a plain 
 shaft in each jamb ; deeply recessed and richly sculptured doorways; 
 a general prevalence of the chevron or zig-zag, with an almost infinite 
 variety, in later times, of ornamental mouldings ; the use of flat and 
 frequently angular-shafted, and sometimes even semicircular, pilasters 
 in place of l)uttresses ; arcades of intersecting or disengaged arches; 
 low square towers, nearly as broad as they are high ; and extramural 
 corbel-tables running under the parapets, which do not appear ever 
 to have been surmounted by battlements, though an example of 
 shallow embrasure work, apparently coeval with the structure, 
 occurs in the Norman Tower at Bury S. Edmunds. 
 
 Norman churches were frequently built in the form of a cross, 
 and had semicircular apses at the East end. Both these however 
 appear to be, properly speaking, continental features. The roofs, 
 where the space between the walls was small, were generally com- 
 posed of stone groining, either of the waggon-form, or consisting 
 of massive single rilis, often ornamented with the chevron, in-
 
 tersectiug each other in the mitldle nearly at right angles, as in 
 S. Sepulchre's, Cambridge, which is a very early example, and the 
 Chancel of Tickencote church, Rutland, besides many parts of our 
 Cathedrals. The piers are either complex, round, octagonal, or 
 with semi-cylindrical shafts attached to them, as in the triforia of 
 S. Sepulchre's church; which is perhaps the earliest example of 
 an arrangement from wliich clustered columns were subsequently 
 derived, and which may be traced to the attachment of a single 
 vaulting shaft on the face of a plain pier. The bases of Norman 
 piers generally rest upon a square plinth, raised a little from 
 the level of the floor. The capitals frequently present a studied 
 diversity of design, so that no two opposite ones are alike; an 
 idea supposed to have been derived from constructing edifices in 
 earlier times of ruined Roman buildings, from which capitals of 
 different kinds were taken and used indiscriminately. The most 
 florid and elaborate period of this style was during the reign of King 
 Stephen, whose Sagittarius is constantly found in the ornamental 
 sculpture, and is a sure test of the date. 
 
 (6.) The general introduction, though not perhaps the earliest 
 use in this country, of the pointed arch, marks the period of transi- 
 tion from Norman to Early English. Of this most important feature 
 of Gothick Architecture neither the date nor the origin has been satis- 
 factorily ascertained, though it seems to have made its appearance in 
 England early in the commencement of the 12th century. It is 
 thought by some to have been suggested by intersecting Norman 
 arches ; by others, by the oval form of the mystical Vesica Piscis ; by 
 others, to have arisen from necessity in the constiniction of vaults ; 
 while others again regard it as of Saracenic origin, since it seems 
 first to occur in the Norman edifices of Sicily, where Saracenic archi- 
 tects were employed. Be this as it may, it was undoubtedly the 
 chief cause of the adoption of vertical instead of horizontal lines, and 
 thereby of converting Romanesque into pure Gothick architecture. 
 
 (7.) Transitional Norman may be regarded as a separate style. 
 About the year 1160, or perhaps earlier, the piers began to be built 
 taller and of a more slender form ; the capitals to be rounded, 
 floriated, or moulded into fillets ; the shafts to be banded midway, as 
 in the Temple church, London, and S. Leonard's Priory, Stamford; 
 the arches to be usually pointed, and ornamented with bold semi- 
 cylindrical mouldings; most of the decorative mouldings so common 
 in the pure Norman style, the chevron excepted, having gradually 
 fallen into disuse. The general character of Ecclesiastical Archi- 
 tecture now assumed a decidedly lighter and more graceful appear- 
 ance ; it is, however, important to remark, that the use of the round 
 arch was very prevalent for a long time afterwards. A great number 
 of churches of this age, which must, for its comparatively brief 
 duration, have been singularly prolific in ecclesiastical edifices, exist 
 in many parts of the kintrdom ; and Bourn church, and the west
 
 8 
 
 Tower and Wing of Ely Cathedral, may be mentioned ae in- 
 stances. 
 
 (8.) The Early English style has been generally considered as 
 indigenous to this country ; but it is in fact to be met with, under 
 certain modifications, in continental churches. It commenced about 
 the year 1190; and appears, almost immediately after the capability of 
 its principles was felt, to have attained an extraordinary degree of per- 
 fection. One of the richest and most exquisite specimens in exist- 
 ence, the Galilee Porch of Ely Cathedral, is said to have been built 
 as early as 1215. The principle of the pointed arch seems at once to 
 have been carried out to the utmost extent of which it was capable ; 
 for we find arches, especially in arcades, so acutely pointed that the 
 imposts are brought almost into contact with each other. The no- 
 tion of vertical ascendancy thus suggested, and of the heaven-ward 
 tendency of vertical lines, led to the introduction and developement 
 of spires, pimiacles, long slender shafts, arches sunnounting piers of 
 great height, and lofty roofs and vaulting. 
 
 The marks by which Early English may readily be discriminated 
 from other styles are the following. There is a great prevalence of 
 long, slender, and detached shafts, which are in most cases formed of 
 Purbeck or Petworth marble. The capitals are of a very peculiar 
 form, almost always circular, though sometimes octagonal, or cir- 
 cular with octagonal abacus, as in the Transepts of Histon church. 
 Not unfrequently the abacus is formed, especially in arcades, by the 
 continuation of a horizontal string round the capitals. In the earliest 
 examples of the style, the abacus of shafts is usually square. The 
 capitals are frequently enriched Avith a kind of stiff upright foliage, 
 derived, through the Norman, from the Corinthian acanthus, or, as 
 some think, from the palm-leaves of Palestine. This foliage is of 
 a conventional form, and cannot certainly be referred to any particu- 
 lar plant, though some have traced it to the herb geum. It is usually 
 worked with remarkable depth and freedom, frequently standing 
 boldly out, and cui-ling downwards again in thick clusters of the 
 most beautiful fomi, as in the Galilee Porch at Ely, and the Tran- 
 septs of York Cathedral. The capitals of the larger columns often 
 differ but little from later examples. We find very deep hollow 
 mouldings in the arches, composed of groups of rolls, often beaded 
 or filleted, alternating with cavettos of three quarters of a circle, and 
 presenting beautiful varieties of light and shade; bases hollowed in 
 such a manner as to hold water, which occur in no other style ; long 
 and narrow lancet windows, without muUions or traceiy, frequently 
 occurring m groups of two, three, five, or even seven, with the central 
 light often elevated above the others. The larger piers generally consist 
 of a central column surrounded by detached shafts, and joined under 
 common bases and capitals; though much plainer forms constantly 
 occur. The dripstones usually have a hollow moulding underneath, 
 and arc frequently terminated by a device called a notch-head, thougli
 
 9 
 
 this is ako fovuid in Decorated work. 'I'he roofs and gables (where 
 they remain, as at Bourn, in their original state) are of a very high 
 pitch ; the latter are sometimes pierced with circular, triangular, or 
 oval apertures ; though these commonly occur in other places to re- 
 lieve any large surface of plain walling, and especiaUy in spandril 
 spaces, where foliated circles are frequently fonnd. Early English 
 groining is plain but gi-aceful, usually quadripartite, with deeply 
 moulded ribs having floriated bosses at the intersections, and often 
 springing from slender triple shafts or flowery corbels. The larger 
 doorways are divided by a shaft or clustered column, with a quatrefoil, 
 or other ornament over it ; and we frequently find plain and somewhat 
 heavy octagonal pinnacle turrets, with pyramidal heads. Trefoliated 
 forms are a great characteristick of the style ; trefoil-headed arches, 
 for instance, constantly occur ; and in general, combinations of three, 
 symbolising the Holy Trinity, may be traced in almost every feature 
 during this period. The moulding called the dog-tooth is likewise 
 one of the most common and certain marks of Early English work ; 
 it is chiefly found in hollows, as under dripstones, or in rows between 
 shafts in door or window-jambs. It is doubtful whether battlements 
 were as yet introduced. Arcades, both internal and external; cir- 
 cular, or Catharine- wheel windows; bands or fillets, either in the 
 middle or in several equidistant points of the shafts, often in continu- 
 ation of string-courses, which seem to bind and gird them fast against 
 the walls ; buttresses, (placed when in comers, not diagonally, but at 
 right angles with the walls,) often with pedimental or triangular heads 
 and chamfered edges, and sometimes decreasing upwards in breadth as 
 well as projection at the set-offs; these, with other mmor peculiari- 
 ties, easily attainable by careful study, are distinctive marks of this 
 elegant and truly beautiful style. Examples in the neighbourhood of 
 Cambridge are the Priory church, Barnwell, the Nave and Chancel 
 of S. Andrew's, Cherry-Hintou, and the Choir of Jesus College Chapel. 
 
 The general characteristicks of Early English buildings are, beau- 
 tiful and highly-finished workmanship, very rarely of inferior kind ; 
 grace, consummate taste, infinite variety of device and ingenuity of 
 construction, perfect knowledge of effect, and lavish but not exces- 
 sive decoration of parts. The appearance of lightness combined with 
 strength, of slender yet stable ascendancy, in this style has probably 
 never been surpassed by the architecture of any age or any country 
 in the world. It may be useful to add, that probably all towers of 
 this age were desigiied to carry spires, though these were for the 
 most part of wood covered with lead, as at Boura, and have long 
 since disappeared, and in some cases were never added. 
 
 (9.) About the year 1280 commenced a new style, Avliich has 
 been denominated the Decorated, and which, from its tasteful 
 arrangements, symmetrical proportions, and chaste enrichment, is 
 usually considered as the most perfect description of Gothick Archi- 
 tecture. In truth, in the early or transitional period of this style,
 
 10 
 
 the workmanship was so exquisitely tine, and the ornaments so pro- 
 fuse and yet so delicate, that this may justly be regarded as the age in 
 which Christian architecture attained the most consummate beauty. 
 The interior of the larger edifices, as the Chapter-houses of York 
 and Wells, the Choir of Lincoln, some parts of Westminster Abbey, 
 and the Abbey of»S. Mary at York, assumed a flowery, appear- 
 ance, which charms the eye. They seem garlanded with foliage 
 hanging in clusters from the capitals of the piers, the shafts of the 
 triforia, and the corbels of the vaulting shafts. Every point seems 
 to terminate in a living flower. The doorways had rich strings or 
 fillets of the most delicate leaves, worked out so minutely as only 
 to be attached at the sides and to each other. The windows were 
 now much enlarged, divided by mullions, and the heads filled with 
 geometrical tracery, consisting of trefoils, quatrefoils, circles, &c. 
 Of this kind the east window of Trumpington church is a good 
 plain example. A good doorway of about the same date remains on 
 the south side of S. Clement's church, Cambridge. Crockets* and 
 finials were now first introduced. Later in the style, the window- 
 tracery was composed of wavy or flowing lines, generally boldly 
 cusped or feathered, and presenting an endless variety of the most 
 graceful curves and beautiful combinations. It is well to observe that 
 early featherings are usually sharp, while the later are blunt at the 
 points, and that the heads of the lights are very seldom cinque- 
 foiled. The gromed vaults were divided into numerous compartments 
 by intricate ramifications, Avith heads, shields, or bosses, at every inter- 
 section ; of which the western portion of the Choir of Ely is a peculiarly 
 valuable example, as being strongly contrasted with the Early English 
 portion of the same roof towards the east. The roofs retained the 
 lofty pitch of the preceding style, though but few now remain. A 
 very fine one exists at Liddington, Wilts, and Mr Bloxam has given 
 an engraving of one from Adderbury, Oxon. The ogee form was very 
 prevalent in small arches and in mouldings, in the latter of which the 
 ball-flower, a delicate ornament of four leaves, and strings of rose- 
 buds, often occur. The representation oi particular foliage seems very 
 characteristick of the styles : thus, the oak-leaf and acorn are generally 
 found in the Decorated, as the strawberry and the vine-leaf are in 
 Pei-pendicular, Avork. There is a prevalence of pyramidal rather 
 than vertical or horizontal lines ; in accordance with wliich we find 
 abundance of richly crocketed and finialed canopies, wluch sometimes 
 project or hang forward with an ogee curvature, as in the Chapter- 
 house at Ely. The equilateral arch is generally used : though for 
 windows we find the ogee, the square-headed, the lancet, and the 
 plain or pointed segmental, with the dripstones vertically returned 
 
 * Mr Bloxam suggests, that both the name and the form of the ornament may have been 
 taken from the curved head of the Pastoral Staff, or Episeopal Crook. This is am))ly borne 
 out by a representation of an early English canopy in the MS. of the Life of S. Edward 
 the Confessor, in tlic University Library, where the crockets arc all Crnpk heads, some with 
 part of the sUalf attached to them.
 
 11 
 
 about one third down the jambs, as in the west window of S. Mi- 
 chael's, Camljridge, which, however, is very late in the stj'le. Drip- 
 stones were very rarely m this, as they were in the preceding and 
 subsequent styles, returned horizontally, or carried round buttresses. 
 Sometimes the windows, or each of the lights separately, as at Bar- 
 nacle, are surmounted by rich crocketed canopies : and they frequently 
 have external and internal jamb-shafts, but no longer detached from 
 the walls. The doorways were not always furnished with jamb- 
 shafts, but the mouldings were continued from the arch to the 
 ground ; of which the west doorway of Tnimpington church is a very 
 good instance. Battlements (A\'ith horizontal capping only) and pin- 
 nacles, were now generally used * ; though the parapets often consist, 
 as in the Nave of Peterborough Cathedral, of open or blocked wavy 
 lines. The piers are now set diamondwise, that is, in the fomi of a 
 lozenge, very thickly clustered, with peculiar bases and capitals. In 
 small churches the piers often consist of four beaded and engaged 
 shafts, of which there are examples at Trumpington ; though this is 
 also an Early English arrangement, as at Cherry Hinton. The but- 
 tresses are peculiarly elegant, having variously ornamented weather- 
 ings, and triangular crocketed heads, and being enriched with sunken 
 niches. Good plain examples may be seen in Little S. Mai-y's church, 
 Cambridge. A peculiar moulding, called the scroU-moulding, which 
 is a kind of cylinder vdih the lower half withdrawn so as to leave a 
 projecting edge, is frequently used in this style, though also found 
 in the preceding. The capitals are occasionally invested with a deli- 
 cately crumpled foliage, curling round rather than iipivards : but De- 
 corated piei-s, as well as arches, are frequently very difficult to dis- 
 tinguish in small country churches, as nearly the same fonns were 
 used for about three centuries, though a practised eye ^^^ll generally re- 
 cognise some peculiarity in the base or capital mouldings. The western 
 portion of the Choir as far as the screen, the Octagon, the detached 
 Chapter-House, now called Trinit j^ church, and Prior Crauden's Chapel, 
 at Ely Cathedral, ai"e very imre and exquisite examples of this style. 
 The Decorated style has been denominated "the perfect Gotliick"; 
 and A\dth reason, if it be allowed to comprise the Edwardian period, 
 when Architecture and the Fine Arts had doubtless attained their 
 greatest excellence. In its moulduigs and details, this style bears 
 a closer affinity to the preceding, while its general contour is more 
 like that of the subsequent period. It is generally rich in con- 
 structive decoration ; but its chief beauties seem to lie in its ^\in- 
 dows, and in the abundance and repetition of canopy or crocketed 
 work; and its principal parts are often of plamer character than 
 in either the preceding or the subsequent style. Pure Decorated 
 churches are of comparatively rare occurrence: perhaps the finest 
 example in England is Heckington, Lincolnshii'c. 
 
 * It is very diflicult to say when battlements were first introduced. They occur at the 
 East end of Salisbury- Cathedral ; and are represented in illuminations and sculptures of the 
 13th centurv.
 
 12 
 
 (10.) The beautiful and strictly English style which, about the 
 year 1377, succeeded to the Decorated, is usually called the Perpendi- 
 cular. As, however, this term includes all the modifications of Gothick 
 architecture till the time of the Reformation, a period of nearly two 
 centuries, it has been thought better to arrange it under two distinct 
 heads, the Early, from 1377 to 1485, and the Tudor, or Late, from 1486 
 to the Reformation. There is a sufficient difference of style to war- 
 rant this new classification, though there is yet much room for research 
 to determine all the precise variations in detail by which each may 
 be distinguished*. 
 
 Of the transition from the Decorated to the Early Perpendicular, 
 the Nave of Winchester, and the Choir of York Cathedrals, are the 
 best examples. 
 
 The most striking and general feature of this style is the peculiar 
 form of the window-tracery, which consists of vertical Imes, con- 
 tinued parallel with the mullions through the heads of windows. 
 Many doorways, (and sometimes, as at Haslingfield, Cambridgeshire, 
 the windows) have a square hood-moulding above them, the spandrils 
 of which are ornamented with feathered loops and circles, or other 
 devices. Richly ornamented wooden roofs, generally distinguished by 
 the trefoiled or cinquefoiled form of the trusses, and by the absence of 
 tie-beams, now became general, though comparatively few examples 
 remain. We usually find clerestories lighted by much larger and 
 more closely set windows than in the preceding styles : and the roofs 
 and gables are seldom of a high pitch. One very marked and almost 
 universal feature of this style is a wide but shallow cavetto in jamb 
 and architrave mouldings, which is often, in rich examples, filled 
 with square paterae, &c. placed at intervals, as in the entrance arches 
 to the Lady Chapel, Peterborough. These ornaments, generally re- 
 presenting foliage, are almost peculiar to this style, and are often 
 placed at regular intervals in cornices, across strings, or in bosses, 
 being sometimes of considerable size. There is a peculiar sharpness 
 and hardness of outline in all Perpendicular sculptures and mould- 
 ings, which is very different from the gracefully curved and rounded 
 forms of Early English work. 
 
 The walls and buttresses are often very richly panelled ; there is 
 a general predominance of surface sculpture, and much repetition of 
 decorative parts. The capitals and bases of piers have a peculiar 
 character ; the latter are frequently raised or stilted from the ground, 
 as under the west tower of Ely Cathedral, and the piers themselves 
 are arranged in a peculiar manner, their plan being generally a 
 parallelogram, set north and south, with the angles cut away in 
 a bold hollow, in continuation of the large architrave cavetto, and a 
 half shaft attached to the east and west faces, and sometimes a vault- 
 
 * In the third edition the terms Plantagenet and Tudor were adopted for the two divi- 
 sions of the Perpendicular style. On this nomenclature, sec a valuable Letter in the Ecete- 
 siologUt, Vol. I. p. lf)3.
 
 13 
 
 ing-shaft north and south. This may be seen at Great S. Marj-'s 
 church. The windows in this style are usually of a great size, and 
 divided into one or more parts by transoms, under which the heads 
 of the lights are cinquefoiled. Transoms are very seldom found in 
 Decorated windows. Shafts now become a much less prominent 
 feature, and appear to be merely ornamental, without any construc- 
 tive use : the capitals and bases are generally octagonal, and the former 
 frequently embattled. Fan-traceiy was now first introduced in vaulted 
 roofs, as at the Lady Chapel of Peterborough Cathedral ; though it was 
 much more frequently used in the Tudor period. Battlements were 
 often richly panelled, or pierced after the manner of the window 
 tracery, as in the last-mentioned example. A beautiful parapet of 
 the Tudor flower may be seen in the Porch of Yaxlej-, Suffolk. 
 Below the battlements and at the basement of the walls, broad bands 
 or borders of squares, circles, or lozenges, containing quatrefoils, &c. 
 are very frequently found. The mouldings of doorways are either 
 continuous, or intercepted by the capitals of engaged shafts: and 
 very often a crocketed canopy, either with or without the square 
 hood-moulding, is carried above the arch. After this period Gothick 
 Architecture, though it had a short feign of extraordinary splendour, 
 was rapidly on the decline. 
 
 (11.) The distinguishing feature of the Tudor style is the con- 
 stant, though by no means invariable, use of the low four-centered 
 arch. This is found (as in the Porch of Bainton church, Northamp- 
 tonshire) even in Decorated work, and not unfrequently in the 
 Early Perpendicular style. But its general use in the Tudor age, 
 when it became extremely depressed, caused, by violating that great 
 principle of Gothick Architecture, vertical ascendancy, the giadual 
 decay of the art till it received its death-blow at the Refonnation. 
 
 Of Tudor edifices, three magnificent examples exist; King's 
 College Chapel, Cambridge, S. George's Chapel, Windsor, and that of 
 Henry VII. at Westminster, besides many other very exquisite 
 specimens on a smaller scale. A degree of richness which is so 
 gorgeous as to confuse and bewilder rather than to please the eye, as 
 will be felt on beholding the Chapels of Bishops West and Alcock 
 in Ely Cathedral, characterised this period. There is such a pre- 
 dominance of surface sculpture, that in some cases no space of plain 
 walling is anywhere left. The vaulting spaces are almost infinitely 
 subdivided by ribs, and the interstices are filled with delicate tracery, 
 or have rich pendents hanging from the centers. A good ex- 
 ample of plainer Tudor grouiing is the entrance-gateway of Queens' 
 College. Angels with spread wings are very often to be found ; and 
 a common distinguishing mark is the repetition of the rose and port- 
 cullis, and of the fleur de lys. Shields charged with heraldick devices 
 also very often occur. We meet with piers in which the architrave 
 mouldings are continued, without the interruption of capitals, to the 
 bases ; or they are discontinuous, that is, die into the pier where the 
 arch springs, as at Croyland Abbey. The windows were made very
 
 14 
 
 broad and low ; and the transoms were generally embattled. Hood 
 mouldings or labels are frequently supported by slender shafts ; or 
 they are terminated by large and heavy square or diamond-shape 
 returns. The peculiar ornamental cuspmg called double feathering 
 frequently occurs, as in King's College Chapel^ and the Sedilia at 
 Chesterton* and Milton churches. The mouldings became shallower 
 and plainer ; or they are so very wide and deep as to weaken the jamb 
 as in the west window of Grantchester church. The ornament called 
 the Tudor flower is most frequently found at this period. There is 
 sometimes a partial recurrence to Decorated tracery, as in the smaller 
 side windows of King's College Chapel. Octagonal turrets were used 
 as buttresses ; and these and the pinnacles were sometimes termi- 
 nated by a domical head, as in the corner turrets of the last-men- 
 tioned example. The pinnacles are usually panelled in the shaft. 
 
 Periiendicular edifices, especially of the later kind, are generally 
 remarkable for external richness of sculpture ; for flat terminations, 
 as square towers without spires; low roofs hardly seen above the 
 strongly marked lines of battlements ; depressed vaultings ; and hori- 
 zontal lines contrasted with the vertical tracery and panellings. As 
 some of the most costly works in existence were built in this style, 
 its capabilities are more fully known than perhaps those of any 
 other, and it is allowed by all to possess great gi-andeur, beauty, and 
 solemnity of eifect. It is characterised by splendour rather than 
 grace, and by striking prominence of parts rather than blended and 
 harmonious disposition. By carrymg decoration to excess it became 
 meretricious, and by attempting too much soon brought about its 
 own ruin. 
 
 (12.) The Flamboyant style is very rare in England, but on the 
 continent occui)ies the place of our early and late Perpendicular. It is 
 distinguished by the wavy flame-like character of its vdndow-tracery, 
 and the extravagance of its ornament in vaulting, fan-tracerj', and 
 porches. In some instances niches actually hang out of the soffits of 
 the doors. Large windows often without any tracery; broad and poor 
 soffits; shallow crockets and finials on the exterior; piers out of 
 which the arch springs suddenly, " as if plunged into it while soft ;" 
 the " interpenetration" of mouldings, that is, the appearance of one 
 member running into and passing through another, (a feature exag- 
 gerated in the Flamboyant, but occurring occasionally in Perpendi- 
 cular work, as in the basement moulding of the corner turrets of 
 King's College Chapel) ; Grecianised pendents; tracery of heart- 
 shaped trefoils confusedly heaped together ; figures of excessive size 
 in the soffits; mouldings, where the naked form, and not the light and 
 shade, was the principal object of care; and the occasional imitation of 
 earlier styles, especially Early English, form the general character- 
 isticks of this species of after-Gothick. The west window of S. 
 Michael's, Cambridge, has much of Flamboyant character : and there 
 
 * Eiio;raved in Part v. of tlip Uliistralions of Monunifntnl Braxxex, Plate 3. 
 
 i
 
 are two engraved in p. 90 of the Cilossary of Arcliitoctuvc of about 
 the same date, and with decidedly FJanihoyant tracery, t^liurohes 
 of Flamboyant character, or which have received Flamboyant addi- 
 tions, are found in this country on the coast, imrticularly where com- 
 munication with France was common ; as at S. Mary's, Sandwich, and 
 one of the churches at Bristol. 
 
 (13.) About the time of the Reformation, the partial recurrence 
 to classical forms, induced by the vitiated and unhappy taste for 
 Italian architecture, completely corrupted the pure Gothick style by 
 giving birth to various anomalous compositions, generally termed 
 Debased Perpendicular. It is unnecessary to particularize all the 
 barbarisms which but too frequently occur in churches of the sub- 
 sequent period: but Italian doors, windows, and porches; the sub- 
 stitution of balustres for battlements, vases for pinnacles, and round 
 balls for fimals ; exceedingly depressed and flat-sided pointed ai-ches ; 
 square windows Avithout labels or featherings, arabesque sculpture, 
 and similar violations of the principles of the true Christian Architec- 
 ture, will readily enable the learner to distinguish edifices of this 
 description. The tower of Great S. Mary's, Cambridge, is in a degree 
 liable to the stigma of barbarism ; and the Chapel of S. Peter's 
 College affords a good examj)le of the style. There are, however, 
 a few churches even of the seventeenth century of correct composi- 
 tion, though the details are for the most part clumsily wrought. 
 A good example is the Tower of Godmanchester church. The Tower 
 of Probus church, Cornwall, built in the time of Elizabeth, is a 
 remarkable specimen of fine detail and effect: and tlie Chapel of 
 Burford Priory, Oxon, is well deserving of notice. 
 
 (14.) The distinctive features detailed above are equally appli- 
 cable to all ecclesiastical buildings in Great Britain ; for as the ancient 
 body of Freemasons had the sole superintendence and direction of all 
 edifices of this kind erected in the land, the plans and drawings of 
 them all emanated from, or at least, we may suppose, were examined, 
 altered, and approved by, one body. Hence we must explain that 
 extraordinary uniformity in details, even to the minutest mouldings, 
 throughout the kingdom. It is certain also, that all repairs, additions, 
 and alterations of pre-existing buildings were executed in the style 
 prevalent at the time, however dissimilar to the original edifice; and 
 thus almost all Cathedrals, and many parish churches, individually 
 exhibit specimens of various styles which require to be carefully 
 discriminated from each other. 
 
 (15.) It is proper that the attention of visitors should be directed 
 to the local peculiarities of style, material, or comjjosition and design, 
 for which various counties are individually remarkable. Thus, Sus- 
 sex, and generally the south-eastern coast, is distinguished for Early 
 English work; Lmcolnshire, Hunts and Cambridgeshire for Decorated; 
 Somersetshire for its beautiful Peiiiendicular towers, and florid and 
 elaborate specimens of wood-work; Norfolk and Suffolk for their
 
 16 
 
 round towers, flint masonry, and magnificent open roofs, as well as 
 for the frequent absence of any external distinction between Chan- 
 cel and Nave. Again, Cornwall is noted for its granite churches, 
 its singular fonts, and its cradle roofs ; Cheshire for its red sandstone ; 
 Derbyshire, Cumberland, and Lancashire, for their very poor and 
 late Perpendicular work : Devonshire for its splendid rood-screens, 
 rood-lofts, and open seats; Gloucestershire and Northamptonshire 
 for their Norman remains. In some districts almost every tower 
 has a spire ; in others this feature is comparatively rare. That the 
 Cathedral church probably exercised some influence in determining 
 the character of the parochial churches of the diocese, we have else- 
 where observed. 
 
 (16.) The student must bear in mind that some of the marks laid 
 down as peculiar to one style may occasionally be met with in another. 
 Thus, the toothed ornament occurs first in late Norman, and extends 
 to Decorated ; the ball-flower is found in Early English ; the banded 
 or filleted shafts occur in Decorated, and even in Perpendicular work, 
 as in Canterbury Cathedral ; the double-ogee moulding in Decorated ; 
 the chevron in Early English. Above all, mndows are so frequently 
 inserted and altered, that they must seldom be considered alone as 
 certain proofs of the date of the building to which they belong. 
 Some knowledge of the various mouldings peculiar to the styles is also 
 an indispensable acquirement ; since these furnish certain, and some- 
 times almost the only, indications of the date to which churches belong. 
 
 It is almost impossible to give a correct idea of mouldings by 
 description ; but a few hints shall here be added, which, if attended 
 to, will be found useful. Early English arch-mouldings may almost 
 always be known by the depth of the hollows ; the bases of shafts by 
 their capability of holding water ; of larger columns, by one or more 
 plain and bold roll-mouldings; of clustered columns, by their circular 
 arrangement, or by standing on a square or octagonal plinth ; the 
 capitals, by the peculiar foliage, the bell-shape, and by having a 
 deep hollow immediately under the abacus. Decorated capitals 
 have also the bell-shape, and differ from Early English chiefly in 
 this, that the abacus, instead of being undercut, has generally the 
 scroll-moulding. The bases are usually formed by two or more 
 quarter-rounds, or at least contain these members and very often 
 the scroll-moulding also. The arch-mouldings of this style are 
 often extremely plain, and in smaller churches usually mere cham- 
 fered edges. In the Perpendicular a peculiar moulding consisting 
 of a double ogee is extremely common, especially in the Tudor. 
 The large and shallow cavetto, with which it is often combined, has 
 been before mentioned. The capitals lose their bell-shape, and 
 the upper member is usually a bold ogee, not unlike the letter S 
 in its section. The bases spread with a peculiar slope, which is not 
 easy to describe, but is readily leanit by observation. In small 
 shafts however the bases are much more varied than in any other
 
 17 
 
 style. Generally, Perpendicular mouldings have less depth, more 
 angular edges, and a comparatively meagre appearance when com- 
 pared with the rich depth and bold projection c f the earlier styles. 
 
 (16.) The following churches in the county of Cambridgeshire 
 will be found excellent subjects for the study of Architecture : 
 
 Balsham. 
 
 IJarrington. 
 
 Bottisham. 
 
 Bourn. 
 
 Burwell. 
 
 Cherry Hinton. 
 
 Foulmire. 
 
 Harlton. 
 
 Hasliiigfield. 
 
 Histon. 
 
 Islehani. 
 
 Ickleton. 
 
 Little Abington. 
 
 Little Shelford. 
 
 Over. 
 
 So bam. 
 
 Sjtton. 
 
 Swavesey. 
 
 Thorney Abbey. 
 
 'I'rumpington. 
 
 Willlngham. 
 
 In the town of Cambridge, S. Benet's, S. Sepulchre's, S. Michael's, 
 Little S. Mary's, Great S. Mary's, Jesus College Chapel, and King's 
 College Chapel, are deserving of particular attention. 
 
 (17.) The following works are also especially recommended : — 
 
 The publications of the Oxford Architectural Society ; Bloxam's 
 Principles of Gothick Architecture, and Monumental Remains ; Rick- 
 man's Architecture; Pugin's True Principles of Christian Architecture ; 
 Carter's Specimens of Ancient Architecture, Painting, and Sculpture ; 
 Winkles's Cathedrals; Britton's Cathedrals axiA^ Architectural Antiquities, 
 especially Vol. V., which contains a series of beautiful plates illustra- 
 tive of the history of Architecture in England from Saxon to late 
 Perpendicular ; Lysons' Britannia ; Weever's Sepulchral Monuments ; 
 Willis's Architecture of the Middle Ages; Whewell's Architectural 
 Notes ; The Glossary of Architecture, in 3 Vols. ; Grose's Ancient 
 Armour; The Monumental Brasses of the Cambridge Camden So- 
 ciety ; Clark's, Gwillim's, and Edmonson's Heraldry ; and the Article 
 on that subject in the Encyclopcedia Metropolitana. 
 
 (18.) The annexed Table presents at one view the dates of the 
 commencement of the different styles, with the reigning sovereigns 
 during the continuance of each, and local examples by way of illus- 
 tration. 
 
 The dates have been assigned from a comparison of English 
 churches, the age of whose erection is certainly known ; those given 
 by Mr Rickman appearing to be in some cases incorrect.
 
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 19 
 
 Of Transition from Early English to Decorated, the Chancel of 
 Trumpington church is an example : of that from Decorated to 
 Early Perpendicular, Havlton, and the Chancel of Fen Ditton : and 
 from Tudor to Debased, Trinity College Chapel. 
 
 (19.) If, in filling up the Church-schemes for the use of the 
 Society, it should be found necessary to use abbreviations, it is 
 indispensable that the following, for the sake of uniformity, should 
 be adopted by all. To this point the Society have to request that 
 particular attention be paid. 
 A. aisle, arch. 
 
 C. chancel. 
 Ch. chapel. 
 Cont. continuous. 
 
 D. Decorated. 
 
 G.D. geometrical Decorated. 
 Db. debased. 
 Discont. discontinuous. 
 Dr. dripstone. 
 
 E. cast. 
 
 EE. Early English. 
 
 L. light. 
 
 M. moulding. 
 
 Mt. mutilated. 
 
 N. north, nave, Normau. 
 
 P. Perpendicular, pier. 
 
 PA. pier arch. 
 
 S. south. 
 
 Sg. stage. 
 
 Ss. spandril space. 
 
 Sup. supermullioned. 
 
 T. Transept: transition (i.e. from N. to EE.) 
 
 Td. Tudor. 
 
 T.D. transition from EE. to D.) 
 
 T.P D. to P.) 
 
 W. w^est. 
 Wd. window. 
 3/ trefoil, trefoiled. 
 4/. quatrefoil, quatrefoiled, &c. 
 8 /. octagonal. 
 
 c.f. p. crocketed finialed and pinnacled. 
 The eight forms of arches may be thus described : 
 
 a, or 4 dr. semicircular. e, or = lat. equilateral. 
 
 b, or seg. segmental. /, or Tud. fourcentered. 
 
 c, or Ian. lancet. g, or og. ogee. 
 
 d, drop. h, or hors. horseshoe. 
 (20.) The mouldings of piers, and the like, may be copied exactly 
 
 by means of a leaden tape ; and the rough sketch reduced to any 
 
 2—2
 
 20 
 
 reqiiired size by the Pentegraph. Great nicety, liowever, is required 
 in using the tape, and considerable practice is necessary before the 
 sketches thus made can be depended upon. They should in every 
 case be carefully tested and corrected by measurements. In de- 
 scribing a church the piers are to be numbered from E. to W., or 
 from N. to S,, as the case may be. A window is said to be auper- 
 mullioned, when from the heads of the principal lights smaller ver- 
 tical muUions spring up, thus dividing the upper part of the window 
 into panel-like compartments. By disengaged lights are meant lights 
 which, being under one dripstone, have yet no tracery in common. 
 
 (21.) It is the Society's wish to procure a complete and accurate 
 description in detail of as many churches as possible ; but especially 
 of such as either, from their antiquity or any other causes, may 
 contain objects peculiarly worthy of record, or, from their remote 
 situation, may have hitherto escaped the researches of Ecclesiologists. 
 It is with this view that the church-schemes have been prepared ; and 
 as a specimen of the manner in which they should be filled up by 
 visitors, the descriptions of Trumpington and Cherry-Hinton churches 
 are given at the end. 
 
 It is feared that the abbreviations may at first occasion some little 
 difficulty : but they have not been adopted hastily, nor till the de- 
 scription by them of many hundred churches has sufficiently proved 
 their utility. 
 
 REMARKS ON THE CHURCH SCHEMES. 
 
 It is plain that the only safe way to arrive at any general 
 principles of Ecclesiology, is to observe and describe the details and 
 arrangements of unmutilated churches, or parts of churches; and 
 from a large collection of such observations, if carefully recorded, 
 much advantage may accrue to the science. But it is equally plain, 
 that if all these are to be sketched, a visit to the poorest church would 
 scarcely be comprised in the longest day ; and a degree of trouble, 
 attended with no results of proportionate value, would ensue. For 
 this reason the Cambridge Camden Society, on its first formation, 
 issued those Church Schemes which have now reached an eleventh 
 edition, and the value of which has been amply proved by the 
 experience of four years. They are by no means intended to 
 supersede sketching, but simply to assist and corroborate it, and 
 to supply its place in the less valuable details of the churches ex- 
 amined. The arrangement adopted has been founded on the principle 
 of allo\ving the describer to remain in one spot till that is finished, 
 and to spare him the trouble, as much as may be, of walking back- 
 wards and forwards while he proceeds with his work. 
 
 There are two impressions of the Church Schemes; the one on a 
 long strip of folio paper, on which the visitor will take an account 
 with his pencil in the church, and which, by being torn into several 
 parts, will allow as many persons to take at once different portions of
 
 21 
 
 the same church ; the other on a quarto sheet, into which the account 
 will afterwards be transcribed before it is presented to the Society, or 
 placed in a private collection. The quarto schemes may readily 
 be bound in volumes or preserved in portfolios according to counties, 
 styles, or any other convenient ai'rangement. 
 
 Tlie visitor of a church will do well to provide himself, in addition 
 to drawing apparatus, with heel-ball and paper (long pieces of thin 
 glazed paper may be had for the purpose) for i-ubbing brasses ; a 
 measuring line of not less than twenty feet, a foot-rule, and a leaden 
 tape for taking mouldings. A pocket telescope and a compass mil 
 also be very useful. 
 
 It has been thought proper to add the following remarks to ex- 
 plain the terms used in the Church Schemes, and to point out the 
 reasons why certain particulars have been insei-ted therein. 
 
 I. Ground Plan. It is of course desirable that a plan with 
 measurements should be drawn and sent in together with the scheme ; 
 but where, from want of time, this cannot be done, it will be sufficient 
 to measure the length of the Chancel and Nave; a measurement 
 which should never be omitted ; and to mention the several parts of 
 the church, beginning with the former. Care must be taken, when 
 the church has quasi-Transepts, not to confound them with Aisles. 
 In such cases, the Aisles run one arch to the east of the Nave or 
 Chancel arch, and in the same line with this is an arch across each 
 of the Aisles. This arrangement occurs chiefly in city churches, or 
 where the builders were cramped for want of room, but may be found 
 elsewhere, as at Ketton, Rutland, which would have been a cross 
 church had the Transepts projected beyond the aisles. 
 
 I. 3. Orientation. It is important to notice the deviation of a 
 church from due east, because it is supposed that the Chancel points 
 to that part of the horizon where the sun rises on the Feast of the 
 Patron Saint; and it would be interesting to ascertain the truth of 
 this belief. It may here be observed, that some churches diverge 
 northward at the Chancel arch from a true line drawn east and west. 
 A very remarkable example is S. Michael's, Coventry; more fre- 
 quently the direction is southward, as at Bosham, Sussex. The 
 symbolical reason is, that the inclination of our Lord's head on the 
 Cross is thus represented. 
 
 II. I. Apse. A circular or polygonal east end. There are but 
 few of these m England, though they are common on the contment ; 
 but the list given in the Glossary of Architecture does not contain a 
 tenth part of the number. Co-existent with an Apse, we sometimes 
 find a triple division of the church into Sanctum Sanctorum, Chancel, 
 and Nave. (Kilpeck, Herefordshire ; Bishopstone, Sussex ; Compton, 
 
 Surrey.) 
 
 II. II. 3. a. Altar Stone, fixed or removed. Before the Reformation 
 the Altar usually consisted of a large slab of granite, marked with a 
 small cross at each corner and in the center, symbolical of the Five
 
 22 
 
 Wounds, and raised about four feet from the ground, sometimes on 
 a solid mass of masonry, sometimes on brackets, more rarely on legs. 
 At the Reformation these were allowed to be removed ; and those 
 which then escaped were so effectually displaced in the Rebellion, that 
 scarcely one High Altar is known to exist. A few Chantry Altars 
 however remain. They are described in the Glossary of Architecture, 
 p. 7 ; and we may add five more ; one at the Abbat's house. Much 
 Wenlock, one in Lidbury church, Salop, one in Compton, Surrey, 
 one at Burton Dasset, Warwickshke, and one at Arundel, Sussex. 
 But the altar-slab or stone was sometimes used as a flagstone, gene- 
 rally with the crossed face reversed. An altar-stone is to be found at 
 
 Cherry Hinton, Cambridgeshire. 
 
 All Hallows, Barking, London. 
 
 Irnham, Lincolnshire. 
 
 Streatham, near Ely. 
 
 Myton, Yorkshire. 
 
 S. Mary Magdalen Chapel, Ripon, (where it is still used.) 
 
 S. Nicholas', Yarmouth. 
 
 Little Welnetham, ~v 
 
 Flixton, Suffolk. 
 
 Fressingfield, J 
 
 Dunster, Somersetshire. 
 
 Hove, Sussex. 
 
 Several in Lincoln and in the triforia of Gloucester Cathedrals. 
 
 The Bede House, Stamford. 
 
 Cookham, Berks, (where the Crosses are inlaid with Brass.) 
 
 Burlington Abbey, Yorkshire. 
 
 S. Mary's, Barton-upon-Humber. 
 
 S. Martin-le-grand, York. 
 
 S. Alban's Abbey Church, (on the summit of a high tomb in 
 the south aisle of the choir.) 
 
 Cottingham, Yorkshire ; 
 
 Selmestone, ■» 
 
 Coates, I Sussex. 
 
 Boxgrove, J 
 These altar-stones are very easily overlooked, and great care must 
 therefore be taken in searching for them. They were for the most 
 part pur •o'?ely placed near a door, or in the centre of the Nave, as at 
 Cherry Hinton, or in some position where they could most frequently 
 be trodden upon. At Coates, the altar-stone is reverentially laid 
 down under the Table. It is needless to add, that where they are 
 known to occur, it is highly irreverent to subject them wilfully 
 to further indignity. They should always be taken up, and care- 
 fully protected from profanation. In ancient Missals we sometimes 
 find the central cross omitted, and in a few instances there is a small 
 hollow instead. This was designed either to hold the Chalice or to
 
 23 
 
 contain the Alms offered. Examples of this occur in S. Robert's Cave, 
 near Knaresborough, and the Holy Chapel, S. Madron, Cornwall. 
 
 II. II. 3. 13. Reredos, or dossel, a screen of wood or stone behind 
 the Altar. There are fine examples of the latter at Harlton, Cam- 
 bridgeshire, and Geddington, Noiihamptonsliire. 
 
 II. II. 3. y. Piscina, orifice, and shelf. It might perhaps be more 
 correct to term these Fenestella, piscina, and shelf. Piscinae, or water- 
 drains, as they are called by Rickman, were the necessary appendages 
 of an Altar, for pouring away the water in which the chalice was 
 rinsed, and that in which the priest washed his hands. They gene- 
 rally appear as small niches in the south wall near the High or 
 Chantry Altars : more rarely they are inserted in the east wall. They 
 are usually single ; but sometimes double (Jesus CoUege Chapel) ; 
 very rarely triple (Roth well, Northamptonshire). When they are 
 double (i.e. of two compaiiments, divided by a central shaft, which is 
 only the case in Early English examples), one orifice was probably 
 used for the former of the above-named purposes, and the other for 
 the latter. The orifices of Early English piscinae are generally either 
 shallow and circular, or deep and reversed pyramidal. They are, 
 however, sometimes 8-foiled (Skelton, Yorkshire) or 10-foiled (His- 
 ton). Sometimes two orifices are differently foliated, as at Cherry 
 Hinton and Histon. In Decorated, they are 4-foiled, 5-foiled, &c. up 
 to 17-foiled; which last is vei-y imusual, but occurs in Ardingley 
 church, Sussex. A Chantry piscina in Over church, Cambridgeshire, 
 has a 12-foiled oiifice. Other forms are square, segmental, three- 
 quarter circular, lozenge, semicircular, or 8-foiled within a raised 
 rim, covered with a pierced flower, or with a dog or lion keeping 
 guard over the orifice. Norman piscinse are very uncommon, and, 
 where they do occur, of the rudest form. Sometimes piscinse are 
 found in the north Avail, as at Ditchelling, Sussex, which is of Early 
 English date, and appears to have been found inconvenient, as a 
 Perpendicular one is inserted in the usual position. At Castor church, 
 Northamptonshire, there is an Early English piscina both in the north 
 and south walls of the Chancel. A shelf of wood or stone, or a small 
 bracket, as at Stoughton, Sussex, frequently occurs across the middle 
 of piscinae : the use of this is not certainly known. Some think that 
 it foi-med the Table of Prothesis (see below, II. ii. 3.M.); but this, 
 from the small space commonly afforded, seems impossible. Others 
 suppose that it held the soap ; but it was more probably the recep- 
 tacle of the cruets for the holy oQ. A recess sometimes i-uns inwards, 
 on either or both sides, from the piscina : this should be observed : 
 its use is unknown. 
 
 Some piscinae have no recess or fenestella, but project after the 
 manner of brackets : some are supported on a small shaft, and some, 
 as in Christ-Church, Hants, have a niche in the interior of the fenes- 
 tella. In some Constitutions of the thirteenth century, it is ordained 
 that where there is no piscina, a hole in the floor, to the soutli of the
 
 24 
 
 Altar, should serve the purpose. None such have as yet been de- 
 scribed ; but it will be well to look for this arrangement. 
 
 Some few churches (Castor, Northamptonshire, Thurlby, Lincohi- 
 shire,) have a small square recess near the gi-ound to the east of the 
 piscina. This should be noticed, though its use is unknown, and it 
 seems hitherto to have escaped observation. 
 
 II. II. 3. S. Sedilia. Seats for the priest, deacon, and sub-deacon, 
 at the administration of the Holy Eucharist. Tliey vary in number 
 from one to five : but the usual number is three. They almost always 
 occur on the south side of the Chancel, though sometimes on the 
 north : at Helpstone, Northamptonshire, there are three of Early 
 English date on both north and south sides. At Hauxton, Cambridge- 
 shire, they are at the east end of the north aisle, there having been 
 a Chantry Altar there. Sometimes they are of equal height ; some- 
 times the eastern seat is higher than the two others, and sometimes 
 (chiefly in early examples) they descend in regular gradation towards 
 the west. Examples, Teversham, Cherry- Hinton, S. Michael's, Cam- 
 bridge. They often occur in the sill of the south-east chancel- 
 window, and are then easily overlooked. Sometimes the sill is 
 graduated, as at Goldington, Beds, and Little Wilbraham. Some- 
 times, as at Fulbourn, there is no division of seats, but one canopy 
 covers space sufficient for three. Norman sedilia are veiy uncom- 
 mon: a fine specimen has been uncovered at S. Mary's, Leicester. 
 The piscina is almost always to the east of the sedilia : very rarely 
 to the west, as in a south chantry in S. Mark's Chapel, Bristol. We 
 often find adjacent to the sedilia on the western side, a larger recess, 
 as at Great Hasely, Oxon, and Meysey Hampton, Gloucestershire*; 
 which may be called the magnum sedile. Its use is unknoAvn; but 
 it may have been an Easter Sepulchre. It is certainly incorrect 
 to regard it as a common sepulchral recess. There is a fine one 
 of Norman date in Thurlby church, Lincolnshire. 
 
 II. II. 3. e. Aiimhrye, or locker. A plain recess, for the safe 
 preservation of the sacred vessels, and the like. They are exceedingly 
 common in all parts of the church, especially on the north side of an 
 Altar. A perfect example, with the original door and shelves, remains 
 in the south aisle of Barrington church, Cambridgesliire. Traces of 
 hinges should be looked for ; as other recesses, probably for diff^erent 
 uses, may often be met with. 
 
 II. II. 3. »?. Brackets. The hole for the serges, or wax-tapers, is 
 sometimes to be found in these : the}' must not, in that case, be mis- 
 taken for piscinae. 
 
 II. II. 3. e. Easter or Holy Sepulchre. A recess for the reception 
 of the Elements consecrated on the Coena Domini, or Maunday Thurs- 
 day, till High Mass on Easter-day. They are generally shallow, 
 under an obtuse or broad ogee arch, rising about three feet from the 
 ground. They usually occur on the north side of the Chancel, but 
 
 • EiiRraved in Part iv. of the UlKStrations of Monumental Brasses, Plate 4.
 
 25 
 
 often in Kent, Sussex, and Hampshire, on the south ; and may be 
 found of all degrees of magnificence, from the plain oblong recesses 
 in the Weald of Sussex, to the gorgeous sculpture representing the 
 Resurrection, in Heckington, Lincolnshire. They are almost in- 
 variably of Decorated date. Cambridgeshire does not furnish many 
 examples; but there is one in Grautchester church. Sometimes a 
 high tomb on the north of the Altar, especially in the Tudor age, 
 served as an Easter Sepulchre. A beautiful instance occurs at Exton, 
 Rutland. At East Wittering, Sussex, is a curious example : here the 
 monument consists of two parts, one in the north waU, the other 
 jutting out at right angles to it, at a distance of about three feet from 
 the eastern wall. In ancient wills we sometimes find requests that 
 tombs might be built so as to serve for the holy sepulchre. This 
 may i^ossibly be connected with the early practice of using the 
 martyrs' tombs for Altars. (See Rev. vi. 9). Fosbroke (Antiq. ii. 703.) 
 quotes the following from a will of 1479 : " I will that there be 
 made a playne tombe of marble of a competent height, to the intent 
 that yt may ber the blessed body of our Lord, and the sepultur, 
 at the time of Estre, to stand upon the same, with niyne arms, and 
 a convenient scriptur to be sett about the same tombe." The se- 
 pulchre itself was usually a moveable wooden structure : it appears 
 also to have been called the Paschal. At Fulbourn, a curious wooden 
 frame over a recumbent effigy near the altar seems to have been 
 thus used. The ceremony of the Passion and the Resurrection 
 performed at the sepulchre on Good Friday and Easter-day, is accu- 
 rately described in the Antiquities of Durham Abbey. 
 
 IL II. 3. ^. X. Altar-rails and Table. These, when of the date 
 of King James I. or King Charles the Martyr, deserve especial notice. 
 They were not in use before the Reformation : a long linen cloth held 
 up before the communicants (as is still the case abroad) served the 
 purpose: and in some churches, as at Holy Rood, Southampton, a 
 linen cloth is, at the Communion, put over the rails. 
 
 II. II. 3. X. Steps. Three, or some multiple of three, is the most 
 usual number: but four and seven also occur. On the fronts are 
 sometimes engraven the founder's name, and the date of the church, 
 as at Geddington, Northamptonshire. See below, II. ii. 12. 
 
 II. II. 3. ,x. Table of Prothesis, or Credence. The place whereon 
 the Elements were deposited previously to their oblation. It some- 
 times appears as a plain square recess, or a low large bracket, on the 
 north of the Altar. In the former case it may easily be mistaken 
 for an aumbrye. Credences of the I7th centuiy are occasionally 
 found ; but they are of rare occurrence under any circumstances, 
 and perhaps the only perfect specimens of note are those at S. Cross' 
 Hospital near Winchester, and Compton, Surrey. 
 
 II. II. 6. Window-arch. In deeply recessed windows the internal 
 arch generally differs in shape from the external, and in Early 
 English and Decorated frequently has jamb-shafts and a hood-mould- 
 ing above.
 
 26 
 
 II. II. 10. Misereres. The elbowed stalls, so frequently occur- 
 ring in Cathedrals, where the seat lifts up, and folding back, forms 
 a higher and smaller seat. The carving on the under part is often 
 very curious. Those in the choir of Ely Cathedral are perhaps the 
 finest examples extant. There are very beautiful specimens at 
 Nantwich, Cheshire. 
 
 II. II. 11. Chancel-seats. Low stone seats continued, as at Trum- 
 pington, along one or both walls of the Chancel, and even, as at Little 
 Bytham, Lincolnshire, along the east end also. They are sometimes 
 furnished with raised ends carved in stone after the manner of poppy- 
 heads. These seats are sometimes to be found in the Nave also. See 
 History of Pews, ^. 12. They are still used at Waterbeach, Cambridge- 
 shire. 
 
 II. II. 12. Elevation of Chancel. In Standon church, .Herts, 
 Walpole S. Andrews', Norfolk, S. Stephen's, Bristol, S. Mary's, 
 Guildford, and a few others, the Chancel is i-aised on a flight of six, 
 ten, or twelve steps. This arrangement is now very rare, the Puritans 
 having been (as the journal of Will Dowsing attests) most zealous for 
 the levelling of the Chancel with the rest of the church. Yet where 
 this has been done, its former height may be often judged of from 
 the elevation of the piscina from the ground. It is remarkable that 
 ancient writers sometimes speak of the Chancel as lower than the 
 Nave. Original examples of this would seem still to occur, as in 
 S. Giles' church, Cambridge. 
 
 II. II. 9. Chancel-arch. This is sometimes triple, as at Capel le 
 Feme, and Barfreston, Kent, and Branford, Suffolk. 
 
 II. VIII. 2. Panelling above Nave-arch. That this is not an un- 
 necessary enquiry is evident from Burwell, Great S. Mary's, and 
 Saffi'on Walden churches. 
 
 II. VIII. 3. Rood-screen. The screen which separates the Chancel 
 from the Nave ; in Latin cancelli, whence the former name. Here, 
 before the Reformation, a Rood, or Crucifix, and the images of the 
 Blessed Virgin and S. John, were placed. The doors represent death, 
 as the entrance from the Nave, the Church Militant, to the Chancel, 
 the Church Triumphant; and the sculpture with which they are 
 adorned will usually be found to bear some reference to this. For 
 example, in Guilden Morden church, Cambridgeshire, the following 
 legend is painted round the screen : 
 
 Ad mortem duram Jhesu de me cape curam 
 Vitam venturam post mortem redde securam 
 Fac me confessum rogo te Deus ante secessum 
 Et post decessum cculo michi dirige gressum. 
 
 It is perhaps in accordance with this idea that the doors always 
 open inwards and never outwards. The Rood-screen was generally 
 richly decorated with painting and gilding : tlie gilding still remains at 
 Eye, Suffolk. The original doors however very seldom remain, as they 
 do at Martham, Norfolk. The lower part of the screen is not pierced:
 
 27 
 
 it is often painted with figures of Apostles and Saints^ as at Therfield, 
 Herts, Yaxley and Eye, Suffolk, where eighteen figures remain. Mag- 
 nificent examples exist at Walpole S. Andrew's, Ranworth, and Wor- 
 stead, Norfolk. The paintings of this kind are of a peculiar school, 
 and well deserving of more examination than they have yet met 
 with. Several have recently been brought to light in consequence of 
 our calling attention to the fact, that the lower panels were seldom 
 removed, but merely hidden by pews : as at Blyth, Yorkshire. This 
 will afford encouragement for further investigations. Examples of 
 Rood-screens in wood, are Bourn, Lolworth, Foulmire, Balsham, 
 Barton, and Quy : in stone, Harlton and Bottisham, Cambridgeshire, 
 Great Bardfield, Essex. 
 
 II. viii. 4. Rood-staircase. The staircase by which the Priest 
 ascended to the Rood-loft. It is sometimes concealed in a pier, and 
 sometimes, when the tower is central, forms part of the staircase 
 to the belfry. More rarely it winds round a pier externally (Fairford, 
 Gloucestershire.) Generally it has a Rood-turret for its reception 
 (iv. 20.), as at Great S. Mary's, Great Shelford, and Harlton. Many 
 Norfolk churches have two such turrets with doorways opening on 
 to the roofs of the Aisle, Chancel, and Nave. ^Vhen there are two 
 staircases, it has been suggested that they were intended for the 
 Gospeller and Epistler to ascend different ways. At Bainton, North- 
 amptonshire, the Rood-turret rises above the gable of the Nave, and 
 perhaps contained the Sancte BeU (iv. 17). 
 
 II. VIII. 5. Rood-doors. By these are meant, not the door in 
 the Rood-screen to the Chancel, but the door to the Rood-staii"case, 
 whether below or aloft. Concerning these it is to be observed on 
 which side of the Chancel-arch they occur, and whether there be two 
 or four. The Rood-door is sometimes found in the wall of the aisle, 
 and a wooden passage Avas thrown across it to the Chancel-arch ; an 
 arrangement frequent in Somersetshire. 
 
 II. VIII. 6. Rood-loft. In addition to what has been said above, 
 we may further remark that these were so effectually destroyed 
 at the Reformation that very few now remain. Guilden Morden 
 church has its Rood-loft still in existence ; and considerable portions 
 remain at Balsham ; and there is a very fine one, though much 
 altered and mutilated, in S. John's College Chapel. The magni- 
 ficent one at Llanegryn, Merionethshire, was for the first time 
 described by the Cambridge Camden Society in the summer of 1840. 
 There are perfect Rood-lofts at Sleaford, Lmcolnshire, Bettws Newydd, 
 Moiuuouthshu-e, Flamborough, Yorkshire, Norton-Fitzwarren, and 
 S. Aldred's, Somerset; and large portions remain at Gaddesby and 
 Buckminster, Leicester, and Ashelworth, near Tewkesbuiy. The 
 Roods were taken down by order of government in 1548, Avhen the 
 Royal Arms, that unfortunate disfigurement of our ancient churches, 
 were often, though apparently without sufficient authority, substituted 
 in their places, and hence their common position over the chancel-arch.
 
 28 
 
 II. VIII. 7. The half-piers at the east or west of the Nave are 
 called "responds:" Avhere there are two arches there are therefore 
 one pier and two responds, and so on. Sometimes, but rarely, these 
 responds resemble brackets, the upper half, bevilled to a point, being 
 alone used to support the arch. There are examples, beautifully- 
 floriated, at Teversham. 
 
 II. VIII. 9. Triforia, 
 
 " The cloister-galleries small, 
 That at mid-height thread the chancel wall," 
 
 were passages giving access to different parts of the fabrick, and 
 were sometimes used for letting down tapestry on high feasts : they 
 principally occur in Conventual or Collegiate churches, and are often 
 elaborately beautiful. An ancient name was " Blindstory." 
 
 11. VHi. 10. Clerestory. The old way of spelling clear story: 
 that part of a church which rises above the aisles, and which in late 
 Perpendicular sometimes presents almost a continuous window, so 
 closely is it pierced for lights, as at Great S. Mary's church. Some- 
 times, especially in Staffordshire, there is a clerestoiy to the aisles. 
 The earlier clerestories in parish churches are lighted by foliated 
 circles, as at Trumpington and Bourn. But clerestories were not 
 generally used, except in very great churches, till the fifteenth 
 century. 
 
 II. viii. 15. Poppy-heads, or peoples (perhaps pupa-heads, i.e. little 
 wooden images) the terminations of the ends of open seats, often 
 exquisitely carved in heads, animals, foliage, &c. Drawings and 
 measurements of these are of great value to the Society. 
 
 II. VIII. 17. Parvise turret. The little tower enclosing a stair- 
 case to the parvise. See below IV. 5. 
 
 II. VIII. 18. Roof and groining. Particular attention should be 
 paid by visitors to the ancient examples of wooden roofs, as few now 
 remain unmutilated. The earliest kinds have tie beams ; the foliated 
 roofs are extremely beautiful, but do not appear to occur of earlier 
 date than the fifteenth century. The points which should be espe- 
 cially noticed in ancient roofs are (1.) the pitch; (2.) the general 
 construction; (3.) the particular arrangement of collars, braces, king- 
 posts, &c., and the number and position of the trusses. Tudor-roofs 
 are almost flat, as in the chapels of Trinity and S. John's Colleges, 
 and S. Sepulchre's church. A very rich and magnificent one of this 
 date remains at S. Neot's. Anciently many roofs had a ridge-mould- 
 ing externally, which is a kind of serrated tile-work projecting 
 upwards, and she\vn in relief against the sky. It is now very rarely 
 found ; but vestiges of it occur in the Chancel at Impington, and 
 Compton, Surrey. Pack-saddle or gable-roofs to towers are uncom- 
 mon in England, though frequent on the continent. Examples, 
 Tinwell, Rutlandshire, Colne S. Aldwin, Gloucestershire, Carhamp- 
 ton, Somersetshire.
 
 29 
 
 II. viii. 19. The Pulpit ought properly to stand at the north side 
 of the Chancel-arch; facing the north-west. If it stands anywhere 
 else, it has assuredly been removed : and enquiry may be made when 
 and whence. The reason of this position is, that the Priest may have 
 his face to the people without turning his back to the Altar; the 
 people of course facing the east. Stone pulpits are not common : 
 but their stem or base occasionally remains, surmounted by a modern 
 wooden erection : and sometimes, as in the fine pulpit of S. Mary's, 
 Bridgewater, the stem being stone, the upper part was originally 
 carved wood. A good many stone pulpits remain in Somersetshire, 
 as at Wrington, Nailsea, Kew-Stoke. Sometimes they have a stair- 
 case externally, as at S. Peter's, Oxford. Ancient wooden pulpits 
 are also to be found, as at Thuming, Suffolk, Castle Acre, Hun- 
 stanton, Snettisham, Burnham-Norton, in Norfolk. The last is a 
 magnificent example, hexagonal, richly painted with the four Doctors 
 of the Church, the builder, John Goldale, and Katharine his wife. 
 The fine stone pulpit at Cheddar, Somersets, has one side of oak, 
 forming the door of entrance, and carved similarly to the stone part. 
 
 II. VIII. 20. Hour-Glass Stand. A relick of Puritanick times. 
 They are not very uncommon ; they generally stand on the left hand 
 of the preacher, close to the pulpit, and are made of iron. Examples, 
 Coton, Shepreth, Impington (in the Font). A curious revolving one 
 occurs at Stoke D'Abemon, Surrey, and in S. John Baptist, Bristol, 
 where the hour-glass itself remains, as it does at Brooke, near Nor- 
 wich, and S. Alban's, 'Wood-street, London. Though a Puritanick 
 innovation it long kept its place : for Gay in his Pastorals ^\Tites, 
 " He said that Heaven would take her soul no doubt, 
 And spoke the hour-glass in her praise quite out:" 
 
 and it is depicted by the side of a pulpit in one of Hogarth's 
 paintings. 
 
 II. viu. 22. 23. Peii's or Pues; and Galleries. This article is 
 inserted, not as expressing any approval of these abominations, 
 but rather from the desire of showing how late is their introduction. 
 The earliest yet described bears date 1601. The date of these, as 
 well as of the Reading pew and pulpit and gallery, should be care- 
 fully noticed. See the Society's History of Pews. 
 
 II. IX. 2. X. 2. Chantry Altar. The same things are here to be 
 noticed as in the High Altar, though, for the sake of brevity, they 
 have not all been specified. Chantry sedilia are not common, and 
 occur chiefly in large churches. 
 
 II. XI. 1. Parclose. The screens which separate chapels, more 
 especially at the East end of the Aisles, from the body of the church. 
 They are sometimes of stone, more frequently of wood ; and in all re- 
 spects resemble Rood-screens. There are good examples at Bottisham. 
 
 II. XI. 8. Benatura, or Holy-water stoup, placed at the entrance 
 of churches, generally on the right hand of the outer or inner-porch 
 door, or both. A very good example occurs at Horseheath : they are
 
 30 
 
 almost invariably much mutilated. Examples, Barrington, and Harl- 
 ton. Sometimes there is a shelf over them. 
 
 II. XI. 9. Corbels often represent persons living at the time of the 
 erection of the church, and who were connected with it as founders, 
 benefactors, or otherwise. Hence, especially in female heads, by 
 attention to the costume, much light may be thrown on the date of 
 the church. The principal head-dresses are, the Wimple, used from 
 the time of King John to about Edward II. It concealed the throat 
 and chin, Uke a kerchief tied high over the face. During the 14th 
 centm-y, the Coif or Mantilla, a kind of veil flowing from the back of 
 the head, was generally used ; and the Reticulated (a net confining 
 the hair on each side of the forehead) was prevalent in the reign of 
 Edward III. In this century, however, the varieties of female head- 
 dress were very numerous. At the commencement of the 16th cen- 
 tury, the Lunar was in fashion, resembling a crescent with the points 
 upward. Afterwards, till about 1460, succeeded the Horned, which 
 is not unlike the upper part of a heart. The Wired, or Butterfly, is 
 often found during the age of Richard III., in Brasses; as in the 
 Peyton Brass, at Isleham, Cambridgeshire. It is a preposterously 
 large structure of wire and gauze projectmg from the back of the 
 head. The Keiinel is common in the Tudor period. It is an angular 
 peak projecting above the forehead, and continued down both sides of 
 the face. A dripstone is often terminated by the head of a king on 
 one side, and of a prelate on the other ; the reigning monarch and the 
 bishop of the diocese. 
 
 II. XIII. Font. If this be not at or near the Avest end, and by a 
 door, we must enquire when and by whom it was moved ; and a few 
 words on the impropriety of the alteration may not be out of place. 
 See below, VI. 15. 
 
 III. 12. Bells. The inscription on these may be taken, where it is 
 too dark to do more than to feel it, with the black lead and rubber. 
 Alphabet bells, those in wliich the letters of the alphabet supply 
 any other legend, are very scarce, and should be noticed. The oldest 
 bells have wooden crowns. 
 
 III. 12. 5. Saint's Bell. Called in Puritanick times sermon bell, 
 and forbidden by the orthodox prelates to be rung, as it now is at 
 Godalming, Surrey, when a sermon is preached. It is a small bell 
 generally on the outside of a church : its present employment is 
 commonly to " ring in " the minister. It was formerly rung to 
 give notice that the Sanctus, san^stus, sanetus, Dominus Deus Sabaoth, 
 in the celebration of the Mass, had commenced, and to warn the peo- 
 ple of the approaching elevation of the Host. The custom of ringuig 
 a bell on the commencement of the Eucharist is still retained at S. 
 John's CoUege. A Saint's bell, long disused, still hangs in the tower 
 of Great S. Maiy's, Cambridge. In the parish accounts of Steeple 
 Ashton, Wilts, occurs : " 1609. Item. In y* Tower five gi'eater Bells 
 and a little sance Bel,' which is curious as shewing the pronunciation.
 
 31 
 
 III. 13. Beacon or Belfry-turret*. The turret at the angle of a Tower, 
 sometimes in border counties, as in AV'estmorelaud, Cumberland, 
 Northumberland, and Herefordshire, used to contain the apparatus 
 for kindling, at the shortest possible notice, the need-fire. In some, 
 the caldron which held the fire is still said to remain, as it does in 
 the Church of Fontaine, near Havre de Grace, in Normandy. And at 
 Oystermonde, near Caen, it is surmounted by a small piece of ord- 
 nance, of the time of Francis I. The licentia crenellandi, or permission 
 to make defensive arrangements, was frequently given about the time 
 of Stephen: though by Church Canons the use of the church as 
 a fortress was strictly forbidden. In the border counties, however, 
 such may be found, as at Burgh on the Sands, and Newton Arlock, 
 Cumberland. There is a Beacon-turret at Paul (S. Paulinas), Corn- 
 wall. 
 
 III. 14. y. Spiral bead. This serves sometimes as a bannister in 
 stone staircases, as at Kingstone-by-sea, Sussex. 
 
 III. 17. General character of Tower. It is interesting to determine 
 why churches so completely run in lines as to the character of theii- 
 towers or spires. The example of the Cathedral is usually assigned 
 as the reason, and probably is so, if only we bear in mind that the 
 spires of many Cathedrals have been destroyed : so that the example 
 might be taken from what they were, rather than from what they are. 
 
 IV. 4. Porch. Porches of Nomian date are extremely rare. A 
 fine one occurs at Malmsbury. A few instances of Transition date 
 may ccasionally be found. In Early English Porches the outer arch 
 is often pointed while the inner one is semicircular, as at Bamack, 
 where there is a very magnificent example. Some Porches are of 
 wood, as at Impington ; and these are usually of very beautiful and 
 varied design, though sometimes, as at Great Eversden, quite plain. 
 
 IV. 6. Parvise. The small room frequently, as at Girton, occur- 
 ring over the porch. It was generally the abode of a Chantry-priest. 
 Probably the largest in England is that at Cirencester. 
 
 IV. 14. Gurgoyles. Images of men, monsters, beasts, or demons, 
 on the exterior of the church, and more especially at the angles of 
 the tower, serving as water-spouts. 
 
 IV. 17. Sancte-hell cot. A small but frequently elegant erection 
 at the east end of the nave, for the reception of the Sance bell. 
 Sometimes, but rarely, the bell itself remains, as at Over, Cambridge- 
 shire. At Baston, Lincolnshire, the cot is placed over the west end 
 of the south aisle, of which there is perhaps no other instance. 
 The word sancte should be pronounced as one syllable, being only 
 the Anglicised form of a Latin termination. 
 
 IV. 18. Lych-gate, or coi-pse-gate, from the Anglo-Saxon "leich," a 
 dead body, (whence Lichfield, Lich Street, in Worcester, and the like) 
 
 • The notice in the second edition on this subject has been misunderstood, as if it intended 
 to assert that all angular turrets served the purpose of beacon-turrets, which is, of course, by 
 no means the case.
 
 32 
 
 a gate at the entrance of the church-yard, where the coffin was for a 
 few minutes set down before burial, to await the arrival of the mi- 
 nister. They are generally of wood, and thatched; but they are 
 of uncommon occurrence in England, though extremely frequent m 
 Wales. Examples, Fen Ditton, Homingsea. This gate was also 
 called " lich-stile," or " churchstile," corrupted into churstele, (Parish 
 Registers of Warrington, 1658.) A Lich-gate, when perfect, com- 
 prises a lich-path, lich-seats, a lich-cross, and a lich-stone on which 
 to rest the coffin. The three last occur at S. Levan, Cornwall, and 
 lich-stones are common through that county. 
 
 IV. 19. Coped coffins. These are of sufficiently common occur- 
 rence, and usually have a floriated cross sculptured upon the lid. 
 The date is very difficult to determine in the present state of ecclesi- 
 ology, but the smaller, plainer, and flatter examples, seem the earliest. 
 There are several good ones in the south aisle of Trumpington church. 
 Those of unquestionably Norman date are excessively rare. A most 
 beautiful one, covered all over with intricate sculpture, exists in 
 HickUng church, Notts. 
 
 IV. 21. Masonry. This article is mserted with a view principally 
 to the discovery of Saxon work. A church bearing any traces of 
 " long and short " work should be carefully examined in the belfry- 
 arch, the chancel-arch, the interior angles of the tower, and in the 
 belfry windows. Herringbone masonry is also deserving of attention. 
 
 VI. 8. Hagioscope. By this term are meant those singular and 
 not uncommon apertures which were made through different parts of 
 the interior walls of a church, generally on one or both sides of the 
 chancel-arch, as at S. Sepulchre's, in order that the worshippers in the 
 Aisles might be able to see the elevation of the Host. The technical 
 term in use is " Squint ;" that used by some Ecclesiologists, " Lori- 
 cula." The former is every way objectionable, the latter unmeaning, 
 since lorica signifies, not the hole pierced through a breast- wall, but 
 the breast-wall itself. Elevation aperture was sometimes substituted 
 for this: a term, to say the least, very awkward. It is hoped that 
 the new term, formed as it is according to analogy, and expressive, 
 may be thought useful*. These apertures are usually oblong slits 
 in the chancel-wall, opening obliquely, generally into a chantry. 
 At Tillbrook, Beds., is an example of a chantry piscina serving also 
 for a Hagioscope, as there likewise is at Castle Rising, Norfolk : and 
 at S. Mary's, Guildford, a benatura was thus used. In early Nor- 
 man churches, their place is sometimes supplied by a smaller, on 
 each side of the great, chancel-arch. Rodmell church, Sussex, has 
 a very curious Hagioscope, supported by a spirally-fluted Transition 
 shaft; and S. Giles', Cambridge, has a good one of Perpendicular 
 date. Sometimes these apertures appear to have been glazed, as in 
 the Mayor's Chapel, Bristol. Hagioscopes vary much in size, and 
 
 * This hope, expressed in the second edition, has been fully verified, and the word seems 
 to have become a recognized term in Eeclesiology.
 
 33 
 
 are sometimes very large. There are two very remarkable ones in 
 the north Chancel- wall of Wingfield, Suffolk. 
 
 VI. 11. Church Chest. These occur sometimes of Early English 
 date, as in Cljanping, Sussex ; or Decorated as at Derby, S. Peter : 
 but their date is seldom easy to determine. A very curious double 
 one, of enormously massive oak, and with singular locks, is built into 
 the wall and floor in the Chapel of South Lynn : the outer lid alone 
 requires a strong man to lift it. 
 
 VI. 12. Faldstool. More correctly. Litany desk. A beautiful 
 kneeling desk is to be seen in the carved seats of S. Ives, Cornwall. 
 For an explanation of the word see the Rubrick to the Coronation 
 Service. 
 
 VI. 14. Oratory. A small chapel attached to the church for the 
 purpose of private devotion. They are very seldom foimd; but a per- 
 fect one exists at iMaxey church, Northamptonshire. It is a small 
 room with a groined roof, entered by a double door from the Chancel, 
 to which it forms a south Transept. 
 
 V^I. 15. Chrismatory. A recess like a piscina, above or near the 
 place where the Font originally stood, to contain the Chrism, or holy 
 oU, with which infants were after Baptism anointed. Examples 
 occur at S. Mildred's, Canterbui-y, and Thoyden Garney, Essex. 
 
 VI. 16. Lychnoscope. In the third edition the following account 
 of this singular arrangement was given, though further investigations 
 have induced us to think it untenable : " The small and low side 
 window at the south-west or north-west of the Chancel, or the 
 south-east or north-east of the Nave. This generally occurs in 
 Early EngUsh churches; and the window is frequently transomed. 
 The use of this arrangement has been much questioned. Some 
 have thought it a confessional ; some, for lepers to view the Eleva- 
 tion of the Host; but the position of the window often made it 
 impossible that the Elevation of the Host should be seen through 
 it. Others think that it served as an external Hagioscope from 
 the Aisles, or to see when the priest advanced to commence the 
 service at the Altar. The following hint is thrown out as to 
 its real use. During the three last nights of Passion Week lights 
 were kept burning in the Holy Sepulchre*, and at all times in 
 Chantries and upon High Altars. This window probably served for 
 those whose business it was to keep them in, to satisfy themselves 
 that all was right : the other windows being too high for the purpose. 
 Hence they generally occur on the south side, because the Easter 
 Sepulchre is generally found on the north. And they are less common 
 in Perpendicular churches because the windows are usually so low as 
 to render them unnecessary. In old parish registers we sometimes 
 find the item " Paid for watching the Pasch-light." It has been ob- 
 served that traces of shutters may sometimes be found inside; and it 
 
 * This was usually a temporary wooden erection : the existence therefore of this window 
 where no sepulchre now remains, does not disprove what is here advanced. 
 
 3
 
 34 
 
 is probable that this window was opened only on the aljove occasions, 
 because it would materially interfere with the uniformity of the 
 Chancel Avindows^ and impede the prospect through the Hagioscope. 
 It is rare to find Lychnoscopes on both north and south sides of the 
 Chancel, as at UfFord, Northamptonshire. The above tenii has been 
 introduced in conformity with this view of the use of such an arrange- 
 ment, no received or satisfactory name having yet been assigned to 
 it: though the subject is, of course, open to further investigation." 
 
 The opinion stated above appears to be untenable, both from 
 the occurrence of lychnoscopes in positions, and under circum- 
 stances, which are irreconcileable with the theory, and from the 
 consideration that, although the item "for watching the Pasch- 
 light" occurs perhaps not unfrequently, yet devotion was seldom 
 at so low an ebb^ particularly in the twelfth century, as to make 
 such a provision in the fabrick of the building necessary. From 
 investigations made since the irablication of the third edition, it 
 appears that in particular districts the features and position of the 
 lynchnoscope are varied ui a more remarkable way even than might 
 have been expected from the acknowledged prevalence of peculiar 
 architectural forms and arrangements in different localities. Tlius in 
 some places the lychnoscope is always transomed, that is, forms part 
 of an original window, being divided from the upper part by this 
 unusual member in windows of this period : in others a somewhat 
 later window has been added, i^erhaps clumsily, at the bottom of 
 an original one : as may be seen at Addington in Surrey. In other 
 churches it is found as an entirely distinct window from the ordinaiy 
 Chancel windows, unlike them in character, and placed at a lower 
 level in the wall. In some cases the lychnoscope has two lights 
 divided by a mullion. The eastern part of the county of Kent 
 presents some curious examples. In the fine Norman church of 
 S. Margaret at Clyffe, there may be seen at the south-west of the 
 Chancel the blocked remains of a veiy low broad window, with 
 a segmental head. This is the earliest example we have heard of. 
 At Ringswould a trefoliated Early English lychnoscope has been 
 inserted at the north-west of a Norman Chancel. In Preston church 
 there are two : one, an elegant trefoliated light at the south-west of 
 the Chancel ; the other, apparently of Early Decorated date, at the 
 north-west of a north Chantry. Here it would seem an appendage 
 of an Altar rather than of an Easter Sepulchre. Walmer has, in 
 an Early English Chancel, a low square lychnoscope at the south- 
 west ; and, what is more remarkable, a second, of Early Perpen- 
 dicular date,, at the south-east of the Nave. These two lights must 
 together have commanded the north pier of the Chancel Arch. 
 Whether any remarkable arrangement exised here, cannot now be 
 know^n, owing to the miserable mutilation of the church. 
 
 In Ewell church an Early English lychnoscope of very rude 
 work occurs at the soutli-wcst of the Chancel. It is square, and
 
 35 
 
 divided by a rude mullion into two oblong lights. A Decorated 
 example occurs at Elnistone, at the south-west of the Chancel. In 
 three nearly contiguous churches of the same district, the lychnoscope 
 occurs in the remarkable position of the north-east of the Nave, or 
 North Aisle. At Lyddon it is a plain light in the back part of a 
 sepulchral recess of rude character and workmanship. At Tilman- 
 stone there is a low plain oblong aperture in a sort of sepulchral 
 recess in the same position. In Eythorne it is a mere small oblong 
 opening apparently without internal splay. 
 
 The most curious lychnoscope however that has yet been de- 
 scribed occurs in Buckland church, in the same neighbourhood. At 
 the north-west of the Chancel is a tall niche, splayed veiy slightly in 
 its eastern jamb, but very much in its western, so as to allow a 
 person from without to see the western face of the south pier of the 
 Chancel Arch. In the upper part of the niche is a trefoiled light, 
 apparently divided by a transom from a lower light, now blocked. 
 In the inside, on the western jamb, remains the hinge of a wooden 
 shutter. In this church the Chancel is much narrower than the 
 Nave, but the north walls of both are in a line : so that south of the 
 Chancel Arch there remains an eastern wall to the Nave. Here there 
 might have stood an Altar, commanded by this lychnoscope, except 
 that there seem to be traces of a smaller arch of communication here 
 into a south Chancel Aisle, which exists, but in a mutilated state. 
 
 The form of these windows is extremely varied, but they almost 
 invariably have transoms. At Littlebury, Essex, a transomed lancet 
 occurs ; at Combei'ton, a Decorated window of two lights, with the 
 western only transomed. At Essendine is a quatrefoiled circle. 
 
 The lychnoscope must not be confounded with a little window 
 sometimes, as at Bishop's Bourne, Kent, found in the same position 
 but high up in the wall. This was to throw light into the Roodloft. 
 Sometimes also, as at Preston, Sussex, the Chancel windows are all 
 on a different level, descending from the east. In such cases the 
 interior of the Chancel was formerly on an ascent of steps. 
 
 The attention of church visitors is particularly invited to this 
 subject, and any information will be gladly received by the Society. 
 The points to which the attention of Ecclesiologists is more parti- 
 cularly directed are the following: 
 
 The position of the lychnoscope considered with reference to the 
 ground-plan of the church. 
 
 Their adaptation to an external or internal point of sight. 
 
 The direction of their internal splay ; it being ascertained, if 
 possible, what parts of the church are commanded by them from 
 without. 
 
 Whether they have any external splay ; which might have been 
 expected if they were to be used from without. 
 
 Whether tliey were ever glazed , and if so, whether with coloured 
 glass. 
 
 3—2
 
 36 
 
 AVhether they were transomed ; whether furnished with internal 
 sliutters ; if so, the arrangement of the hinges. 
 
 Their height, outside and inside, from the basement moulding or 
 line of floor. 
 
 VI. 18. Paintings on Wall or Roof. Anciently, besides the win- 
 dows being filled with gorgeous stained glass, the interior walls of 
 churches were covered with fresco paintings, and the roofs adorned 
 with beautiful heraldic devices or mosaic patterns, or made to 
 represent the blue sky with gilt stars and constellations, as at 
 Empingham, Rutland. The frescoes on the walls were at first 
 flowers or patterns, as at S. Sepulchre's ; afterwards legends of Saints, 
 or historical events, as the Martyrdom of S. Thomas of Canterbury 
 at Preston, Sussex. They gave special offence to the Puritans, who 
 effaced them wherever they could. Many considerable portions 
 however have recently been brought to light, concealed by coatings 
 of whitewash, though in most instances they have unfortunately been 
 effaced or destroyed. Wherever any trace is discovered, careful 
 search should be made for more in every direction ; but great pains 
 must be taken in removing the paint or wash from them, since 
 much mischief may be done by injudicious haste and impatience. 
 It is probable that in many instances fine paintings Avere purposely 
 concealed from the Puritans by covering them with coarse whitewash, 
 and that many invaluable examples to this day exist in a perfect 
 state. One of the commonest representations is of S. Christopher, 
 who, being a saint boni ominis, is often found opposite the chief 
 entrance. Upon the discovery of any considerable portions of fresco 
 painting, intimation should be sent to the Society at Cambridge, Avho 
 will give directions for its restoration. The groining and canopies 
 of niches, and the capitals and shafts of columns were often adorned 
 with red, blue, and gilt decorations, traces of which may generally 
 be found by carefully removing the outer coatings with a knife. At 
 Coton the capitals of the nave piers were painted vermilion, and 
 much of the original colouring remains. 
 
 VI. 24. Ancient Armour. A very brief summary is here in- 
 serted to guide the visitor in determining dates. From about 1150 
 to 1310, a complete dress of mail (the hauberk) was used, made of 
 small steel rings. Effigies of this kind are almost always of Knights 
 Templars. During the 12th century the head was covered with a 
 hood of mail (coif de mailles), and the crowai was jirotected by a flat 
 or trenclier-shaped steel plate worn underneath. In the time of 
 Richard I. a cylindi-ical or spherical helm (chapel de fer), horizon- 
 tally pierced in front, was much worn. Over the hauberk was a 
 loose surcoat. The arms were, a long kite-shaped shield, a mace, or 
 pole axe, (martel de fer), and a long sword, usually -with the hand on 
 the hilt. The feet were cased in mail, and armed with a pryck spur. 
 
 Effigies scarcely occur before about 1250, though a few Knights 
 Templars of earlier date remain. In the time of Henry III. plates
 
 37 
 
 of steel began to be added to the elbows and knees. The shields 
 were worn shorter; on the head Avas a simple hood of mail; and a 
 quilted shirt (gambeson) Avas worn under the hauberk. A little be- 
 fore 1300, ailettes (or small sliields charged with arms over each 
 shoulder) were introduced. Steel plates on the arms and legs (in 
 front only) succeeded, and the surcoat was charged with the armorial 
 bearings. Horses were harded, or enveloped in drapery bearing the 
 riders arms. The conical helm (bascinet) seems to have come in use 
 about 1320. Circular plates at the joints, as shoulders and elbows, 
 were often bosses with lions' heads, &c. Pointed shoes (soUerets) 
 were now first used. The loose surcoat still worn over the mail. 
 Brasses and effigies of this age are extremely rare. 
 
 From 1340 to 1390, the bascinet, camail, or mail tippet, jupon, or 
 jerkin, fitting tight over the body, and escalloped at bottom, below 
 which the mail shirt (haubergeon) appears, were in fashion. A long 
 sword, and anelace, or dagger, are the offensive arms. The legs and 
 arms are cased in steel. SoUerets and rowel-spurs on the feet. The 
 arms were sometimes blazoned on the jupon. Sometimes the SS 
 collar occurs : a vizor to the bascinet ; and a chaplet or wreath round 
 the helm. Effigies and Brasses of the date of Edward III. are very 
 common. 
 
 About 1400, the camail gave way to a gorget of plate. Below the 
 waist hung taces of steel lamina?. The head often rests on a tilting 
 helm, with crest above it. On the elbows are fan-like pieces of steel : 
 on the arm-pits pallettes. The toes of soUerets are now blunt. In the 
 time of Richard III. armour attained its greatest perfection. Still 
 later (Henry VII. and VIII.) we find jjendent tassets or tuilles below 
 the waist: broad-toed shoes (poullains), and frequently fluted ar- 
 mour. The mail appears below the tassets, which hang like a flap 
 over each hip. The elbow plates are sometimes preposterously^large. 
 VI. 26. Images of Saints. The images of patron saints often 
 occur in niches on the exterior, particularly the Tower : as at Yaxley, 
 SuflFolk, Bourne-Bridge, Kent: S. Loup near Bayeux. Some statues 
 remain in the east wall of S. Mary le Crypt, Gloucester. The fol- 
 loAATUg account of the symbols of the most commonly occurring 
 Saints, will be found useful in examining stained glass, ancient paint- 
 ings, &c. 
 
 The Holy Apostles; 
 
 S. Peter. With, a key ; or two keys with different wards. Usually 
 represented with S. Paul : in which case S. Peter has an 
 open book, S. Paul a closed one. 
 S. Andrew. Leaning on the Cross called from him. 
 S. John Evangelist. With a Chalice, in which is a winged ser- 
 pent. (In this case the eagle is rarely represented.) 
 S. Bartholomew. With a flaying-knife. 
 
 S. James the Less. With a fuller's staff, bearing a small square 
 banner.
 
 38 
 
 S. James the Greater. With a pilgrim's hat, staff, scrip, and 
 
 escallop shell. 
 S. Thomas. With an arrow ; or with a long staff. 
 S. Simon. With a long saw. 
 S. Jude. With a club. 
 S. Matthias. With a hatchet. 
 S. Philip. Leaning on a spear ; or with a long Cross in the shape 
 
 of a T. 
 S. Matthew. With a knife or dagger. 
 -S. Paul. With elevated sword. 
 
 S. John Baptist. With an Agnus Dei, generally on a book. 
 -S. Stephen. With stones in his lap. 
 [Some of the above are doubtful.] 
 
 S. Agatha. V. M. Her breast torn by pincers. 
 
 S. Agnes. V. M. With a lamb at her feet. 
 
 S. Aidan. B. C; A stag crouching at his feet. 
 
 5. Alphege. Abp. M. His chasuble full of stones. 
 
 S. Anagradesma. V. C. Covered with the leprosy. 
 
 ^S". A^ine. Teaching the Blessed Virgin to read : her finger usually 
 
 pointing to the words Radix Jesse floruit. 
 S. Antony the Eremite. The Devil appearing to liim like a goat. 
 S. Antony of Padua. C. With a pig, a T Cross, and a Rosary. 
 S. Apollonia. V. M. With a tooth and pincers. 
 S. Augustine the Doctor. B. D. By the sea-side. 
 S. Barbara. V. M. With a tower In her hands. 
 S. Blaise. B. M. With a wool-comb. 
 S. Boniface. B. M. Hewing dovm an oak. 
 S. Bridget. V. Holding a Crucifix. 
 S. Britius. B. C. With a child in his arms. 
 S. Canute. K. M. Lying at the foot of an Altar. 
 jS". Catharine. V. M. With a wheel and sword. 
 S. Cecilia. V. M. With an organ. 
 .S*. Christopher. M. A giant, carrying the infant Saviour on his 
 
 shoulder across a stream: a monk or female figure with a 
 
 lantern on the further side. 
 S. Clement. B. M. With an anchor. 
 S. David. Abp. C. Preaching on a liill ? 
 S. Denys. B. M. With his head in his hands. 
 S. Dorothy. V. M. A nosegay in one hand, a sword in the other. 
 S. Dunstan. Abp. C. With a harp. 
 S. Edith. V, C. Abbess. Washing a beggar's feet ? 
 S. Edmund. K. M. Crowned, fastened to a tree, and pierced with 
 
 arrows. 
 S. Edward. K. C. With the Gospel of S. John in his hand. 
 S. Enurchus. B. C. A Dove lighting on his head.
 
 39 
 
 S. Etheldreda. Q. V. Abbess. Asleep : a young tree blossoming 
 
 over her head. 
 S. Eustachius, or S. Hubert. M. A stag ajipearing to him with a 
 
 cross between its horns. 
 .V. Fabian. B. M. Kneeling at the blocks with the triple crown 
 
 at his side ? 
 S. Faith. V. M. "SV^ith a bundle of rods. 
 S. George. M. With the dragon. 
 6'. Gertrude. V. Abbess ? With a loaf? 
 S. Giles. Abbat C. A hind with an arrow piercing her neck 
 
 standing on her hind legs, and resting her feet in his lap. 
 S. Gudula. V. M. With a lantern. 
 S. Guthlac. C. Withawliip. 
 S. Helena. Q. Holding the true Cross. 
 S. Hilary. B. C. D. With three books. 
 S. Hippolytus. B. M. Torn by wild horses. 
 S. Januarius. M. Lighting a fire. 
 S. Joachim. 'With a staff and two doves in a basket. 
 S. Laurence. Deacon. J\I. With a gridiron and a book, and in 
 
 Deacon's Vestments. 
 <S'. Leonard. C. With two long fetters. 
 iS'. Longinus. A Soldier, with a long spear. 
 S. Magnus. M. Restoring sight to a blind man ? 
 S. Margaret. V. M. Trampling on a dragon : a crozier in her hands. 
 S. Mary Magdalen. With dishevelled hair and box of ointment. 
 S. Mai-tin. B. C. Giving half his cloak to a beggar. 
 iS. Michael. As an Archangel ; often with scales. 
 S. Nicholas. B.C. With three naked children in a tub, in the 
 
 end of which rests his pastoral staff. 
 S. Odilo. Abbat. With two goblets. 
 S. Pancras. M. Trampling on a Saracen : a palm-branch in his 
 
 right hand. 
 S- Raymond. In a boat with a sail up. 
 S. Richard. B. A chalice at his feet. 
 S. Roche. With wallet, dog, and loaf of bread. 
 S. Rosaly. V. With a rock in her arms ? 
 
 S. Sebastian. M. as S. Edmund, but without a crown, and naked. 
 S. Ursula. V. M. Surrounded with virgins much less in size than 
 
 herself. 
 S. Vincent. D. M. On the rack 1 
 S. Walhurga. V. Oil distilling from her hand ? 
 S. Waltheof. M. Kneeling at the block : the sun rising. 
 S. Winifrid. V. Abbess. With her head in her arms. 
 S. Wulfstan. B.C. Striking his Pastoral Staff on a tomb. 
 
 The Blessed Virgin is principally represented : 
 1. At the Annunciation: the almond-tree flourishing in the 
 flower-pot.
 
 40 
 
 2. At her Purification : with a paii- of turtle-doves. 
 
 3. In her agony : a sword piercing her heart. 
 
 4. In her " repose" : i. e. death. 
 6. In her Assumption. 
 
 6. With the Blessed Saviour in her lap. 
 
 7. In her ecstacy: kneeling at a prayer-desk, which faces the 
 Temple : the Holy Dove descending on her. 
 
 Martyrs hold palms : Virgins, lamps ; or, if also Martyrs, lilies and 
 roses : Confessors, lilies : Patriarchs, wheels. 
 
 The glory round the head is circular, except where living Prelates, 
 eminent for holiness, are represented, when it is square. 
 
 VI. 27. Stone Sculptures. Though these are intended to in- 
 clude all kinds of carved work in stone, attention should especially 
 be directed to stone effigies, since this part of ancient Christian 
 art, has, in our blind admiration for pagan statuary, received much 
 less notice than its extraordinary merit deserves. Nothing is more 
 affectingly beautiful than the recumbent figure of a Bishop or Abbat ; 
 nothing more truthful and striking than that of the knightly founder 
 of a church, a holy nun, or a venerable priest. The exquisite 
 beauty of the drapery, the peaceful countenance, and the clasped 
 hands, are all worthy of careful study, as they are oftentimes among 
 the most interesting relics of antiquity. The statues in niches (as 
 on the west fronts of Wells Cathedral and Croyland Abbey) are 
 equally fine, though of much less common occurrence. The date 
 of all such effigies may readily be knowTi by the style of the dresses, 
 mitres, crowns, armour, or other ornaments. The statuary in the 
 Chapter-house of Ely, though much mutUated, is of the most ex- 
 quisite design and execution. 
 
 VI. 28. Merchants' Marks. A device, generally inclosed in a 
 shield, on monuments, fonts, stained glass, brasses, or corbels, taken 
 up by merchants for the sake of distinction, they being then pro- 
 hibited by the heralds from bearing arms. See " Illustrations of 
 Monumental Brasses," Part 2, for an account and some specimens 
 of them. 
 
 VI. 30. Well, connected with church. Examples of this occur in 
 S. Lo, Notre Dame, and Coutances Cathedral, Normandy. 
 
 VI. 32. Brasses. A volume might be written on the subject : 
 for the present the briefest sketch must here be given, and the student 
 referred for general information to the Society's larger work, the 
 "Illustrations," &c. just named. 
 
 1. As to the method of copying them. 
 
 There are two methods : the first by employing a soft leathern 
 rubber, a mixture of black-lead and oU, and tissue paper; the second 
 with the heel-ball and paper of a somewhat thicker kind. The 
 former has the advantage of being more accurate, less laborious, and 
 requiring less practice: but it is a dirty and disagreeable process, 
 and the impression is found to fiide by time, besides that tissue paper
 
 41 
 
 is unsuited for large collections. The latter is more spirited, requires 
 no apparatus, and is less liable to rub or to tear. 
 
 2. As to the brasses themselves : 
 
 Brasses are not found before 1300: nor (to any extent) after the 
 Restoration. They may be divided into three classes : ecclesiastical, 
 military, civil. 
 
 Ecclesiastical brasses fall under seven heads : 
 
 I. Priests in Eucharistical vestments : — 
 
 a. The alb (alba) : to the lower part is appended the orfray, 
 or orphrey (aurifrisium), anciently ornamented with stripes 
 of purple. It signified innocency and purity of soul. 
 
 /3. The zone, ov girdle (zona), emblematick of chastity: used 
 to confine the alb. 
 
 y. The girdle (cingulum), typifying freedom from the world, 
 concealed by e. 
 
 0. The stole (stola or orarium), typifying the yoke of the 
 Gospel. This was a long narrow strip, fringed at the ends, 
 thrown over the neck and crossed on Priests, but worn by 
 Deacons over the left shoulder. 
 
 6. The c^asMft/e (casula), a circular vest without sleeves: having 
 an aperture in the middle, for the head to pass through. 
 The peaks before and behind, in which it fell down when 
 the hands were raised, designated love to God, and to our 
 neighbour. 
 
 X,. The maniple (manipulum), hanging from the left arm: it 
 typified the troubles of the present world. It was a strip of 
 fine linen, similar to the stole, but shorter, and originally 
 used to wipe the fingers. 
 Priests in Eucharistical vestments occur, 
 
 (1). Without the chalice, (Saffi-on Walden: Fulbourn) : 
 
 (2). (Wliich is much more rare) with it, (Littlebury) : in 
 which case it is sometimes placed below the hands (North 
 Mimms, Hertfordshire). 
 
 II. Priests in Processional Vestments: — 
 
 1 . The alb, as before. 
 
 2. The afuice (humerale, amictus), a square piece of linen 
 thrown over the shoulders, formerly 'worn on the head like 
 a hood, and typifying the helmet of salvation. The long 
 ends were kept down by pieces of lead. 
 
 3. The cope (pluviale or cappa) : this was originally used in 
 processions, to keep off the rain, whence its first name : the 
 derivation of the latter is uncertain. 
 
 These were in general elaborately ornamented : one at Ely was 
 so rich as to be called "The Glory of the World." At Durham*, 
 "The Prior had an exceedingly rich one of cloth of gold, which was 
 
 « Antiquities of DurJtMn Ahheij.
 
 42 
 
 so massy that he could not go upright with it, unless his gentlemen, 
 who at other times bore up his train, supported it on every side 
 whenever he had it on." The fibula, or morse (i. e. clasp), is often 
 sculptured with the Saviour's head. The border is sometimes 
 adorned with flower-work (Girton); sometimes cancellated (Queens' 
 College Chapel) ; sometimes enriched with figures of Saints (Dr John 
 Sleford, Dr John Blodwell, Balsham ; Dr "Walter Hewke, Trmity 
 Hall) ; sometimes with the initials of the Priest (Fulboum, Great 
 Shelford, Wilburton); sometimes with an inscription, as "Credo 
 quod Redemptor mens vivit ;" sometimes with a rebus of the name, 
 as in the brass of Dr Mapleton, Broadwater, Sussex, where is an M 
 alternately with a Maple-leaf. A Cope is preserved in Ely Cathedral. 
 The Cope is very seldom seen in stone effigies. An example before 
 the Reformation occurs in S. Nicholas, Guildford ; which also retains 
 the oi'iginal colours; after the Reformation, in Bishop Heton's Monu- 
 ment, Ely Cathedral. 
 
 The use of the Cope and of the Vestment, or Chasuble, is still 
 ordered by the Anglican Church. 
 
 III. Priests in Academical Dress. 
 
 Examples: in hood and gown, Dr Richard Billingford, S. Bene- 
 dict's : Provost Hacomblayne, King's College Chapel : in caji, hood 
 and gown, Dr Walter Toune, in the same Chapel. 
 
 IV. Canons, or Deans. 
 
 These wear a white woollen hood, with bell-shaped pendents, 
 (Luton^ Beds: Byfleet, Surrey: Great Hasely, Oxfordshire.) 
 
 V. Monks. 
 
 The principal divisions of these are : Benedictines, Cistercians, 
 Cluniacs, Carthusians, Austin and Prsemonstratensian Canons. To 
 particularize the difference in the robes of each, would lead us too 
 far from our subject: and they are fully explained and illustrated 
 in Churtons Early English Church. A Benedictine Monk occurs in 
 Sawston church. 
 
 VI. Bishops. 
 
 TJie full vestments were Alb, Zone, Tunic, Dalmatic, Stole, 
 Chasuble, Maniple, Sandals, Gloves, Mitre, Pastoral Staff with 
 Vexillum, Ring. Bishop Goodrich, Ely, is a good example. The 
 hands are sometimes joined in prayer: oftener the left grasps the 
 Pastoral Staff, the right is extended in the attitude of benediction. 
 
 An Archbishop has the Pall, (which may be seen in the arms of 
 Canterbury and Armagh) in addition: he has, or ought to have, 
 a ducal coronet round the Mitre, and he holds a Crozier instead of 
 a Pastoral Staff. 
 
 Mitred Abbats have exactly the same appearance, except that 
 generally they hold the Pastoral StaflF in the right hand, and give 
 the benediction with the left. If they hold it in the left, the crook 
 is turned inwards: Bishops hold it outwards. A list of Mitred
 
 43 
 
 Malmesbury. 
 
 Peterborough. 
 
 Ramsey. 
 
 Reading. 
 
 Selby. 
 
 Shrewsbury, 
 
 Tavistock (doubtful.) 
 
 Tewkesbury. 
 
 Thorney. 
 
 Waltham. 
 
 Westminster. 
 
 Winchelcombe. 
 
 York S. Mary. 
 
 Abbeys, as likely to prove useful and not easily procurable, is here 
 given: 
 
 St. Alban's, the first in dignity. 
 Abingdon. 
 Bardney. 
 Battle. 
 
 Bury S. Edmunds. 
 Canterbury S. Austin':^. 
 Cirencester. 
 Crowland. 
 
 Colchester S. John's. 
 Evesham. 
 Glastonbury. 
 Hide. 
 
 Hulme, (of which the Bishop of 
 Norwich is to this day titular 
 Lord Abbat.) 
 
 The Priors of Coventry and S. John of Jerusalem. 
 VII. Priests after the Reformation. These are not common. 
 Example: Wimpole. 
 
 Militaiy Brasses, as coming less mthin the province of an Eccle- 
 siological Society, may be dismissed with a few examples from this 
 county. 
 
 1289 Sir Roger de Trumpington Trumpingtcn. 
 
 1330 Sir John de Creke Westley Waterless. 
 
 1360 Sir Henry Englysh Wood Ditton. 
 
 1382 Sir John de Argentein Horseheath . 
 
 1401 Sir Thomas Braunstone Wisbeach. 
 
 1416 Sir William Skelton Hinxton. 
 
 1420 (circ) Sir Parys Linton. 
 
 1425 Sir Baldwin St George Hatley S. George. 
 
 1450 (circ) Sir . Sawston. 
 
 1484 Sir Thomas Peyton Isleham. 
 
 1500 Sir John Burgoyne Impington. 
 
 Civilians are not common in Cambridgeshire. Fulbourn and 
 Milton will afford examples. 
 
 Of female head-dresses we have already spoken. 
 The symbols usually found with Brasses are : 
 A Heart pierced with the Five Wounds. 
 
 The Holy Trinity : either under the form of the Father seated 
 in His Glory, embracing the Crucifix, the Holy Dove hovering over 
 it : or in the monogram.
 
 44 
 
 Bolt-tun 
 
 Bolton. 
 
 Lamb-bird 
 
 Lambert. 
 
 War-bill-ton 
 
 Warbleton. 
 
 Long-ton 
 
 Langton. 
 
 Cur-tun 
 
 Kirton. 
 
 Ash-tun 
 
 Ashton. 
 
 I-slip 
 
 Islip. 
 
 Gold-stones. 
 
 Goldstone. 
 
 Silk-steed 
 
 Silkstede. 
 
 A Rose with Glory, which must not be confounded with the 
 Tudor " Rose en soleil." 
 
 The Evangelistick symbols : S. Matthew's Angel : S. Mark's 
 Winged Lion : S. Luke's Ox : S. John's Eagle. 
 
 The four Doctors of the Western Church are sometimes also thus 
 represented : S. Augustine by the first : S. Ambrose by the second : 
 S- Jerome by the third : S. Gregory by the fourth. 
 A Lily terminating in a Crucifix. 
 The Instruments of Crucifixion. 
 Rebuses, such as the following : 
 An arrow in a cask 
 A lamb and dove 
 A hatchet and cask 
 
 TON 
 A dog in a barrel 
 An ash tree in a barrel 
 A man fallmg 
 Three pieces of gold 
 A skein of silk and a horse 
 and such like. 
 
 These Rebuses should be carefully looked for, as they may often 
 determine the date of a building, font, &c., where they were fre- 
 quently added where the modesty of the donor or founder would not 
 allow his name. 
 
 The arms of the person represented: of his company, guild, 
 diocese, or hospital. 
 
 Merchant's marks. 
 
 Implements of trade, as gloves for a glover. 
 
 As a general rule, the narrower the rim of the legend the older 
 the Brass. 
 
 Legends from the mouth are of the following kind : 
 
 Sancta Trinitas, unus Deus, miserere nobis. 
 or, as it would be written. Sea Trinitas, un' de', niisere nobis. 
 
 Mcy, ihu, and gramcy. (Mercy, Jesu, and gramercy !) 
 
 ihu, mcy. ladye, helpe. 
 
 liiu yat us made — and with thy blood us bought — forgive us 
 our trespasses. 
 
 Mater sea ihu, me serva mort' ab esu. 
 
 Sit scT Thomse suscepta precacio pro me. 
 
 Chor' Apostolic' sit nobis semper amic'. 
 
 Sanguis Xpi, salva me. Passio Xpi, conforta me. 
 
 ihu fill Dei, miserere mei. 
 
 Nos jungat thronis vere thronus Salomonis. 
 
 Virgo coronata due nos ad regna beata. 
 
 Nos cum prole pia benedicat Virgo Maria.
 
 45 
 
 Credo qd Redemptor me' vivit, et in die novissima stabit sup' 
 terrain :_et rurs' sup' inducar pelle men, et in came mea 
 videbo deu : reposita hasc spes est in sinu meo. 
 
 Ordo ijvophetar' minuat penas animar'. 
 
 Laus Deo. 
 
 Magnificat anima mea Dnum. 
 
 Martir see Dei, due ad loca me requiei. 
 
 Legends at the feet, or round the circumference, resemble the 
 following : 
 
 Ralph de Cobham de Kent Esquier, 
 Qe morust le vingtieme jour de Janvier 
 L'an de grace mcccc. gist ici : 
 Priet a du par charite pur lui. 
 Orate p aia_dni ^Filli' Bisshop, Clci q' obiit v° die Mail a° do' 
 Mcccccxii, cui' aie ppiciet ds. 
 
 Orate pro anima domini Wilhelmi Bisshop, Clerici, qui obLit 
 quinto die Mail, anno Domini 1512. cujus animse propicietur Deus. 
 
 Pray fFor the sowlys of Willi' Kemp and M'get his wyf. ye w^ 
 Willi' dep'ted in the yere of our Lord 1539. 
 
 Of yo"" charite py fFor y^ soulis of Willm Byrd and Margaret his 
 wife which decessid ye xv day of Apl. y^ yer" of o'' lord m.ccccc.xvi. 
 on whos soulis ihu have mcy. 
 
 Heere lyeth Maistre Peter Andreye, gen. whoos sowle god p'don. 
 In gracia et misericordia ihu hie requiescit Dnus Johes Taylor, 
 qdam huj' ecclie rector: cuj' aie ppciet altissimus. Amen. 
 
 Orate p' ana Johis Bancroft, et Alicie ux'is ej, qui qdem Johes 
 obiit vi° die mens'jJunii, a° dni mdxxi : et pi-edicta Alicia obiit — die 
 mens' a° dni , quorum aiabs et omnium fidelium 
 
 defunctorum ppciet' ds. Amen, The omission of the date for the 
 wife or husband (the survivor) is very common. 
 
 Of your charite pray for the sowlys of John Peyton, and Katerine 
 his wif. on whoos sowles and all Crysten sowles ihu have mcy. 
 Of a later style the following is a specimen : 
 
 In memoriam Ricardi White, infantuli beatissimi 
 in 
 Qui a peccato re natus 
 
 sine de 
 
 a lavacro simul et vita decessit, in vitam auspicato albatus eternam. 
 
 One of the commonest epitaphs is the following : 
 Es test' Xpe, qd non jacet hie lap' iste 
 Corp' ut ornet' s' spirit' ut memoret'. 
 Hem tu q' trans' magn' medi' puer' an sis 
 Pro me funde pi*ec', quia sic mihi sit venie spes. 
 
 The last two lines often run thus : 
 
 Quisq' er' qui transier' sta perlege plora 
 
 S' qd er', fucramque qd es, pro me precor ora.
 
 46 
 
 Rare brasses are : 
 
 Priests with a chalice containing the host : particularly when 
 
 the latter has the letters Ihc. 
 A chalice by itselfj exceedingly rare. 
 Knights or squires with tabards or surcoats. 
 Figures of the I7th century, with hats ; in some counties. 
 Painted brasses. 
 Three-quarter priests. 
 Hearts with legends issuing from them. 
 Children in grave-clothes. 
 
 Emaciated figures, or skeletons with shrouds, (Fulboum,) 
 • or without (Hildersham, Sawston). An absurd legend, 
 
 that the person represented died of hunger, or of love, 
 
 is usually related of these. 
 Figures with churches in their hands. These represent the 
 
 founder or re-founder of the church. 
 VI. 8. Chest for Alms. These but rarely occur and generally 
 are of late date. They are varied in form and design. In Branford, 
 Suffolk, is one of 1591, with the following inscription: 
 Remember y" pore ; the Scripture doth recorde 
 What to them is given is lent unto the Lorde. 1591. 
 
 VI. 33. Monuments. The fuller the account of all, late or early, 
 in the church, of course the better : but all previously to the Re- 
 bellion should be carefully described. 
 
 The Founder's tomb generally occurs at the north-west of the 
 altar, generally in a mural recess ; and is usually an essential part 
 of the original church, not an after addition. There is one in the 
 south wall of the Chancel (seen externally) at Trumpington. 
 
 VI. 34. Loinbardicks. These generally are of granite or alabaster, 
 having a coffin shape : there is a slightly raised cross in the center, 
 and the legend runs round it. By the side of the cross are sometimes 
 represented a chalice, a hand with a ring, a sword, a distafi\, and many 
 other devices. Probably, as the science of Ecclesiology advances, we 
 shall find that the various forms of the cross refer to the different 
 situations in life of the parties whom it commemorates : all sketches 
 of these are very valuable. The legends are often very difficult to 
 read : they may be copied with the rubber and black lead : and are 
 more easily to be decyphered on the paper than in the stone. There 
 are fine exami^les in Jesus College chapel, and in S. Clement's church, 
 Cambridge. The inscription on the latter, and on a veiy well pre- 
 served one in Little Shelf ord, ai-e here given : 
 
 + Ici: gist: youn : de : helysingham : clerk: jadis: mayr: 
 de : caynbrigge : par : charite : priet : pur : lui : qe : lalme : en : 
 pais: endormie: qi: pur: lui: priera: qarante: jours: de: pardon: 
 avera: qi: morust: la: qarte: jour: de: juUi: le: an: de: grace: 
 de : nostre : seysnour : mile : tres : cent : vint nevime.
 
 47 
 
 + Ici . gist . sire . johan . de . friu 
 ile . qi . fust . seigniour . de . ces 
 te . vile . vous . qe . par . ici . passe 
 t . jiar . charite . pur . lalme . priet. 
 
 The latter, though not metrically an-anged, is in verse, and would, 
 in modern PVench, read thus : 
 
 Ici git sire Jean de Fre^alle, 
 Qui fut seigneur de cette ville: 
 Vous qui par ici passez. 
 Par charite pour I'ame priez. 
 
 There is a fine specimen of a Lombardick Cross at Rampton, and 
 several at Lohvorth, Cambridgeshire. 
 
 Sometimes a brass figure is surrounded by a Lombardick inscrip- 
 tion in stone, as at Bottisham church. 
 
 Lombardicks must not be confounded with the sculptured alabaster 
 slabs (Lolworth, Tadlow,) which are of much later date. They are 
 called 'alabaster,' as being indeed so in the best specimens: in the 
 poorer they are of plain stone, and sometimes even of chalk. Lom- 
 bardick letters are of early English date. Black letter inscriptions 
 (as they are commonly called) were introduced early in the four- 
 teenth century. The forms of letters in ancient legends should be 
 very carefully studied, as the date of inscriptions may hence be 
 determined with considerable accuracy. 
 
 V^I. 36. Stained Glass. It is needless to say anything on this 
 subject, (beyond a request to our members to be most particular 
 in their accounts of the glass,) in consequence of the excellent article 
 furnished by j\Ir Williment to the Glossaiy of Arcliitecture. As 
 this however is one of the most beautiful as well as interesting objects 
 of Ecclesiological research, a few additional remarks may not be 
 out of place. 
 
 The earliest glass consists almost entirely of three colours, gold, 
 blue, and red ; but these, and especially the two last, are of greater 
 purity, depth, and richness, than that of later ages, owing partly 
 to the greater thickness of the material. The early devices are 
 for the most part mosaic patterns with broad and rich borders, 
 but very little glass remains of a date earlier than the fourteentli 
 century. That in the Chancel of Ti-umpington is Early Decorated, 
 and vei-y fine. Almost every village church in England was anciently 
 adorned with stained glass; and most of the churches near Cam- 
 bridge stiU contain fragments. In some cases, as at Landbeach and 
 Eaton Socon, considerable portions exist in tolerable preservation. 
 
 The glass of tlie fourteenth century usually exhibits single figures 
 of Saints or Bishops in their vestments, under canopies, the ground 
 being often diapered. Some portions of this date may be seen in 
 the Chapter House, Ely. In the fifteenth century the grouping of 
 figures was introduced, and they are often in a kneeling posture.
 
 48 
 
 with scrolls proceeding from their mouths, held in their hands, or 
 thrown across the body, bearing scriptures in the black-letter cha- 
 racter. In the earlier examples the letters are of Lombardick or 
 Early English character, and placed only at the feet of effigies. 
 A very elegant and simple device was to glaze wmdows in diamond 
 panes of a thick and dull glass, containing in the middle an elegant 
 flower, leaf, initial letters, or a badge. Specimens remain in the 
 side Chapels of King's College Chapel, and at Waterbeach and 
 Harlton ; and in the north Chantry at Hacconby, Lincolnshire. Coats 
 of arms often occur. Architecture when represented, which it com- 
 monly is in the later examples, is usually of singularly incorrect 
 design and perspective, and appears quite debased even though the 
 work of pure ages. The same may be remarked of ancient Illu- 
 minations and Brasses. The best test of the age of stained glass 
 is the costume represented, especially the armour, since even a 
 fragment, as a helmet, arm, leg, or foot, will be sufficient to deter- 
 mine its age with considerable accuracy. The arrangement of the 
 lead-work, often very beautiful, may also be noticed. This in the 
 earlier specimens is caM, not milled. 
 
 Much stained glass may often be found in blocked windows, or by 
 turning up the soil near the church- walls. 
 
 We trust, that in pursuing these researches, our members will 
 always be on the alert to use every opportunity of speaking a word 
 in due season, for restoration, and against destruction ; and that in 
 the case of the contemplation of any extraordinary barbarism, such 
 as the decapitation of a Chancel- Arch as useless, or the removal of a 
 Rood- Screen, as being in the way, they will lose no time in trans- 
 mitting the information to head-quarters. 
 
 Before we conclude, a few words may be allowed on that part of 
 our study which, as it is the most interesting, so must it be kept 
 constantly before our eyes, if we would enter into the feelings of the 
 great church-buUders of other days, now with God. 
 
 We enter the Church Militant by Holy Baptism ; therefore the 
 Font is placed by the entrance at the west end : a Church built upon 
 the foundation of the Apostles and Prophets, as the earthly building 
 rests on the Piers of the Nave, often twelve in number : we pass along 
 this, keeping our eyes fixed on the Passion of Christ, depicted in the 
 gi'eat eastern window, and trusting to the merits of His One Sacrifice, 
 as represented by the one Altar, till we arrive at the close of our life, 
 imaged by the Chancel-Arch. This we pass through Faith, some 
 symbolism of which often occurs; as the Blessed Saints and Martyrs 
 have gone before us, whose figures are depicted on the Rood-Screen : 
 and thus enter the Church Triumphant, represented by the Chancel. 
 
 We conclude by a passage from one of the Canons of our Church, 
 too little observed in the present day. 
 
 " ATliereas the church is the House of God, dedicated to His holy 
 worship, and therefore ought to remind us both of the greatness and
 
 49 
 
 goodness of His divine majesty; certain it is that the acknowledgement 
 thereof not only inwardly with our hearts, but also outwardly with our 
 bodies, must needs be pious in itself, profitable unto us, and edifying to 
 others. We therefore think it very meet and behoveful, and heartily 
 commend it to all good and well-afFected people, that they be ready 
 to tender unto the Lord the said acknowledgement by doing reverence 
 and obeysance both at their coming in and going out of the said 
 churches, Chapels, or Chancels, according to the most ancient custom 
 of the primitive Church in the purest times, and of this Church also 
 for many years of the reign of Queen Elizabeth." 
 
 €aml)rilige CantSjen ^otitt^* 
 
 The SocUtt/ trusts that iU Members, while pursuing their Antiquarian researches, will 
 never forget the respect due to the sacred character of the Edifices which they visit. 
 
 Date. Name of Visitor. 
 
 Btttitntian, |3art^]^, Cnunty, 
 
 S. Mary and S. Michael. Truminngton. Cambridgeshire. 
 
 I. (Srountl 19 Ian. C. N. 2 A. 2 Ch. Toiver at West end. 
 
 Transepts \ >Towers >Chapels < ^^ ' \ 
 
 3. Orientation. 
 
 II. Jrittcrtflr. 
 /. Apse. 
 
 1. Plan. 
 
 2. Windows. 
 
 3. Apse-Arch. 
 
 4. Groining. 
 II. Chancel. 
 
 1. East Window. 5/. 3/. Geomet. tracery of A fs.Zfs. and bf ted 
 
 triangles. Ext. dr. horizontally returned. A ifted circle in 
 gable. 
 
 2. Window Arch, d, with label and internal jamb-shafts. 
 
 3. Altar. 
 
 «. Altar Stone, fixed or removed. 
 /3. Reredos. 
 
 y. Piscina. Large double EE. 3/. a. 3/. in head., the whole 
 under a d. label continued down the sides. 
 
 (1) Orifice, deep 4f. in each. 
 
 (2) Shelf. Warroiv chamfered stone ledge across spring of 
 arch.
 
 50 
 
 6. Sedilia. JVil. cUl used as stick . 
 c. Aumbrye. 
 I. Niches. 
 V- Brackets. 
 6. Easter Sepulchre. 
 '. Altar Candlesticks. 
 
 K. Steps — ^number and arrangement. 2 modem brick, by 
 rails. 
 
 X. Altar Rails. Well carved, but of late arabesque 
 
 character, 
 ^. Table. Good plain oak. 
 4. Clerestory, N. 
 S. 
 6. Windows, N. 2 elegant early D. lancets, of 21. 3 fled with 
 large 3/. in head. Ext. and int. labels with notch-head termina- 
 tions. 
 
 S. i. 3 plain intersecting Is. D. ii. iii. as on N. 
 side, but ii. partly blocked. 
 
 6. Window Arches, N. 1 . ^ i, 
 
 7. Piers, N. 
 
 S. 
 
 8. Pier Arches, N. 
 
 S. 
 
 9. Chancel Arch. Dies into wall at impost, without piers. Plain 
 
 d. with chamfered edges. A small label on west side. 
 
 10. Stalls and Misereres. 
 
 11. Chancel Seats, exterior or interior. 
 
 ] 2. Elevation of Chancel. Level with Nave. 
 
 13. Coi'bels. Five modem heads in each int. cornice string. 
 
 14. Roof and Groining. Semi-decagon cieled vault, with wooden 
 
 ribs and bosses, modern. 
 
 III. North Chancel Aisle. 
 
 1. Windows, E. 
 
 . N. 
 W. 
 
 2. Roof and Groining. 
 
 IV. South Chancel Aisle. 
 
 1. Windows, E. 
 
 S. 
 W. 
 
 2. Roof and Groining. 
 
 F. North Transept. 
 
 1. Windows, E. 
 
 N. 
 W. 
 
 2. Transept Arch. 
 
 3. Roof and Groining.
 
 51 
 
 VI. South Transept. 
 
 1. Windows, E. 
 
 S. 
 
 w. 
 
 2. Transept Arch. 
 
 3. Roof and Groining. 
 
 VII. Lantern. 
 
 1. Windows. 
 
 2. Groining. 
 
 VIII. Nave. 
 
 1. Nave Arch. 
 
 2. Panelling above Nave Arch. 
 
 3. Rood Screen. Lower panels remain,^ but concealed by pues. 
 
 4. Rood Staircase. 
 
 5. Rood Door. 
 
 6. Rood Loft. 
 
 7 Piers N ] ^^^ ^^^ ^"-^'^ ^' ^' — ^* ^-c/wsiererf, each cluster of 
 
 ' ' f 3 semi-circ. beaded shafts, finely moulded bell-caps and 
 
 g\ bases, vi. respond, ^ a 4-cluslered pier. Base to vi. S. 
 
 I of very wide spread, and EE. character, on sq. plinth. 
 
 8. Pier Arches, N. ) slightly d. of 2 richly moulded orders, labels 
 
 S. / terminated by heads not reaching to caps. 
 
 9. Triforia, N, 1st tier. 
 
 2nd tier. 
 S. 1st tier. 
 2nd tier. 
 10. Clerestory, N. Four circ. 4 fted lights, with bold deep int. and 
 ext. Ms. 
 
 S. Four single 3 fted lancets, without int. splay, d. 
 labels ext. and int. 
 
 11. Windows, N. 
 
 S. 
 
 12. Window Arches, N. 
 
 S, 
 
 13. Belfry Arch. Lofty D. d. with fine cant. Ms. and label hori- 
 
 zontally returned, bases stilted, blocked with boards. 
 
 14. Parvise Turret. 
 
 15. Roof and Groining. Low pitched mod. king-post. 
 
 16. Eagle Desk. 
 
 17. Lettern. 
 
 18. Poppy-heads. 
 
 19. Pulpit, (position and description). On north side of P. ii. 5". 
 
 good modern. 
 
 20. Hour-Glass Stand. 
 
 21. Reading Pew. As Pulpit. 
 
 22. Pews. All mod. but 2 in N. tvith arabesque Jacobean panels. 
 
 At west end, mod. open seats. 
 
 23. Galleries. One mod, at ivest end.
 
 52 
 
 IX. North Aisle. 
 
 1. Windows, E. \D. ^disengaged Is. 5/. jamb-shafts, and int. 
 
 label only. 
 
 N. 2 Z). 3/. 3/. i. if ted net-tracery, ii. intersect- 
 ing 3fted. 
 
 W. 
 
 2. Chantry Altar. 
 
 a Piscina. 
 (3 Aumbiye. 
 7 Niches. 
 ^ Bracket. 
 
 3. Roof and Groining. Mod. sloped open timber. 
 
 X. South Aisle. 
 
 1 Windows, E. Same as in N. 
 S. As in N. 
 W. 
 
 2. Chantry Altar. « Piscina. ( in S. Ch. ) Small 5/. g. stone 
 
 shelf. 6/. orifice, bold d. label, 
 (i Sedilia. 
 y Aumbrye. 
 (5 Niches. 
 e Bracket. 
 
 3. Roof and Groining. As in N. 
 
 XI. " Ornaments." 
 
 1. Parclose. Pier i. of S. Ch. mt. as if by insertion under A. i. 
 
 2. Shrine, fixed or moveable. 
 
 3. Niches. 
 
 4. Brackets. 
 
 6. Mouldings. A triply moulded string round the int. under ivds. 
 of A s. and Ch s. and a plain square edged one ext. 
 
 6. Arcades. 
 
 7. Sepulchral Recesses. 
 
 8. Benatura. 
 
 9. Corbels {date of head-dress, &jc.) 4 heads built in S. ivall of 
 
 S. Ch. to support a Db. Monument (1681.) 
 
 10. Arches of Construction. 
 
 11. Interior Surface of Arch toward Aisles. 
 
 12. Spandril Spaces. 
 
 13. Vaulting Shafts. 
 
 14. Woodwork. 
 
 15. Pavement. Modem brick. 
 
 XII. Belfi-y, E. 
 
 N. 
 W. 
 
 s. 
 
 XIII. Font. 
 
 1. Position. West end of Nave, close to Belfry Arch.
 
 53 
 
 2. Description. Good P. 81. Each side panelled loith 4/ circles, 
 
 charged with roses and blank shields alternately. At lower 
 corners of bason, male and female heads alt. on a receding M. 
 Stem 8 /. panelled in manner of 2 1, wds. 5 fled and of ted under 
 embatt. transoms. At each angle a circ. bead. Base of 2 plain 
 slopes, i. tvith heads and flowers, ii. ^vith alt. sqtiare and circ. 
 sockets. 
 
 3. Cover. Modem. 
 
 4. Kneeling-stone. 
 
 5. Measurements. 
 
 III. CatOCr. Fine early D. 
 
 1. Form. Square. 
 
 2. Stages, 3. 
 
 3. Spire Lights. 
 
 4. Lantern. 
 
 5. Parapet. Embatt. of A. 
 
 6. Pinnacles. 
 
 7. String-Course. Below parapet, tvith lion-head gurgoyle in 
 
 middle of each. 
 
 8. Belfi-y Windows. Plain d. of 2 1, ivithont cusps. 
 
 9. Windows of Tower, S. A single 3/. lancet light, with a 
 
 similar one, but of., below. 
 
 w. 
 
 N, As S. 
 
 E. B. wd. without mullion. A very 
 high-pitched weather-moulding reaches up to it. 
 
 10. Buttresses. 4 sgs. at W. end, 2 at rt. angles at each corner, at 
 
 E. one do. 
 
 11. Construction and age of Woodwork and Floors of the 
 
 Tower and Spire. 3 floors of massive old oak. 
 
 12. Bells, a Number. Five. 
 
 /3 Tone. 
 
 y Inscription and Legendal Histoiy. i. in old black 
 letter toithout date : "Qui regnat et unus Deus del 
 munus.^'' ii. "Cano biista mori cum pulpeta vivere 
 desi. Omnia fiant ad gloriam Dei. T. Eayre, 1749. 
 John Hailes, Thomas Spencer, Churchivardens.''^ 
 iii. 1723. iv. " John Barbell made me 1677. Thomas 
 Allen gave me a treabell for to be." v. MC. 
 
 6 Chime. 
 
 m 
 
 6 Remarkable Peals rung. 
 
 \ Saint's Bell. 
 
 ') Arrangement, Sic. of Frames. 
 13. Beacon or Belfry Turret. 
 « Situation. 
 /? Form.
 
 54 
 
 y State of Defence. 
 h Line of Beacons. 
 
 14. Staircase, a Construction. Spiral newel at S. W. angle, of 
 
 little ext. projection. 
 jS Doorways. Flat 3/. headed, with old oak door, 
 y Spiral Bead. 
 
 15. Defensive arrangements of Tower. 
 
 16. Thickness of walls. 
 
 17. General Character of Tower as peculiar to the district, or 
 
 adapted to scenery and situation. 
 IV. ^tzxiax. 
 
 1. West Window. Fine D. 3 1, bf. {lately restored, and side lights 
 
 transomed.) a df. above middle I. label returned horizont. to 
 buttresses. 
 
 2. Window Arch. Equilat. 
 
 3. West Door. Fine deep cont. roll mouldings ; bold label with 
 
 heads. Inside : jamb-shafts supporting depressed flat-sided A . 
 with deep Ms. and label. 
 4; Porch, N. 
 
 a Inner Doorway. D. d, ofi. cont. uniform og. members. 
 
 /3 Benatura. 
 
 E. A door into N. Ch. d. internally flat-sided. 
 
 4 
 
 y Windows, \ deep Ms. with string carried over it. 
 
 8 Groining. 
 
 6 Outer Doorway, d. cont. Ms. label falling into ext, string. 
 
 Porch, S. 
 a Inner Doorway, js N. but much mt. 
 /3 Benatura. 
 y Windows, |^ 
 S Groining. 
 e Outer Doorway. Modern. 
 
 5. Parvise. 
 
 Windows, E. 
 
 N. or S. 
 W. 
 
 6. Doors in a Chancel or Chancel Aisles, N. One blocked, for- 
 
 merly opening into a Sacristy, d. A . with bold int. 
 label. 
 
 S. PriesCs door near 
 ivest end. Sniall pointed of 2 plain cont. orders. 
 Label with mt, notch-heads. 
 
 13 Nave or Aisles, N. 
 S. 
 y Transepts, &c. 
 
 7. Niches. 
 
 8. Buttresses. Plain and bold D, of 2 sgs. 
 
 9. Pinnacles.
 
 55 
 
 10. Arcades. 
 
 11. Parapet. Plain. 
 
 12. Mouldings. 
 
 13. Pinnacle Crosses. Mt. stem, over E. Wd. 
 
 14. Gurgoyles. 
 
 15. Eave Troughs, and general arrangement of Di'ains. 
 
 16. Crosses in Village or Church-yard. 1 mt. on N. W. 8 1, stem 
 
 bevUled from a square, on square bevilled base, 
 17- Yew in Church-yard. 
 
 18. Sancte Bell Cot. 
 
 19. Lych-Gate. 
 
 20. Coped Coffins. 3 in pavement of S. Aisle, with crosses pattee 
 
 and floriated stems. 
 
 21. Rood Turret. 
 
 22. Masonry. Of Tower, internally squared and fine-jointed chinch. 
 
 Most of the ext. covered with plaister. 
 
 23. Nature of Stone. Chinch and Barnack or Ketlon. 
 
 24. Composition and age of Mortar. 
 
 25. Joints in Arches. 
 
 26. Door and Stanchions. 
 
 27. Roof. « Present pitch. Of C. original height : of JV. low. 
 
 (i Original pitch. Of Nave,equilat. (See III. 9 E.) 
 y Nature. 
 V. Crsjpt. 
 
 1. Forai. 
 
 2. Arrangement. 
 
 3. Vaulting. 
 
 4. Piers. 
 
 5. Dimensions. 
 
 6. Windows. 
 
 7. Door. 
 
 8. Stairs. 
 
 9. Altar Appurtenances. 
 10. Lavatory. 
 
 VI. 
 
 1. Evangelistic Symbols. 
 
 2. Confessional. A recess in north wall of tower commonly sup- 
 
 posed to be so : seems to have been used for ringing the sance 
 bell in the tower. 
 
 3. Hagioscope. 
 
 4. Lychnoscope. A low square recess (tiot visible ext.) at S.W, 
 
 corner of Chancel. 
 
 5. Painted Tiles. 
 
 6. Texts, (Canon 82.) 
 
 7. Church Terriers, (Canon 87.) 
 
 8. Homilies, &c. (Canon 80.) 
 
 9. Chest for Alms, (Canon 84.) 
 10. Commandments, (Canon 82.)
 
 5G 
 
 11. Church Plate. 
 
 12. Church Chest. Old, in S. Ch. iron clamps, 2 padlocks and lock. 
 
 13. Fald Stool. 
 
 14. Reliquary. 
 
 15. Oratory. 
 
 16. Chrismatory. 
 
 17. Sun Dials. 
 
 18. Royal Arms — Date and Position. 
 
 19. Paintings on Wall or Roof. 
 
 20. Tradition of Founder. 
 
 21. Connexion of Church with Manor. 
 
 22. Time of Wake or Feast. S. Peter's Day. 
 
 23. Conventual Remains. 
 
 (a.) Situation of Church with respect to other buildings. 
 
 (/3) Situation and Description of Cloisters. 
 
 (r) Situation and Description of Chapter-House. 
 
 (p) Abbat's or Prior's Lodgings. 
 
 (e) Gate -House. 
 
 (X) Other Buildings. 
 
 24. Antiquity of Registers. 
 
 25. Funeral Atchievements, viz. Banners^ Baimerets, Pennons, 
 
 Tabard, Helm, Crest, Sword, Gauntlets, Spurs, Targe. 
 
 26. Embroidered work. 
 
 27. Images of Saints. 
 
 28. Stone Sculptures. 
 
 29. Merchants' Marks. 
 
 30. Library attached to Church. 
 
 31. WaYL connected with Church. 
 
 32. Heraldry. A Hatchment in N. Ch. {See 35 and 38.) 
 
 33. Form of Churchyard, and situation of Church in it. 
 
 34. Brasses. On high tomb in N. Ch. {See 35.) a Brass of a Knight 
 
 with hauberk, surcoat, ailettes, shield, stvord, prick spur, head 
 on helm. Effigy, size of life, Sir Roger de Trumpington, {died 
 1289.) Legend lost. Arms, 2 trumpets pile-ways between 8 cross 
 crosslets, 3, 3, atid 2. 
 
 35. Monuments. A. i. of N, A. filled ivith pei-peyn wall, embatt. at 
 
 top, in which a high tomb under og. D. arch, bf. double 
 feathered, sides of cusps flowered. An int. and ext. label with 
 heads, jambs of engaged shafts. On N. side of tomb a series of 
 11 canopied panels, bf. with blank shields in spandrils. On the 
 tomb in a slab of Purbeck marble, a Brass {see 34). — On north 
 of the above a low oblong stone with Brass, George Pilchard, 
 1650. 2 shields: i. a fesse between 3 escallops, ii. Z Scotch 
 spurs empaling a fesse bettveen 3 cross crosslets fitchee. 
 
 36. Epitaphs. 
 
 37. Lombardics. 
 
 38. Stained Glass. The original of early D. date in wd. ii. on S. of 
 
 C. and fragments in middle light of E. tvd. {engraved in Lysons''
 
 Cambridgeshire.) Some fraffmenfs, of mod. date, in wd. iii. of 
 N. A. A shield azure 2 trumpets pile-ways between eight cross 
 crosslets or. ( Trumpington . ) 
 
 39. Chapel, N. iV. of C. Formerly a Ch. or Sacristy. On outside 
 
 remain corbels wh. supported roof. N^. of Aisle, opens into it 
 by 2 D. equilat. As. Ps. 4 clusf. each shaft having vert, bead, 
 and richly moulded cap. Lighted by 3 tvds. as in N. A. on west 
 end a door with flat-sided A. (See IV. 4. y.) 
 a Dedication. 
 /^ Sides, N. 
 E. 
 W. 
 S. 
 y Roof and Groining. 
 
 40. Chapel, S, a Dedication. 
 
 li Sides, N. Ps. and As: as in A'. Ch. 
 
 E. wd. mod. round A. 
 
 W. 1 wd. D. 2 1, of. and 4/. in head. mt. 
 by insertion of door. 
 
 S. 2 wds. D. same as in Aisles, 
 y Roof and Groining. 
 
 GENERAL REMARKS. 
 
 General state of repair. 
 
 Late alterations — when— by whom — and in what taste. 
 
 Notice to be taken of any recess E. or W. of the Sedilia : of the 
 capping of Norman and Early-English Towers ; of niches in 
 the West soffit of the S.E. Nave '\^''indow; and of gabled 
 Towel's. 
 
 S. ANDREW, CHERRY HINTON, CAMBRIDGESHIRE. 
 
 IN.B. Those parikulars which do not apply to the present instance have not been re- 
 peated in the Scheme.'\ 
 
 \. iSrOltllif " ^dlail. Chancel, Nave, 2 Aisles, Tower at west end. 
 
 2. Brefdlii j'^f Chancel |^{;^^j Nave |^;J;;} Aisles |j^/;j 
 
 Transepts >! vTower \ > Chapels < > 
 
 3. Orientation. 
 
 H. Entmor. 
 
 //. Chancel. Character. Fine EE. 
 
 1. East ^Vindow. 5/. disengaged, 5/. late Tnd. insertion, flat 4 
 cent. A. 

 
 « Altar Stone, fixed or removed. Laid down in centre of Nave, 
 
 with 5 plain crosses nearly effaced. 
 /3 Reredos. Ugly modem panels in Italian style, painted, 
 y Piscina. Beautiful EE. double, triple detached shafts, labels 
 fall into vert, bead, which forms with string under ivindows a 
 square compartment, dog-tooth in Arch M. 
 (1) Orifice. Of Eastern, 8/. the other (if. 
 Sedilia. 3 graduated fine large EE. on single shafts, d. As. 
 
 deeply moulded, with labels as Piscina. 
 K Altar-Rails. Modem. 
 \ Table. Plain and mean wooden. 
 
 IJL Steps — number and arrangement. 2 by Altar-rails, of stone; 
 modern. 
 5. Windows, N. All blocked, but originally as S. 
 
 S. Fi7ie lofty EE. arcade of 13, 5/. deeply moulded 
 and labelled heads and banded shafts, pierced 
 with lancets in couplets, with blank arch be- 
 tween each couplet, behind ivh. a buttress. A 
 cornice string above, and one below windows 
 both ext. and int. The couplet above Priest's 
 door shorter than the rest. 
 9. Chancel Arch. Fine lofty EE. d. of 3 channelled or fluted 
 orders ; piers complex, a front shaft ivith 2 receding on each side, 
 and a bead between each. A modern square wd. above it, muti- 
 lating the Ms. at the crown. 
 10. Stalls and Misereres. A plain Stall with small poppy head on 
 
 each side against screen. 
 12. Elevation of Chancel. Level. 
 
 14. Roof and Groining. Flat modern, painted, and cieled between 
 
 timbers. 
 
 nil. Nave. 
 
 3. Rood Screen. P. of 2 compartments on each side of door, each 
 comp. of 21. flat 3/. above which sup. Door d. A. 5/. double 
 feathered, Af. circles and loops in spandrils. Below lights, a 
 string of 3/. circles on east side : beloiv this plain panels. 
 
 7. Piers, N. EE. clustered of i, set diamondwise, with bead between 
 
 each. Bases on square plinth. 
 S. Ditto. 
 
 8. Pier Arches, N. 5 very Jine EE. d. Ms. of two orders, each 
 
 triply M'd. all with labels. 
 S. Ditto. 
 
 15. Poppy heads. 5 in N. A. curiously btit rather rudely worked 
 
 in flowers and leaves : one with mt. inscription. 
 
 1 6. Western Arch. T. Norman. Heavy wall-piers, with shallow 
 
 underchannelled abacus at impost : on east sides an edge-shaft. 
 Arch 4 cent, late Tud. 
 
 18. Roof and Groining. Flat modern tie-beam : pseudo-queen post. 
 
 19. Pulpit, (position and description). By N. pier of C. A. Late 
 
 nruhesque.
 
 59 
 
 21. Reading Pew. Modem. 
 
 22. Pews- A few shabby deal tozcards east end, but mostly open 
 
 seats in mod. deal. 
 
 IX. North Aisk. 
 
 1. Windows, E. 1 P. of 3/. d. Arch, lights bf. g. sup. middle I. 
 with secondary transom : flat 4/. in head, and 4/s. above side- 
 lights. 
 
 N. -l as E. ) Belotv windotvs an EE. string, curried 
 W. \ as E. ) round N. door. 
 3. Roof and Groining. Sloping Tud. tolerably good. 
 
 X. South Aisk. 
 
 1. Windows, E. \ P.'dl. of. sup. flat 4 cent. A. large Af. in head. 
 S. 4 do. \ 
 
 3. Roof and Groining. As N. A. 
 
 XI. " Ornaments." 
 
 9. Corbels {date of head-dre.s:s , S^c.) In N. A. embattled, support- 
 
 ing roof, winged angels underneath, bearing charged shields on 
 breasts. 
 11. Interior Surface of Arch toward Aisles. AsNave side. 
 1.5. Pavement, Modem brick. 
 XIII. Font. 
 
 1. Position. On loest side of 5th nave pier, near entrance. 
 
 2. Description. Plain circ. T. iV. bason, large leaded orifice, on 
 
 mod. round stem. 
 
 3. Cover. A board, mod. 
 
 4. Kneeling-stone. Low square mt. mass of masonry . 2 steps to- 
 
 wards S. TV. 
 
 III. CToton'. Very late Tudor. 
 
 1. FoiTQ. Square, low, and very plain. 
 
 2. Stages. 3, as divided by stririgs. 
 
 6. Parapet. Embattled. 
 
 7. String-Course. All plain. 
 
 8. Belfry Windows. Small plain 21. square-headed. 
 
 9. VYindows of Tower, S. 1 small square, very plain, in 2nd. sg. 
 
 10. Buttresses. Diagonal, at western corners. 
 IV. (ifvtcrtor. 
 
 1. West Window. Tud. 4 cent. 3 /. bf. set northward with respect 
 
 to B. A., a staircase turret being at the S.W. corner, not seen 
 ext. 
 
 2. Window Arch. 
 
 4. Porch, S. Late Tud. faced with brick. 
 
 a Outer Doorway. A. ofclunch, much mt. 
 ^ Inner Doorway. Fine EE. loith deep Ms. and label: jamb- 
 shafts gone, but caps remaining. 
 
 y Windows, ] ^i)- j- Plain ones blocked.
 
 60 
 
 o Benatura. Perhaps remains in square plinth of stone by 
 inner door on E. side. 
 6. Doors in « Chancel or Chancel Aisles, N. 
 
 S. A beautiful EE. priesfs door, d. 
 
 A. ivithdeep and rich Ms. much 
 
 mi. single jamb-shafts, internally 
 
 with deep cotit. Ms. 
 
 ii Nave or Aisles, N. One in N. A. E E . string round 
 
 it int. and arch chamfered as far as the spring. 
 
 Outside, /ine bold cont. Ms, 
 
 S. Int. same as N. 
 8. Buttresses. Of Chancel, bold but plain EE. ivith weathered 
 heads and a set-off midway. Of Nave, P. of conmlerable pro- 
 jection, but very plain . 
 11. Parapet. Plain. 
 
 14. Gurgoyles. 2 lio?is' heads in parapet of N. and S. Aisles. 
 16. Crosses in Village or Church-yard. Fragment in latter, square 
 
 chamfered to 8 /. on 8 1, plinth. 
 19. Coped Coffins. A plain early stone one, flat, near Sacristy door 
 
 in Chancel. 
 22. Nature of Stone. Chinch internally ; externally Barnack or 
 Ketton ashlar. 
 
 25. Door and Stanchions. That in S. Porch good ancient oak. 
 
 26. Roof a Present pitch. Of Chancel, flat. Nave of good pitch, 
 
 but mod. as Clerestory existed 50 years ago. 
 
 32. Brasses. One EE. taken up, a floriated cross with marginal Lom- 
 
 bardic letters traceable at E. end of Nave, placed N. and S. 
 One magnificent floriated cross in Chancel, also taken up, slab 
 Hft. long, by 3ft. lOin. wide, flowers on stem, and resting on 
 a Holy Lamb. Marginal legend in brass also removed. 
 
 33. Monuments. Some costly but tasteless modern marble in Chancel. 
 37. Chapel, N. a Dedication. A Sacristy on N. of Chancel, by 
 
 east end, opens from Chancel by a Tudor doorioay, 4 cent, with 
 meagre discont. mouldings. On west side an ugly brick chimney.
 
 
 a?^^- 
 
 ■M'