were surprised at seeing this figure without its canopy placed in the east window of the south aisle. It may appear strange that the figure was not destroyed as well as the canopy, but the most unaccountable things occur sometimes, especially when pieces of old painted glass fall into the hands of a country glazier; little else might be expected.

We will now allude to the church itself, and the discoveries made during these repairs, by the walls being denuded of their plaster. The two pointed arches, in the north wall of the north aisle, that were met with at the time of the paintings previously published, proved to have been windows as was suggested at that time; between these windows was discovered a pointed arched doorway, with the consecration crosses at the side already noticed. In the west wall of this aisle, below the sill of its present window, was the sill of an early English window, exactly corresponding with those two found in the north wall; the lower part of this window may be seen on the outside of the wall; it was two feet five inches in width. At the side of this window was discovered the splay of a Norman window, which proves the wall to be of this period. It measured seven feet two inches by three feet three inches, while the window itself, which is still visible on the exterior of the wall, is only three feet ten inches by eight and a half inches. In the north wall close to, but on the west side of, the Roodscreen, was discovered a small perpendicular niche, painted of a bright red colour. On the floor, within the Roodscreen, was a stone inscribed

The altar tomb at the east end of this aisle was obliged to be taken down, owing to its foundations having given away in removing the altar predella or platform.

The splay of a Norman window was discovered in each side wall of the chancel, shewing them to have been of this period, and that the aisles were lengthened flush with the east wall of the chancel at a subsequent period. A large niche was found on the north side of the east window,

1 This name is evidently the same as that now spelt Jervis, or Jervois.

which had had its overhanging canopy and projecting base chiseled away, and made level with the wall. Beneath the west window of the nave, was a door having a flat-headed arch. In the east end of the south aisle were the remains of another large niche; at the north side of its window, to the south of it, was a small perpendicular niche. In the south wall, near the present entrance to the roodscreen, indications were found of its former entrance from the inside of the church: an engraving of the later entrance has been given in our previous paper on the church.

Plate 13 represents a transition Norman font. We observed, on going into this church one day, a piece of stone that had been dug up at the base of the western pillar, on the south side of the nave, ornamented on one side with four sunken arches, and in each of them a trefoil flower. This we turned over and over again, and thought it might have been the lower part of some font; but at last, taking up a pickaxe lying near, to clean off the mortar and dirt adhering to it, we discovered indications of the bowl, which was filled up with a sandy mortar nearly as hard as the stone itself. When this was removed, there was before us half of a font. Two more pieces belonging to it were found by examining the various pieces of stone lying about in the church; and in the churchyard we succeeded in finding three more fragments. On putting these together the bowl of the font was found complete, as may be seen in the two engravings given of it. Two of its sides have only shallow, sunken panels to ornament it; but the two enriched sides are given in the plate. Each side measures twenty-nine inches, and is one foot in height. It stood on a large central pillar and a smaller one at each corner, after the usual manner of the fonts of this period.

The series of paintings from this church are as complete as any yet discovered, and therefore of great interest, showing how churches were ornamented in olden days, with representations of scenes from sacred and legendary lore. The earliest artists of the middle ages were the monks of the Benedictine order. In those days the religious orders were the greatest patrons of the fine arts: they preserved, from age to age, the religious treatment of these subjects. The monasteries were the only depositaries of chemical and medical knowledge, and to them we are indebted for