LIST OF BUILDINGS HAVING MURAL DECORATIONS THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES SCIENCE AND ART DEPARTMENT OF THE COMMITTEE OF COUNCIL ON EDUCATION, SOUTH KENSINGTON MUSEUM. A LIST OF BUILDINGS IN GREAT BRITAIN AND IRELAND HAYING MURAL AND OTHER PAINTED DECORATIONS, OF DATES PKIOE TO THE LATTER PART OF THE SIXTEENTH CENTURY, WITH HISTORICAL INTRODUCTION AND ALPHABETICAL INDEX OF SUBJECTS, BY C. E. KEYSER, M.A, F.S.A. [COMPILED FOB THE USE OF SCHOOLS OF ART IN THE UNITED KINGDOM.] I THIRD EDITION, ENLARGED. LONDON: PRINTED BY EYKE AND SPOTTISWO ODE, PRINTERS TO THE QUEEN'S MOST EXCELLENT MAJESTY. FOR HER MAJESTY'S STATIONERY OFFICE. AND SOLD AT THE SOUTH KENSINGTON MUSEUM. 1883. Price Two Shillings and Threepence. CONTENTS. Page TOPOGRAPHICAL CLASSIFICATION vii. HISTORICAL INTRODUCTION xxxiii. LIST (ALPHABETICAL) OF MURAL PAINTINGS - 1 to 29G LIST OF LATER EXAMPLES - 297 LIST OF ADDITIONAL EXAMPLES - 300 to 332 INDEX OF OBJECTS, SUBJECTS, SAINTS, &c., NAMED IN THE LlSTS - - - 333 to 402 Art Library MZ) ' NOTE. THE first edition of the present work was a thin pamphlet of 24 pages, which was issued in 1871. A second edition of 58 pages appeared in 1872, to which was prefixed the following Note : 1. The present brief notices are the commencement of an attempt suggested by the Director of the South Kensington Museum to collect existing evidences of painting in England from the earliest times to the [Reformation. 2. For the present the list is necessarily imperfect, and notices of omissions will be gratefully received. Valuable aid has been received from many correspondents, to whom the compiler's best thanks are due, towards completing this second and much enlarged issue of the list. 3. Where printed notices of Mural Paintings have been found, references of such notices have been given. The brief descriptions have been taken, where special sources of information were not available, from the authorities quoted. A few names are left of places where paintings formerly existed, and of which records or copies are preserved, as the paintings of St. Stephen's Chapel, Westminster, coloured copies of which were published by the Society of Antiquaries in the Vetusta Monumenta, Vol. VT. 4. As almost all early Churches in England had some mural painting, and the progress of " restoration " has brought much of this to light, there are, no doubt, other examples that I have not yet heard of or found described, and many, it is to be feared, have perished without any record being preserved. 5. Paintings on screens or other wood- work have been included in the present list. E. H. SODEN SMITH. So much interest was taken in these comparatively brief lists, that it was determined to collect materials for a fuller and more comprehensive account of the ancient Q 3254. Wt. 13681. a 2 IV mural paintings still existing in this country. This work has been carried out, as a voluntary task, in friendly com- pliance with my request for aid, by Mr. Charles E. Keyser, without whose generous assistance, involving prolonged literary labour and journeys to all parts of England, the Editor could not have looked for success. In fact, all that is of most value in this edition is practically Mr. Keyser's work, and the result is to produce, as the Editor believes, a fairly complete, though necessarily brief, notice of every ancient mural painting as yet recorded to have been dis- covered in Great Britain, R. H SODEN SMITH. South Kensington Museum, June 1883. Information of additional examples will be most thank- fully received, addressed to the Secretary, Science and Art Department, South Kensington Museum. PREFACE TO THE THIRD EDITION. THE present list, though still doubtless imperfect, will, it is hoped, furnish the most complete record of the art of mural painting, and the decoration of our churches and other buildings in the Middle Ages, which has yet been published. Almost all the recorded examples are included in this new edition, nearly every work on British topo- graphy brought out during the present century having been carefully consulted. With a few exceptions, the references to the sources whence the information has been obtained are given, and it may be here stated, that where the account in the list differs from that in the authority cited, the former may be taken as correct, the variation of the account being obtained in consequence of personal inspection or thoroughly reliable information. As far as possible, all the more important examples have been visited by the Compiler of the present edition, and all doubts as to identification of saints, subjects, &c. in the majority of instances cleared up by personal examina- tion, or an application to those most likely to be well informed an the subject. To the present edition has been appended an alphabetical index of the saints, subjects, &c. portrayed, as well as of screens, roofs, monuments, &c. still or till recently retaining traces of their original colouring ; and this will, it is hoped, prove an assistance to the student in any particular branch of this subject, and will serve to illustrate the VI varying popularity of the several subjects and saints during the period comprehended by the list. In conclusion, the Compiler begs to express his thanks to the many gentlemen who have assisted him by fur- nishing him in various instances with most valuable information, and he feels that he should especially state his obligation to Mr. E. L. Blackburne, F.S.A., who allowed him to inspect his considerable collection of notes on this subject, and to extract therefrom all the necessary details for the present list. C. E. KEYSER June 1883. Vll TOPOGRAPHICAL CLASSIFICATION ALPHABETICALLY UNDER NAMES OF COUNTIES, %* See Lists of Later examples, p. 297, and of additional ditto, p. 300, in case any name here quoted is not found in the Principal List. (I.) ENGLAND. BEDFORDSHIRE. Ampthill. Arlesey. Barford, Great. Barford, Little. Bedford. Biddenham. Biggleswade. Bletsoe. Blunham. Caddington. Campton. Cardington. Chalgrave. Clapham. Clifton. Cople. Dean. Eaton Bray. Eaton Socon. Edworth. Eggington. Elstow. Felmersham. Gravenhurst, Lower. Gravenhurst, Over. Harlington. Houghton Conquest. Houghton Kegis. Abingdon. Avington. Bisham. Husborne Crawley. Kempston. Keysoe. Leighton Buzzard. Luton. Marstou Moretaine. Oakley. OdeU. Pertenhall. Eoxton. Sandy. Sharnbrook. Shelton. Shillington. Stagsden. Stanbridge. Stevington. Stotfold. Tempsford. Tilbrook. Tilsworth. Toddington. Turvey. Warden Abbey. Warden, Old. Willington. Wilshampstead. Wymington. BERKSHIRE. Blewbury. Bradfield. Bray. Vlll BERKSHIRE cont. Brimpton. Chilton. Drayton. Enborne. Englefield. Fyfield. Goosey. Hagbourne. Hampstead Norris. Hanney. Poughley Priory. Reading (3). Ruscombc. Stanford Dingley. Sutton Courtenay. Theale. Tidmarsh, Upton. Wallingford. Wantage. Wnrfield. Windsor. Windsor, Old. Wittenham, Long. BUCKINGHAMSHIRE. Amersham. Ashendon. A >h ridge. Astwood. Aylesbury. Beachampton. Bradwell. Brickhill, Great. Broughton. Chalfont St. Giles. Cheddington. Chenies. Chesham. Chesham Bois. Chetwode. Cholesbury. Clifton Reynos. Crawley, North. Denham. Dorney. Drayton Beauchamp. Eddlesborough. Ellesborough. Eton. ertsbridgp. Ilogntc. Rotherfield. Hottingdean. Rye. Shipley. Slmlbrede, Fernhur-i. Slaugham. Sliiidou. Si i dliam. Steyning. Treyford. xxvn SUSSEX cont. Westfield. Westmeston. Wilmington. Winchelsea. Wisborough-Green. Wiston. Withyam. Wittering, West, Wivelsfield. WARWICKSHIRE. Astley. Aston. Beaudesert. Birmingham. Brailes. Claverdon. Compton Wynyate. Coventry (2). Eatington, Lower. Guy's Cliff. Henley-in-Arden. Hillmorton. Kenilworth. Knowle. Lapworth. Merevale. Newnham Regis. Nuneaton. Polesworth. Shotteswell. Southam. Stoneleigh. Stratford-upon-Avon (2). Tanworth. Ullenhall. Warwick. Withybrook. Wolston. Wootton Wawen. Bowness. Kirkby Lonsdale. WESTMORELAND. Levens Hall. WILTSHIRE. Amesbury. Avebury. Bedwin, Great. Berwick Bassett. Berwick St. James. Berwick St. Johns. Boyton. Bradenatoke. Bradford-on-Avon. Bremhill. Britford. Bromham. Broughton Gifford. Cannings, Bishop's. Chalfield, Great, (2). Chippenham. Clyffe Pypard. Codford St. Mary's. Colerne. Collingbourn Kingston. Combe. Combe, Castle. Compton Bassett. Corsham. Devizes (2). Ditteridge. Durrington. Eaton, Castle. Edington. Enford. Harnham, West. Heytesbury. XXV111 WILTSHIRE cont. Highworth. Homington. Hullavington. Idmiston. Keevil. Kingston Deverill. Langford, Steeple. Lay cock (2). Ludgershall. Lyneham. Malmesbury. Manningford Bruce. Milston. Monkton Farleigh. Orcheston St. Mary. Pitton. Potterne. Salisbury (6). Sarum, Old. Shorncote. Somerford Keynes. Stanton, St. Quintin's. Stapleford. Stockton. Tidworth, North. Upavon. Warminster. Westwood. Wilsford and Lake. Winterbourne Dauntsey. Winterbourne Earls. Wootton Bassett. Yatesbury. WORCESTERSHIRE. Astley. Besford. Bordesley. Bredon. Broadwas. Broadway. Bromsgrove. Bushley. Chaddesley Corbet. Droitwich. Elmley Castle. Evesham. Flyford Grafton. Hampton Lovett. Holt. Icomb. Leigh. Malvern, Great. Overbury. Pensax. Pershore. Pinvin. Ribbesford. Salwarpe. Sedgberrow. Strensham. Tredington. Wickham, Child's. Worcester (2). YORKSHIRK. Almondbury. Aysgarth. Bainton. Barforth. Bedale. Bempton. Beverley (2). Bolton Abbey. Bolton-on-Swale. Broughton-in-Airedale. Burnsall. Burton Agnes. Campsall. Conisborough. Coverham. Doncaster (2). XXIX YORKSHIRE cont. Easby (2). Edlington. Fangfoss. Fishlake. Flamborough. Fountains Abbey. Frodingham, North. Guisborough. Halifax. Hampsthwaite. Harewood. Hemingborough. Hooton Roberts. Hornby. Hovingham. Hubberholme. Hull. Hunmanby. Jervaulx Abbey. Kirby Hill. Lastingham. Leake. Leeds. Methley. Northallerton. Pateley Bridge. Pickering. Pickhill. Preston-in-Holderuess. Richmond. Ripon. Roche Abbey. Rotherham. Roystone. Sal ton. Selby (2). Skipton. Slingsby. Snaith. Sprotborough. Stillingfleet. Thirsk. Treeton. Wakefield (2). Wath (2). Watton. Wilton, Bishop's. Woodchurch. York (3). Beaumaris. Llaneilian. Brecon (2). Merthyr Cynog. (IE.) WALES. ANGLESEY. ILlanidan. Penmynydd. BRECKNOCKSHIRE. Partricio. CARDIGANSHIRE. Llanbadarn Fawr. | Strata Florida. CARMARTHENSHIRE. Eglwyscummin. Laugharne. Llandawke. Gloddaeth. Gyffin. CARNARVONSHIRE Llandudno. Rhos. DENBIGHSniBK. Cerrigydruidion. Clocaenog. Efenechtyd. Gyffiliog. Llanarmon in Yale. Llanelian. Llanrhaiadr in Kinmerch. Ruabon. U lit hin. Valle Crucis Abbey. Wrexham. Bangor-is-y- Coed . Holywell. FLINTSHIRE. Mold. St. Asaph. GLAMORGANSHIRE. Coychurch. Llandaff. LI an twit Major. St. Donate. Swansea. Llanaber. MERIONETHSHIRE. | Llandanwg. MONTGOMERYSUIRE. Buttington. eing again brought to light under the auspices of the present incumbents. In a church in the Midland Counties a wall painting of our Crucified Saviour was discovered, and a neighbouring clergyman came over with the intention of sketching it, but not having time to complete the drawing, left the work to bo finished on the following day. The extremely evangelical rector, however, disapproving the subject, managed in the interim ~"^ to have both the sketch and the original painting destroyed. Of the remarkable series at St. John's Winchester, St. Olave's, Chichester, Westmeston, Whaddon, Bardwell, and Stow Bardolph, not a vestige remains, and as a rule the searcher after these relics will meet with disappointment in prosecuting his researches. The same vandalism has been equally busy with the screens and other remains of painted woodwork. The damage done in this direction, even during the present century, is incalculable. Even duriiiir the most recent restorations, many surviving screens have been mn>t ruthlessly wept away, as interfering with the modern ideas of ritual, or the uninterrupted view tlx- w ii .! church. As an instance of the utter want of feeling for these works of art, may be specified the case of Babingley Church, whore a scries of beautifully [minted panels of a former screen, after lying neglected for many years, were finally utilised for firewood. Fortunately Mr. Dawson Turner has preserved for our benefit a set of coloured drawings of this unique w-v On the other hand, great care has often been taken to preserve the paintings. At Canterbury Cathedral, the necessary measures have boon carried out for fixing the plaster and bringing out the colours of the subjects in St. Gabriel's Chapel, and of tlie legend of St. Eustace in the north choir aisle, nnd at East bridge Hospital in tlie Mime city the chief subjects have been similarly treated. At Great Cnnflcld, a very interesting representation of the Virgin nnd Child has bevn carefully secured from further injury. More complete restoration at Patcham, South Leigh, Ac., has hardly oeec at '.ended with such satisfactory results. At Castor a blind is kept drawn over the subjects, and at Oerton Longucville folding doora enclose the interesting painting of 8t. CTiristojihor. found about 40 years ago. At Tnrvoy, the recess, within which is a representation of the (.'rurifixion, has been glazed over. + The practice of scraping the interior walls of churches so as to expose and leave bare the rough and wide-jointed masonry, seems en every ground a most reprehensible tnd unreasonable form of treatment. It is quite impossible that the walls, whose external surfaces have beofc no carefully smoothed over and jointed, could have been intended to present the rude internal effect we now so often see. In the earlier XXXV It is ^hardly necessary to reiterate the assertion which is now confidently made, that from the earliest times colour was universally adopted as an embellishment to the most excellent and delicate workmanship. Amongst the Egyptians, Greeks, and Bornans, colour was freely applied as a necessary adjunct to the most highly finished sculpture.* In Great Britain many examples of decorative colouring on the walls and elsewhere in buildings of the Eoman era have been discovered, but these are not included within the scope of the present list, which only professes to commence with the period when Christianity was . generally established in our Islands. It seems tolerably clear that for many years after the destruction of the Eoman Empire in Britain the art of painting was lost, as we read, and this is the earliest record on the subject, on the authority of the Venerable Bede, that in the year 678 Benedict Biscop brought back from France, for his monastery at Weremouth, portraits of the Virgin and Twelve Apostles, some of the histories of the Evangelists, and subjects from the Apocalypse. And again in 685 he further embellished his monastery with the following subjects : Isaac carry- ing the wood for a burnt offering ; Christ bearing the Cross ; the Serpent exalted by Moses ; and the Crucifixion. The art of decora- tion thus introduced seems to have been generally adopted, and paintings and tapestry hangings became the regular adornments of the early Churches. Even before these dates, namely, in the year 674, Wilfrid, Bishop of York, had the walls, the capitals of the columns, and the sacrarium arch of his church decorated "historiis et iniagi- 41 nibus et variis celaturam figuris ex lapide prominentibus et " picturarum et colorum grata varietate."f At the beginning of the 9th century the practice of decorating churches must have been common. At the second Council of Calcuth in Northumberland, held in the year 816, a canon was issued requiring every bishop before consecrating a Church to see painted on the walls or over the altar thereof a portraiture of the Patron Saint. J Mention of an early painting on panel at Peterborough Cathedral occurs in the following passage, "There was within these few years a " door in the Church having the picture of Abbot Hedda, and the buildings both the outer and inner faces were plastered over, and in the later, though the outer surface was most carefully finished off, the inner was still left in the rough as being better suited for the adhesion of the layer of plaster on which the painting was to be executed. In such instances as Rushden, Finedon, and Walgrave (Northants), Preston, Morcotfc, and South Luffenham (Rutland), Bosharu (Sussex), &c., the contrast between the carefully finished details and the rough interior wall surfaces is sufficiently startling. * "Every ancient edifice, whether of Egyptian, Greek, Roman, or Medieval times, was carefully faced internally with wrought stone or with plaster, and decorated throughout in colour, or it might be encrusted with marbles and mosaic. The notion of leaving the interior of a building as rough and rugged as an exterior generally must be has been from a very early date abandoned by civilized men." G. G, Scott, An Essay on th? History of English Church Architecture, p. 100. t Ricardi Prioris Hagustaldensis, lib. I., cap. iii. J " Seu etiam prsecipimus unicuique episcopo, ut habeat depictum in pariete oratorii aut in tabula, vcl etianj in altaribus, quibus sanctis sint utraque dedicata." Wilkius' Concilia, i. 169. c 2 XXXVI " King or Captain of the Danes, as it were expostulating the " business, anil underneath were these four Verses written in ancient " Saxon Letters, as if they had been spoken by the Abbot."* It is doubtful whether any remains of pre-Nonnan decoration have come down to our time. At Deerhurst mention is made of a painting of the Saxon period. Again on the wall of the apse of Swincombe Church, a painting of Our Lord in Glory was found partially destroyed by the insertion of a Norman window. At St. Mary's, Guildford, on the north and south sides of the tower, which is alleged to be Saxon, are long narrow windows on the splays of which have been depicted figures of Saints. The lower part of the windows and the paintings have been cut through by the present arches opening into the transepts, which are of early Norman character. On the south of the Chancel of the very early Church of St. Martin's, Canterbury, a doorway has recently been found, which had been walled up for many generations. It is of the rudest possible workmanship, and is reputed to be a portion of the original Church in which St. Augustine preached. On the soffit or under side of the arch are remains of a decorative pattern in red, apparently of early character. At the Church of Britford are two walled-up doorways of very early date, the jambs of which are ornamented with scroll work picked out with colour. Again at Headbourn Worthy is a very ancient stone Hood still retaining faint traces of colouring. On some of the sculptures on the west front of Lincoln Cathedral, which by some are thought to have belonged to a building prior to the edifice erected by Bemigius soon after the Norman conquest, are distinct remains of chromatic decoration, and lastly some very rude sculptured figures found in the walls of St. Nicholas Church, Ipswich, were likewise observed to retain considerable traces of their original colouring. These instances will, however, hardly justify a positive assertion that we can claim to possess any remains of decorative art as undoubtedly practised before the period of the Norman occupation. During the Saxon period the practice of painting the Dedication or Consecration Crosses on the walls seems to have become general, and a few special remarks about them may here be fitly introduced. A full account of the Ceremony of consecrating a Church is given in Archseologia, Vol. xxv. p. 325. It seems to have been the invariable custom to decorate the interior walls with 12 crosses, - three on each cardinal face, on the exact spots anointed by the bishop with the holy oil during the ceremony of dedication. In many cases, also, though it is doubtful if this was always done, 12 crosses were likewise carved or painted on the exterior walls. It may of course be assumed, unless there is positive evidence to the contrary, that the crosses are coeval with the walk on which they are delineated. The painted crosses, as a rule, were of simple character, with four equal arms expanding towards their extremities, O**t'>*. Hilt, of the Church of Peterburgh, p. 9. XXXVJ1 and enclosed -within a plain circle, being of the pattern commonly denominated the cross patde, formde, or Maltese. Where the crosses are painted, the colour used was almost invariably the dark indian xed. Though more elaborate forms are often found, this simplest type continued to be the most prevalent, and appears equally in buildings of Norman date, as at Kempley, Barfreston, Ditteridge, &c., and in those of the latest perpendicular, as at Henry VII. 's Chapel at Westminster Abbey, &c., &c. On the apsidal chancels at Swincoinbe and Manningford Bruce have been found the original crosses, which may perhaps be of pre-Norman date, in the former instance the colouring being blue instead of red. Many examples exist and have been found of more elaborate character. At Climping is a large and elegant specimen, probably of late 12th century date. At Salisbury Cathedral were 12 beautiful silver inlaid crosses, both on the inner and outer walls. The crosses themselves have all been abstracted long ago, but their outlines are deeply impressed on the walls where they were let in, and traces still remain of colouring having been applied to heighten their effect. During the 15th and early part of the 16th century, the crosses were commonly of more varied design and colouring, green being constantly introduced in conjunction with the red. Occasionally also they were adorned with texts, initials, and inscriptions, as have been noted on specimens found at Arminghall and St. Saviour's, Norwich. Most of the exterior crosses have long since ceased to display the colouring, with which, if ever, they were once adorned, but in recent times traces have been distinguishable on examples at Shurdington, North Repps, and Blythburgh. During the prevalence of the Norman style,* the art of painting seems to have made considerable progress. To this period may be ascribed some of the most interesting Mural paintings which still survive to our time. As far as one can judge, a greater depth of colour was used then than in later times, or perhaps this result may be due to the restoration which must doubtless from time to time have been applied, but certain it is, that many of the paintings of this era exceed in brightness of colouring and excellence of condition those of much later date. We have numerous proofs of the extent to which decoration was carried. The fine chancel arches at Bishops Wilton and Kempley and the Galilee arches at Durham Cathedral, had their zigzag mouldings picked out with varied colouring. Numerous richly coloured mouldings have been found in the walls of Westminster Hall, and of the churches of Paiguton and Wellington (Somerset). At Rochester Cathedral the tympana within the tri- forium arches are sculptured with a diaper pattern, and have been further decorated with polychrome. The richly sculptured shaft and capital in the crypt at Canterbury Cathedral, at the entrance to * In the Archaeological Journal, xsxiv., 275-278, a list of Churches containing paintings of this period is given. This might now be very largely supplemented, many discoveries having been made and much fresh information having been acquired within the lasi/ five years. xxxvm St. Gabriel's Chapel were found to have been delicately coloured, the preservation of these colours being due to the fact of the pillar having at some distant period been walled up. The plain surfaces of the sculptured portions of buildings were likewise ornamented with colour, as on the soffit of the chancel arches of Copford and Kempley, where were delineated the signs of the zodiac. On the chancel arch of Walsoken, on a plain intermediate moulding, is a scroll pattern, while on that of Castle Rising has been a text in large capital letters. Even the tympana of the doorways seem to have been coloured, as traces have been noted on those at Fordington, Malmesbury, and Wiston (Suffolk), and still exist on those at Leckhampstead, Bridge and Ditteridge. Where the arches are without sculptured mould- ing, they are often found with the ordinary ornamentation represented in colour. In the north transept of Winchester Cathedral, the very early Norman arches are decorated with medallions containing foliage, Ac. At Canterbury Cathedral, the arch opening from the north choir aisle to St. Andrew's chapel, which is a portion of Prior Conrad's glorious work, is richly ornamented with decorative colouring, the several orders of the arch being embellished with varied designs. St. Andrew's Chapel also retains numerous very early wall patterns, which are probably the most ancient remains of colouring in the Cathedral. At Worcester Cathedral a plain roll moulding on an arch in the south transept is painted in imitation of the cable pattern. Round the arches of Norwich and Ely Cathedrals are considerable remains, as also on an arcade in the east wall of Brabourne Church. But undoubtedly the most interesting examples have been found at St. Albans Cathedral and Elstow Church. In the 'former building the arches, some in three and some in two orders, have been ornamented with oblong patterns in three colours, while bands of foliage have been carried round as a kind of hood- mould above them. The soffits of the arches have been likewise embellished with varying patterns of chevrons, no two being exactly similar. On the jambs of some of the arches and windows in the transepts imitation shafts and capitals have been painted. So, too, round the arches at Elstow, the most interesting . decorative patterns, sach as interlacing semicircular arches, &c., &c., were recently visible through the whitewash, but these, as is much to be regretted, have been entirely destroyed. The variety of decorative patterns made use of is very considerable. At Copford are some unusual designs which may have been suggested by Roman remains existing at the neighbouring town of Colchester, the patterns bearing a strong resemblance to many of those forming the borderings of the Roman mosaic pavements. At Kempley is a kind of " tau " pattern of a character said to be distinctly Byzantine. At Leominster a variety of ornaments are depicted, the zigzag and scallop being the most common. Good designs were found and arc still partially visible at Iffley, the lozenge ornament at Pytchley and Avingtou, the zigzag or chevron at Stewkley and Tintagel, and the indented at Fatcham and Winchfield. At St. Cross, Winchester, and St. John's, Devizes, XXXIX ornamental patterns have been discovered and restored in a manner which would hardly commend itself to the original artists. Scroll and foliage patterns are not uncommon, the designs being very stiff and conventional, and inferior to those introduced in the succeeding century. They seem generally to belong to a late period in this architectural era. At Stoke sub Hamdon are two windows with a pattern of stars and roses on the splays. One of these affords a good example of genuine Norman decoration, as it has only been recently opened, having doubtless been closed up since the early part of the thirteenth century, a lancet window, which cuts partly through it, having been inserted in its stead. Varieties of decoration have been recently found within the window splays at Willey and Keen Savage, the groundwork being yellow ; and many other instances will be found in the list, with the authorities cited, whence fuller information may be acquired. Bands of red and yellow round the window splays and arches are not uncommon, and may be seen at Canterbury Cathedral, Barfreston, Kempley, and elsewhere. Imitation hangings are sometimes depicted on the walls, and occur at the Cathedrals of Durham and Canterbury, also at Romsey, Barfreston and Cashel. On the nave piers at Leckhampstead are sentences in red letters. We have but few remaining paintings of scenes, figures, &c., which can with certainty be ascribed to the Norman period. In the crypt at Worcester Cathedral is an early example of an angel swinging a thurible, and an angel with a censer is also to be seen at St. Albans Cathedral. At Chichester Cathedral, Castle Hedinghain, and Had- leigh (Essex), are figures of bishops, at the last named the portrait of St. Thomas of Canterbury being, of course late in the 12th century. At Wisborough Green is a curious representation of the Crucifixion, and above St. James introducing pilgrims to our Saviour in Heaven. At Westmeston a very interesting series were discovered. Those of Norman date included the " Agnus Dei," The Adoration of the Magi, Betrayal, Scourging, Descent from the Cross, and Christ seated in Glory, and delivering the keys to St. Peter and_the book to St. Paul. At West Chiltington are figures of the Apostles, and some lettering on scrolls and a portion of a vesica, indicates that a figure of our Lord in Glory was also here represented. At the little church of Hardham, one of the most interesting series of early paintings has been discovered, though it is difficult to identify some of the subjects. In the chancel seems to have been depicted Christ in Majesty, though only the seated figures of the Apostles remain. In the nave has, perhaps, been a Doom and various scenes in the life of Christ upon earth. There is also a representation of St. George on horseback, by far the earliest example of this subject in painting which has yet been discovered in Great Britain. At Romsey are several subjects within medallions, perhaps the history of a bishop. At Brook (Kent), the whole of the chancel walls seem to have been decorated with a series of subjects, within medallions, commemorating Christ's life on earth and His Majesty in Heaven. The medallions have not been completely cleansed of their numerous cpatiugs, and very few xl of the subjects can be identified with certainty. On the nave -walls are also some earlier subjects within larger medallions, but too much obscured to make it safe to hazard a conjecture as to their interpre- tation. At Barfreston the chancel was found to be covered with paintings probably coeval with the church itself. Figures of our Lord, saints, and seraphim, within medallions, archbishops and bishops, and early New Testament subjects, were discovered about 40 years ago, but only a representation of the Annunciation has been preserved. Fortunately an elaborate series of coloured drawings of these paintings exists in the library of the Society of Antiquaries. On the east wall of the Galilee at Durham Cathedral was a large painting of the Crucifixion, with portraits, as is supposed, of Richard I. and Bishop Pudsey. At St. Albans Cathedral on the Norman piers are several representations of the Crucifixion, of which one or perhaps two may be assigned to the late Norman period. At Chaldon is a very large representation of the Ladder of Salvation of the Human Soul and the Road to Heaven. The Tortures of the Wicked, St. Michael weighing Souls, &c., are also included in the subject. This dates from quite the end of the 12th century. Over the chancel arch at Patcham is a curious representation of the Doom, which seems to have been partly retouched, though evidently originally executed in the 12th century. At Pirford are some very early paintings supposed to illustrate scenes in the life of St. Nicholas. At St. Mary's, Guildford, on the ceiling of the chapel of St. John the Baptist, are the well-known series of paintings portraying our Lord in Glory and (as asserted by the various authorities, though the correctness of the interpretation is doubtful), the tortures of the wicked after death. But undoubtedly the most interesting examples of this early period, are those in the chapel of St. Gabriel in the crypt of Canterbury Cathedral, and at the small and unimportant churches of Copford and Kempley. As may be gathered from a reference to the list all have been fully illustrated iind described. At Canterbury on the vault of the nave or outer chapel are various subjects within medallions which arc certainly late in the 12th century, and probably of a subsequent date to those in the chancel or inner chapel. Here on the vault we have a representation of Christ in Majesty, and on the north and south walls are portrayed the events connected with the nativity of our Saviour and St. John the Baptist. On an arch in the east wall is St. John writing the Apocalypse, and the angels of the seven churches, and the seven stars within medallions, and on buttress strips on the north and south sides are cherubim with wings full of eyes. The whole is in fair condition and has recently been preserved from further injury. In the chancel at Copford is likewise a picture of Christ in Majesty occupying the vault, while on the north and south walls are figures of the Apostles, angels and ornamental patterns filling up the subsidiary spaces. These paintings have been declared on good authority to date from the 12th, but to have received a considerable amount of renovation in the 14th century. xli The series at Kempley are still more interesting. As in tlie other two examples, on the vault of the chaucel is depicted a representa- tion of Christ in Glory, in this instance, surrounded by angels, several figures, and the stars, golden candlesticks, &c., in conformity with the description given in the book of Bevelation. On the north and south sides are the Apostles, while the other wall spaces are occupied by figures of angels within medallions, the Virgin, St. James Major, two bishops and ornamental patterns. There can be no doubt that here, at Copford, and probably also at Hardham the design of the painter was to make the chancel of the church figuratively to portray the glories of Heaven, Christ's everlasting Kingdom. On the nave walls and window splays (at Kempley), are some early paintings, viz., over the chancel arch a Doom, also the figure of a saint, St. Michael weighing Souls, St. Anthony, and several .varieties of decoration. Only red, yellow, and black is used, all the figures being left in outline on a red ground, but, as at Canterbiiry and Copford pale green and blue tints are introduced, it seems probable that these also originally existed at Kempley. There is no doubt that decorative patterns, &c., of Norman architectural character were still used at least for the first 20 years of the 13th century, and it is probable that some of the above- mentioned examples may belong to this period. It is by some supposed that the elaborate painted decorations at St. Albans Cathedral were of this date, as it is recorded that one Walter de Colchester was employed to decorate various portions of the Abbey Church, by Abbot Trumpiugton, who rebuilt the western portion of the nave early in the 13th century. The examples of painted woodwork of the Norman period are extremely uncommon, and it is doubtful whether any instances have come down to us, with the exception of the roof of the nave and transepts of Peterborough Cathedral. These roofs are flat and highly coloured, that over the south transept being plainer and some- what earlier than that over the nave. On the latter are numerous figures within lozenge-shaped medallions of the Agnus Dei, various saints, and grotesque and allegorical figures.* During the long and troubled reign of Henry III., the art of painting seems to have received considerable encouragement. Many entries appear in the Court rolls, &c., which mention the names of the painters employed, the various subjects delineated by them, and the amount of remuneration received by them for their work, f It is clear that at this time many foreigners were attracted to England, but the purely English character of most of the paintings of this * This roof has been fully illustrated in a work by Strickland, entitled " The Ancient fainted Ceiling in the Nave of Peterborough Cathedral." t As one example out of many, may be cited on the authority of Sir E. C. Hoare, in his history of Wiltshire, the numerous contracts entered into with various painters for embellishing the Royal Palace at Clarendon. Another instance, worthy of special mention, is the order for a painting of St. Christopher, to be executed in the Chapel oT St. Peter within the Tower, being perhaps the earliest record of the introduction into England of this legendary subject, which afterwards became so universally popular. xlii date shows that this immigration served only to arouse a healthy competition on the part of the English painters and to cause a marked improvement in the execution of the various works. It is generally supposed that many of the finest pictures were painted by travelling monks or other ecclesiastics, but even if this were the case, there is ample evidence to prove that, both at this period and still more in later times, abundant patronage was extended to profes- sional artists, whose services were in constant request both in the religious and secular edifices. It seems almost incredible, but is certainly a fact, that the finest workmanship and materials were still further overlaid with colour. As an instance of this it may be mentioned that the black marble shafts in the choir of Rochester Cathedral, showed distinct traces of early red colouring. The beautiful monument of Archbishop Walter Gray at York Minster, composed of the finest marble, shows that there also colour had been freely applied, and many other examples might be adduced to prove the universality of this practice. The decorations of this period consist chiefly of masonry patterns, scroll, and foliage, still very conventional in character, and a few more elaborate designs. The masonry patterns are the simplest form of decoration, lines intersecting each other at right angles, dividing the wall surface into oblong divisions. This is especially common within the splays of lancet windows. Good examples may be seen in the south choir aisle and transept of St. Albaus Cathedral, at Koyston, Little Coggeshali, &c. Sometimes in this as in the succeeding century, roses were painted within the divisions as st Potterne, Moor Hall, Harefield, and elsewhere. At Notgrove and North Luffenham are masonry patterns and scroll decorations on the nave arches. At Ketton is a running scroll round the eastern tower arch, and similar ornamentation is visible on the soffits of the beautiful early English arches at Elstow. At Charltou on Otnioor, the nave arches are all ornamented with a running scroll, while on the soffits is a diaper of stars, crescents, and roses. The we.-t re- spond on the north side is decorated with large chevrons similar to those which are visible on the columns of the nave at HuuHtauton. Within the splay of a lancet window at Cheveley, a kind of flour de lis ornament is introduced. The chancel walls of Bramdean Church are decorated with an early diaper pattern. The dogtooth moulding, so distinguishing an ornament in 13th century work, is not often represented in painting, owing to the difficulty of depicting it in the then deficient knowledge of perspective. On the south wall of the presbytery of St. Albans Cathedral, and in the churches of Godal- ming, St. Olave's, Chichester, and Killaloe, attempts have been made to delineate it. On a corbel in the south porch at Barnack the indented ornament occurs. The walls of Berkeley Church were found to have been entirely covered with various ornamental decora- Some of these have been repainted and still exist. A series of interlacing semicircular arches run along the west wall, which are clearly of early 13th century date. Between the clerestory xliii windows at West Walton are some very interesting decorations with varied diapers ' representing tapestry hangings. The practice of painting the external portions of buildings was, as in the preceding century, constantly in vogue. The west front of Wells Cathedral shows traces of colouring, as does the exterior of the Lady Chapel of Hereford Cathedral. At East Harptree the head of a churchyard cross was found in an old chimney stack, the drapery of the several figures sculptured on it still retaining their former decorative painting. Some remains of 13th century screen work also retain traces of their original colouring, as at HuLavington and Swanscombe. It will, however, be more convenient to make some special remarks on the subject of screens and other painted woodwork, and of monu- ments, sculpture, &c., later on, and, as far as possible, to confine this portion of the essay to the subject of the wall paintings. There are still, or have been till recently, existing numerous pictorial representations of saints, subjects, &c., which can with certainty be ascribed to this century. The practice of depicting a series of events in the history of the life of Christ upon earth, of the Virgin, SS. Catherine, Thomas of Canterbury, and others, seems to have become very common, the former subject generally appearing on the walls of the chancel, the others being most commonly found on those of the nave. Very interesting series of the life of Christ have been found on the walls of the nave at Winterbourne Dauntsey and West Chiltington, of the chancel at Easby, Chalgrove, Tim- \forth, East Wickham, "and Preston (Sussex), also at Wiston (Suf- folk), and Heading-ton, in the chapel of the Holy Sepulchre at Winchester Cathedral, and on a pillar at Faversham. At St. Albans Cathedral, on the north nave piers, most of the series of paintings of the Crucifixion with the Annunciation below belong to this period. On the east wall of the refectory of St. Martin's Priory at Dover is a 13th century painting of the Last Supper. At Easby, the subject of the creation and fall of man is delineated, and at Shenley Mansell on the wall of the south transept, three small pictures forming the first of a series of old testament subjects still remain. At St. Thomas', Newport, Isle of Wight, amongst other paintings, were discovered a portrait of King David, and a female figure blindfolded with crown falling off and sword near her. It is probable that this figure may be emblematical of the fall of the Mosaic dispensation or may be intended for St. Osyth, some lettering at the side appearing to be " S." " OSA." At Wiston (Suffolk) and Godalming, St. John the Baptist is portrayed, and within the window splays at Chalgrove, some of the Apostles and _other Saints occur. Eepresentations of the Doom of this period occur at Wiston (Suffolk), Headington, and St. John's, Winchester. At the last-named church a very interesting series was found, which has fortunately been illustrated in the Win- chester volume of the British Archaeological Association, as no traces of the original work now remain. Here were found, amongst other subjects, the martyrdom of St. Andrew, the Crucifixion, xliv unusually treated, the figures on either side of the Cross being Isaiah and St. Francis, instead of 88. John and Mary the Virgin, as almost invariably introduced. In the north aisle was painted the murder of St. Thomas of Canterbury, who undoubtedly became one of the most popular of English Saints, and whose portrait and martyrdom were amongst the commonest subjects delineated by the artist. At Hauxton. Bramley, and Preston (Sussex), are remaining good examples of 13th century date. Another was discovered at Mentmore and destroyed. At St. Cross, Winchester, a number of incidents in his life are depicted. Another painting at St. John's, Winchester, was the representation of the Seven Acts of Mercy (the first six) as detailed in St. Matthew, xxv. 35. This is certainly an early instance of what seems to have become a common subject, though not many examples have survived to the present time. At Chesterton, within the splay of a window in the north aisle, is perhaps a contemporary illustration of this same subject, though its interpretation is very doubtful. At Rochester Cathedral is another early example of what may be termed the " Morality " subjects, viz. a wheel of fortune, which has been fully described in the Gloucester volume of the British Archaeological Association, page 179. At Kempley and Leominster are similar wheels and executed about the same period. At Winchester Cathedral, in the chapel of the Holy Sepulchre, which is now almost blocked up by the new apparatus attached to the organ, is the earliest existing example in England, being of the beginning of the 13th century, of what afterwards became one of the most popular subjects in Mural painting, viz., the history of St. Catherine of Alexandria. Her conversion to Christianity, defiance of the emperor Maximian, miraculous escape from being torn to pieces by the breaking of the wheels to which she was attached, the martyrdom of those whom she converted, and finally her own death by decapitation and apotheosis, are constantly represented. At Preston (Sussex), is a figure of St. Catherine forming part of a very interesting series of subjects which have been most fully illustrated and described. We find (at Preston) besides events in the life of Christ and the martyrdom of St. Thomas of Canterbury, a painting of St. Margaret, who also became one of the most popular of English Saints, and the curious and very early traditional subject of St. Michael .weighing souls. Figures of St. Margaret of this date are to be found on the ceiling of the sacrist's room at Norwich Cathedral, where she is represented within a medallion in the company of St. Mary the Virgin and St. Catherine, while in an adjoining medallion occur SS. Paul, Andrew, and Peter, the latter, habited as an archbishop, being a unique representation. In the next medallion is a figure of St. Richard de la Wych, bishop of Chichester, a saint who rarely appears, though, as he is portrayed without an emblem, many of the unidentified figures of bishops may be intended for him. The legend of St. Margaret was also discovered at Charlwood, where was also depicted the history of St. Nicholas, who was undoubtedly one of the most popular of English Saints, as xlv evidenced by the large number of churches bearing his name and containing special chapels or altars dedicated to him, and it is there- fore a somewhat remarkable circumstance that comparatively few representations of this Saint, either in sculpture, painting, or stained glass, have survived to our time.* Another very popular Saint, especially in the eastern counties, was St. Edmund, king and martyr, and we find representations of his martyrdom as being discovered at Ely Cathedral and at Stow Bardolph, beneath a later painting of St. Christopher. Another instance occurs at Stoke Dry, where are also representations of the Virgin and Child, the torture of a female saint, &c., and a portion of a St. Christopher, which has been painted subsequently to and over this series. It is sometimes difficult to discriminate between the pictures of St. Edmund and St. Sebastian, a Saint who does not seem to have been venerated in England till a later period, though, as a general rule, it may be laid down that the former is always crowned and more completely clad than the latter. Both are usually delineated as fixed to a tree or stake and being shot to death, St. Edmuudf being usually pierced by more arrows than St. Sebastian. A series of events commemorating the martyr- dom of St. Edmund was discovered at Clifle at Hoo. There, as also at East "VVickham and West Chiltington, the several scenes are represented beneath and separated from each other, by a continuous arcade of trefoil-headed arches, early English in its character, though the paintings are reputed to be of the latter part of the 13th century. Another series of events, probably the history of some sainted bishop, occur under triangular-headed arches on the wall of the south aisle at Upchurch. No conjecture as to the legend represented has as yet been hazarded. The practice of painting figures, &c., within medallions seems to have been common both in the latter part of the 12th and throughout the 13th century. Over the chancel arch at Eastry are a series of circles enclosing animals, foliage, &c. On the ceiling of the chapter house at Christ Church, Oxford, are large figures of SS. Peter, Paul, &c., and Jin the chapel of the Guardian Angels at Winchester Cathedral are demi-figures of angels, in each case within medallions. On the ceiling of the angel choir and transepts of Lincoln Cathedral have been numerous sub- jects, many of which have been destroyed. At Salisbury Cathedral the vault of the choir has been repainted, the original scheme, which comprised the following subjects, viz., Christ in Majesty, the Apostles, Evangelists, Prophets, Seasons, &c., having been carefully copied. * The same remarks which have been made about St. Richard of Chichester will apply still more forcibly to St. Nicholas. He was generally portrayed without any distinctive emblem, and, in the opinion of the late Dr. H usenbeth, British ArcTiaol, Assoc. Journ., xiv. 176, it may be assumed that where a bishop is represented without name or emblem, St. Nicholai is intended. In later times the remark will seem to refer more appropriately to St. Martin. An archbishop without name or emblem may be generally considered to portray St. Thomas of Canterbury. t On the panels of screens, St. Edmund is generally represented as in regal attire and holding an arrow. xlvi The paintings of the 14th century do not show any marked advance over those of the preceding era, though a greater diversity of subjects was then introduced and the pictures seem on the whole to have been more skilfully executed. The same careful attention to the due preparation of the wall surface appears often to have boon neglected, and many interesting series of paintings have been dis- covered in too perishable a condition to be capable of preservation, owing to the decay of the plaster on which they have been delineated. The decorative patterns of this date are in many cases more elaborate than those made use of in the previous century. As in sculpture, so in painting, the designs for the foliage, flowers, Ac., are taken from real instead of conventional examples. Beautiful arabesque pat- terns with foliage, flowers, &c., on a red ground seem to have been not uncommon. Bold interlacing scrolls were often introduced as borderings and to fill up vacant spaces, as at Dodford and Newington by Sittingbourne. A powdering of roses may often be found of this as of the preceding century, and may still be seen at the Saints Chapel, St. Albans Cathedral, and elsewhere. A fleur de lis pattern was also not uncommon and is still visible at Northolt, and in con- junction with heraldic lions in the north transept of St. Albnns Cathedral. A masonry pattern of double lines seems to be a special design of the early part of this century, and may be observed on the splay of a window at Much Hadham. A curious example of decoration exists at Chalfont St. Giles, where above the chancel arch are painted battlements, &c., causing the arch to present the appearance of a fortified gateway. Heraldic designs began to pre- vail, as evidenced by the rich colour and gilding on the'stone screens enclosing the choirs of the Cathedrals of Rochester and Canterbury. So again in the vestibule between the cathedral and chapter house at York are remains of decorative painting on the vaulting ribs, with shields, roses, &c., on the walls. The practice of enriching with colour and gilding the ornamental sculpture seems to have been universally prevalent. As an example, may be cited the beau- tifully diapered stone work on the south of the high altar of Canter- bury Cathedral, and at the back of the monuments in the south aisle at Winchelsea Church. The diaper work in the triforium storey at Westminster Abbey, of rather earlier date, also bears traces of having been once richly coloured. The Lady Chapel at Ely Cathedral must have formerly presented a gorgeous appearance, traces of rich gilding and colour being still everywhere visible through the whitewash. The groined roof with sculptured representations of events in the life of the Virgin, the numerous niches, and beautiful arcading were all profusely decorated, and it is hoped that by a careful removal of the whitewash, ere long its former magnificence may be in some measure recovered. Even the exterior arcade exhibited remains of coloured decoration. In pictorial subjects the same general method of arrangement, ns in vogue in the previous century, seems to have been followed, the chancel walls being generally decorated with scenes from the New xlvii Testament, while legends of saints, the "Moralities," &c. adorned the other portions of the edifice, the subject of the Doom usually occupying the space over the chancel arch. On the chancel walls at North Cove are scenes from the life of Christ on earth, of about the same date. On the north wall of the nave of Battle Church are faint traces of pictures of our Lord's passion. At Warblington in the nave were a series of Christ's miracles, and various events in His earthly life also occur on the nave or aisle walls at West Somerton, Crostwight, Islip, Bedfont, Plumpton, &c. At St. Stephen's Chapel, Westminster, a beautiful series were executed for King Edward III. , and copies of some of these, which include portraits of the King and his family, are preserved in the rooms of the Society of Anti- quaries. The subject of the great Doom, with Christ seated in Judg- ment, was not an uncommon one during this period, and examples may be noted at Bedfont, Newington by Sittingbourne, Plumpton, Houghton Conquest, West Somerton, &c. Amongst the most beautiful remnants of 14th century work are the paintings on the east wall of the chapter house at Westminster Abbey, where are portrayed the three persons of the Blessed Trinity with the seraphim and cherubim. The name of the painter, John of Northampton, is recorded in the annals of the monastery. The series of subjects illustrating the Apocalypse are of much later date. Of other scriptural subjects, have been recorded the last scenes from the life of the Virgin at Wimbome Minster, the Virgin and Child, of unusual merit, at Great Canfield, the history of St. John the Baptist at Cold Overton, Elsing, and Chalfont St. Giles, admirably executed figures of the apostles at Newington by Sittingbourne, the temptation of our first parents and their expulsion from Paradise at Colton. Of saintly portraits and legends, have been until recently, or still are, in existence, representations of St. Michael weighing souls, with the Virgin interceding on the souls' behalf,* at Toddington, Islip, and Lenham, the history of St. Catherine at Castor, Bardwell, and Chalfont St. Giles, the martyrdom of St. Thomas of Canterbury at Whaddon, and of St. Erasmus at Cirencester. At Birmingham was depicted the history of St. Martin, at Norwich Cathedral, SS. Wulstan and Edward the Confessor, and at Westminster Abbey, St. Faith. At Little Kimble are an interesting series of paintings, including a portrait of St. George on foot, and in the armour of the period, his name being recorded below. At Bardwell and Charlwood were representations of St. Edmund, or possibly in the latter case of St. Sebastian, who, in conjunction with St. Anthony, appears at Irthlingborough, while St. Nicholas was portrayed at Colton and Tamworth. At Rauceby is an unusual subject described by some of the authorities as St. Matthew and Satan, by others as St. Anthony and the panther. The correctness of either of these definitions seems doubtful. Some interesting paintings have recently been discovered at Farnborough, where, side by side, are depicted SS. Eugenia, Agnes, and Maiy * For a full explanation of the origin of this legend, see Archaeological Journal, xxxiv. 238. xlviii Magdalene, the names of the first two being inscribed above, and of the third across, the figures in characters which show them to belong to the reign of Edward IT. St. Eugenia is not recorded to have been portrayed elsewhere in England, and the presence of these three saints, none of whom seem to have been specially honoured in this country, points to the fact of some foreigner having at that time settled in the parish. On the nave piers of St. Albans Cathedral are four large paintings executed during the rule of Abbot Delamere, care. 1360. They represent large figures of St. Christopher, St. Thomas of Canterbury, St. Citha, and King Edward the Confessor and the Pilgrim.* The legend of St. Christopher, which became so favourite a subject during the 15th ceatury, had hardly yet become universally popular, but examples ascribed to the reign of Edward III. have been found at Croydon, Shorwell, &c. This latter example is the most interesting illustration of the legend which has yet been brought to light, and, besides the general representation of the Saint carrying the Infant Saviour across the stream, depicts his conversion to the Christian faith, and his martyrdom. But undoubtedly the most interesting series of this century was found in the nave of Catfield Church, the paintings having been most carefully divested of their covering of whitewash by the son of one incumbent, only to receive a fresh dose and be again concealed by his successor. Fortunately they have been copied, and coloured drawings remain in the "DawBon-Turner " collection. The subjects all run into each other, and the whole of the wall surface was covered with the pictures, which illustrate scenes in Christ's life upon earth, the history of St. John the Baptist, an event in the Life of St. John the Evangelist, the martyrdom of SS. Lawrence and Catherine, and representations of the Wheel of Fortune, similar to those at Kempley, Ac., of the tree of the Seven Deadly Sins, and the Seven Virtues or Acts of Mercy, and seven Sacraments of the Church of Rome. Of the last class of subjects on example of one of the Vices of this date was found at Melbourne (Derbyshire). At Stars ton a representation of an entombment, date 1300, gave rise to a long and somewhat con- troversial correspondence in Notes and Queries ; in this case, as in many others, the attempt being made to attach a significance to the subject which could not reasonably be maintained. To the 15th and early portion of the 16th century, perhaps the largest number of Mural paintings which exist or have been discovered belong, and this is the less surprising, from the numerous proofs which remain of the want of respect for the workmanship, both architectural and pictorial, of their predecessors, displayed by the architects and artists of mediaeval times. Such instances may be cited as those at St. Lawrence, Beading, Pinvin, Hoviughain, Tintagel, &c., where one series has been found to have been painted over another, the subjects of the later pictures being often, and in fact generally, quite distinct from those of the earlier period. These The identification of the two hut subjects is somewhat doubtful. xlix cases strikingly exemplify the changes of religious sentiment, and the rising or waning popularity of the various saints and subjects. As in most of the examples hitherto noted, the older paintings are in better preservation than those by which they have been overlaid, it could not therefore have been owing to the fact of their being faded or decayed that a renewal of the wall decoration was deemed necessary. The numerous beautiful screens and painted wooden roofs, of which a more detailed account will be given hereafter, were mainly executed in the latter part of the 15th or early portion of the 16th century. It will be impossible in the space within which it is advisable to confine this essay, to do more than refer briefly and in general terms to the multiplicity of subjects of which we have recorded examples, and the additional saints and representations introduced at this period, owing to the more extended commerce of our British merchants, and consequently a more intimate connexion with the peoples and religious observances of other countries. The many foreigners who were induced and encouraged to settle in England, as for instance, the Flemings in the eastern counties, soon began to exercise a considerable influence in religious matters, and to their industry and consequent wealth and generosity we owe many of the magnificent ecclesiastical structures which have been erected in the districts where they were located. The presence of mural paintings portraying unusual subjects and saints not commonly worshipped in- England, generally affords evidence that the early settlers in the parish, or benefactors to a particular church, were thus influenced' by foreign religious sentiment, and where the earlier history of the* several parishes has been explored, this indirect evidence of the paintings has been almost invariably confirmed. The decorative patterns of this period chiefly consist of natural foliage, and diapers of various initials, shields, &c. Chevrons of. different colours, and spiral ornamentation on shafts, groining ribs, &c., similar to that exhibited on barbers' poles, are also very common. Of the chevron ornament the piers and arches of Stanion Church afforded a very rich example, which was unfortunately not preserved. A chapel on the north side of Laycock Church, and the Dean's Chapel at Canterbury Cathedral, are also good instances of the style of decoration of this period. At St. Peter's, St. Alban's, the vaulting shafts in the south aisle are ornamented with a pattern of single oak leaves. The nave of Lathbury Church, including the whole of the walls, arches, and clerestory window splays, is ornamented with a bold foliage pattern which encircles various subjects, such as the Seven Sacraments, St. Michael weighing souls, &c. Within the window splays of the Lady Chapel at St. Alban's Cathedral is a beautiful arabesque pattern of vine leaves on a pale red ground, and a somewhat similar design exists on the piers of the chancel arch at Meldreth. At South Leigh, besides the interesting series of pictorial subjects, are running scrolls with foliage, birds, &c., and numerous ornamental designs. The pomegranate pattern became a favourite Q 3254. <1 1 subject, especially on the panels of screens, and it has been found as' a -wall decoration at Ridge, Newton Bromswold, and elsewhere. The sacred monograms "ihc," "xp*," are also constantly depicted, as aro also diapers of crowned "M"s for St. Mary the Virgin. A few instances occur of the initials of other saints, as " T " for St. Thomas of Canterbury, "N" for St. Nicholas. At St Mary's, Bury St. Edmunds, is a rather uncommon representation of the sacred monogram within a collar of "SS." On the north nave clerestory wall at Charlton on Otmoor are numerous crowned "I" s. The eastern portion of the crypt at Canterbury Cathedral has a diaper of crowned " M " s on the roof, and one large crowned " M " appears on each of the nave pillars of Old "Warden Church. Heraldic designs are not uncommon in mural painting, though more usually found on screens, roofs, and monuments. As instances may be mentioned examples on the east wall of the choir of Peterborough Cathedral, on the walls of the chapel of St. Mary in the crypt of Canterbury Cathedral (these being probably of the end of the 14th century), and hi the Scadbury Chantry, Chiselhurst. On the walls of the Swayne Chantry at St. Thomas, Salisbury, are numerous St. George's shields within a garter, and of pots of lilies, on a red ground. Of the pictorial subjects, the most common representations were scenes from Christ's life upon earth, the Doom, or Great Day of Judgment, the Life and Miracles of St. Mary the Virgin, the history of St Catherine, the murder of St. Thomas of Canterbury, and the Legendary Moralities, amongst which may be included SS. Chris- topher and George, saints of mythical origin, who became the objects of the most intense and superstitious reverence amongst all classes of society in England. Representations of St. George have been noted even in mural painting as early as the 12th century, and several sculptured tympana of Norman doorways still remain, exhibiting in somewhat rude carving his combat with the dragon. In the later wall paintings he is generally portrayed on horseback trampling the dragon beneath the feet of his charger, while behind him kneels the princess whom he has rescued from the monster, and whose parents survey the contest from a distant tower. St. George was the special patron of English soldiers, and his aid was always invoked in the various campaigns. Most of the examples of this subject have been executed in the 15th century, but besides those at Hardham and Little Kimble already referred to, another instance, namely, that found at Croydon Church, may be attributed to an earlier period. Very interesting examples have been discovered at Witton, Drayton, and Fritton, Norfolk, and may still be seen at St. Gregory's, Norwich, Broughton (Bucks), Dartford, &c. At Astbury an unusual representation of the subject, which probably formed a portion only of a series, formerly existed, in which St. George is depicted as having dismounted from his horse, while the princess expresses her gratitude to him for his timely rescue, and a second picture exhibits the Virgin holding the Infant Saviour, and conferring upon him the honour of knighthood as a reward for his prowess. li St. Christopher, who seems to have become even more popular than St. George,* does not appear to have been generally recognised in England before the 15th century, during which period it is con- jectured that every English church possessed a figure, either in painting or sculpture, of this Saint. There are a few representations which may be ascribed to the latter half of the 14th century, as for instance, those at St. Alban's, Croydon, and Shorwell, already referred to, and perhaps also an example at Witton. Among the 13th century paintings in the nave at West Chiltington is a figure of Saint Christopher, of the same date apparently as the remainder of the series. If so, this is certainly the earliest existing example in England. St. Christopher owed his peculiar popularity to the superstitious notion that any one who looked on his portrait would be secure from a violent death during that day, and two verses com- memorating this belief are often found on scrolls above and below the picture. It is for this reason that the paintings of St. Christopher usually occupy the situation most easily seen by any one entering the church, and are generally found on the wall, or sometimes, as at Watford, South Bersted, &c., on a pillar facing the principal doorway, so that they may be even visible to any one passing by the church.f Thus it is constantly found painted over subjects which had pre- viously filled the coveted position, as at Stow Bardolph already referred to, where also a second and later example occupied a similar position over the other doorway. The instances are very rare, where this subject is represented elsewhere than on the wall facing the principal entrance, or one of the doorways. At Ufford, without any apparently special reason, it occurs quite on the eastern portion of the north wall. At St. James, South Elmham, St. Christopher occurs on one splay, while the attendant hermit appears on the opposite side of a window. At Burnham Overy is a painting of this subject on the Chancel wall, another one having been found in the nave. At Salisbury Cathedra], Tewkesbury, Cirencester, and Latton, examples have been noted in Chantry Chapels, and a portion of one in a similar situation at Stoke Dry, and facing the entrance to the chapel, still remains. In the chapel at the east end of Canterbury Cathedral, known as " Becket's Crown," a large painting of this saint was visible a century ago. This is supposed to have formed * The instances where SS. George and Christopher are portrayed in the same church are comparatively numerous, and a list is here appended. They are sometimes depicted on opposite walls, but more generally close together, and very often side by side ; those which are thus represented being distinguished by an asterisk. Pickering,* Gawsworth, Raunds, Slapton, Hargrave, Hough ton Conquest, Eversden, Witton,* Drayton (Norfolk),* Fritton (Norfolk),* Preston (Suffolk), Troston, Sproughton,* Bradfield Combust,* Chellesworth, Croydon, Stedham, Devizes, St. Mary's,* Wilsford and Lake,* and "\Vhirnple.* At Bradninch they both appear on the rood screen, while at Horsham, St. Faith's, St. George is painted on the screen and St. Christopher on the pulpit. At Randworth and Winchester Cathedral are wall paintings of St. Christopher and paintings on panel of St. George. t At Stockerston Church, Leicestershire, where the arrangement of the nave is some- what remarkable, a large window fills up the space opposite the main entrance. This window contains an interesting representation in ancient stained glass of the legend of St. Christopher. d 2 lii one of the Beries of subjects executed at the expense of Cardinal Pole; the last Roman Catholic prelate interred in the Cathedral. As in other cases, so in this, the artists all followed the same principle of treatment. St. Christopher is represented as a man of gigantic proportions, grasping a staff, and with the Infant seated behind his head, or 6n his shoulder, holding an orb and in the act of bene- diction. The saint is usually bare legged, with a garment down to bis knees, and is in the act of wading across the water, which, though only reaching somewhat above his ankles, is meant to be of con- siderable depth, as quaint fishes and occasionally a mermaid are depicted in the stream, and sometimes ships sailing down it. On either side is a high bank, and not Tincommonly an angler is intro- duced. On one side is always a hermitage, and the hermit is repre- sented holding a lantern to light the Saint across the ford. St. Christopher always appears to be bowed down by the weight of his burden, and scrolls are often introduced with the well known verses recording the conversation between the Infant Saviour and the Saint. One or two examples show a rather more elaborate treatment of the subject. That at Shorwell has already been recorded, and a somewhat similar representation seems to have been discovered and destroyed at Portisham. At Sedgford the Infant is portrayed with three heads, in illustration of the doctrine of the Blessed Trinity. Many of the finest examples have been found in Norfolk, though but few have been preserved. At Raunds, Overton Longueville, and Hayes, interesting pictures of this subject still remain. Another very popular legendary morality was " Les Trois Hois Morts et les Trois RoisVifs," which was intended to illustrate the vanity of human greatness. Three kings sometimes on foot, and sometimes on horseback, with hawks and other hunting appliances, and clad in royal apparel, are represented as being suddenly con- fronted by three skeletons, who admonish them that as they too were once kings, so ere long will the kings be such as they. At Bauuds is a very large example of this subject. Closely akin to it is " The Dance of Death," illustrating the absolute sway of death, and the vanity of all earthly ambition and aspirations. In an example at Newark a young civilian is represented as receiving the dread summons from a skeleton, emblematical of Death, and in the Hungerford Chapel, now destroyed, at Salisbury Cathedral, and on the screen of Sparham Church were similar representations. Another of the Moralities, which seems to have been a popular subject for the brush of the artist during this period, was the "Purging of the Seven Deadly Sins." These were "Superbia," Pride; "Ira," Anger; " Socordia," Sloth ; " Gula," Gluttony; "Luxuria,"Lust; " Avaritia," Covetousness ; and " Invidia, " Envy. The picture sometimes represented a tree placed over the flames of hell, as at Crostwight and St. John's, Bristol, sometimes a figure within a wheel, the various sins being represented within medallions, as at Ingatestone and Arundel, or, as at Rauuds, a large figure of Pride, she being considered the chief and origin of all the other sins, liii by illustrations of -which she is surrounded. The "Seven Acts of Mercy " seems also to have been a favourite subject at this period, and an example in compartments remains at Arundel. The " Seven Sacraments " of the Komish Church have also been found in mural painting, though they are more commonly met with, as sculptured on the Norfolk and Suffolk fonts of the 15th century. A most interesting example was found at Kirton in Lindsey, where in the centre is our Saviour on the cross with the Virgin and St. John on either side. Streams of blood from His wounds are directed towards the representations of the Seven Sacraments, which are depicted on each side. The doctrine of the "Literal Transubstantiation of the Wafer," commonly denominated St. Gregory's Mass, has been found at Slapton and Beverstone, and a highly coloured sculpture of this same subject is preserved in Stoke Charity Church. In each case is represented the conversion of the consecrated wafer into the actual body of Christ by St. Gregory in consequence of the disbelief of a certain woman in the doctrine of Transubstantiation.* A large picture of the Doom or Great Day of Judgment seems to have been painted in the 15th century in a very large number of churches, where one had not been previously in existence. The usual place for this subject was over the Chancel arch, or on the east wall of the nave, though from various causes it is often found elsewhere in the church. Where there is sufficient space, the follow- ing general scheme seems to have been almost invariably followed. In the centre is a figure of Christ seated on the rainbow, with hands upraised and feet and side bare so as to display the wounds received on the Cross. On either side are Angels bearing the Cross and other implements of the Passion, while on His right kneels the Virgin Mother in the act of supplicating on behalf of mankind. Below Him is St. Michael weighing souls. The saved are represented on His right, sometimes in procession towards the gate of heaven, which is guarded by St. Peter, while on His left are the condemned being dragged off by demons to the regions of eternal torments, where some are already portrayed as suffering the most fearful punishments. In most cases the mouth of hell is represented by the jaws of an immense fish, a gigantic demon armed with a trident standing within them, and pushing the miserable wretches deeper down into the hideous depths below. In the lower part of the picture are Angels blowing trumpets, and figures rising from their graves, their rank being denoted by crowns, mitres, tonsures, &c. A very large and late example of this subject has been recently again uncovered at St. Thomas', Salisbury. Here all the above mentioned details may be seen, except that the legend of St. Michael weighing souls is omitted. On the upper part of the north side of the picture are the heavenly mansions, with numerous figures looking out of the windows, andjoeneath the figure of Christ are the twelve apostles seated. At Trinity Church, Coventry, South Leigh, Chesterton, and West * For fuller details, see Archaeological Journal, xxxiv. 234. liv Ham are other well known representations of this subject. At St . Michael's, St. Alban's, owing to the want of space over the Chancel arch, part of the painting was executed on a large panel, which was inserted within the upper part of the arch, and is still preserved. Another large painting, entirely on panel and of very late date, also still exists at Gloucester Cathedral. A rather unusual painting of Our Lord in Judgment with a sword in His mouth may be seen at Widford. The representations of the Blessed Trinity seem to have been not uncommon during the 15th and early 16th centuries, though owing to a special order emanating from the leaders of the Common- wealth to destroy all the then existing examples, but few have survived to our time. At Winterbourne Earls one was found, the date of which is considered to be as early as 1200. At St. Albans Cathedral, on a pier onthe north side of the Choir, is an example of probably 14th century date. Edward the Black Prince held in special veneration the doctrine of the Blessed Trinity, and most of the pictorial representations remaining are subsequent to his time. Instances have been noted at Gorleston, Latton, Aldenham, Tewkes- bury, and Pinvin, and a very fine example still remains at Cowley (Oxon). The ordinary mode of illustrating this subject was by delineating the Almighty seated, with our Saviour on the Cross between His knees, and the Holy Spirit introduced in the form of a Dove or Star. The examples in sculpture are much more numerous than those recorded in wall or panel paintings. This subject was also very commonly represented on the brasses of the late 15th and early 16th century. Of scenes in the life of Christ, one of the most interesting series has been recently uncovered at Friskney, where are large pictures representing the Nativity, with the Adoration of the Magi, and the Shepherds, The Last Supper, and the Resurrection ; at Little Easton and Wrexham are the events connected with the Passion of Christ ; at Maids Moreton, the Last Supper and Crucifixion ; at Attle- borongh the Crucifixion ; at Abbotsbury was the Eesurrection ; and at St. Alban's Cathedral may still be seen the Incredulity of St. Thomas. At Friskney, in juxtaposition to the large painting of the Last Supper, is depicted the Children of Israel gathering the Manna in the Wilderness, the only example of this subject in mural painting in England. At Attleborough, above the west tower arch, was found a very large painting of the Adoration of the Cross, viz., a large cross in the centre with Seraphiu, Prophets, Ac., reverently beholding it, the subject being evidently intended to stimulate the worship due to Christ for His great sacrifice on behalf of mankind. The history, legends, and miracles of St. Mary the Virgin seem also to have been popular during this era. In St. Thomas', Salisbury are the Annunciation, Salutation, and Adoration of the Magi ; at Hastingleigh is a large representation of the Annunciation, a cock and hen being introduced in the background. At St. Cross, Winchester, is a large subject of the Virgin with the dead body of her Divine Son on her hip, commonly known as a "Pieta" or "Mater Dolorosn." Iv An uncommon instance of this occurs at Broughton (Bucks), where all the bones of our Saviotir are represented as being disjointed, though none are broken. The Five Joys of the Virgin have been found at Broughton (Oxon) and her Assumption, or being borne to Heaven by Angels, occurs at Friskney, Buislip, &c. Her Coronation, or receiving the Crown of Joy in Heaven at the hands of the glorified Christ, has been depicted at Pickering and elsewhere. The Miracles of the Virgin have been represented by a numerous series of pictures in compartments at the Lady Chapel at Winchester Cathedral, and at Eton College, and though the two do not exactly correspond, it has been surmised that they were executed by the same artist. One of the chief subjects at Eton is the story of the Boman Empress unjustly accused of infidelity by her husband, but miraculously preserved and her purity most fully demonstrated through the direct intervention of the Virgin. Some of this series still remain behind the stalls. At Winchester the paintings still exist, though the manner in which they have been scratched and scored over, proves the trouble which has at some time been taken as far as possible to obliterate them. At Eton College, between each com- partment has been introduced a female figure standing on a pedestal. The series comprises most of the Saints who were popular at that date, and one or two, such as St. Sidwell, a Devonshire Saint not commonly met with. Two Saints have emblems not easy to identify. One may be St. Theodosia, the other St. Ulph or Sira ; none of whom are recorded as occurring elsewhere. A somewhat similar disposition of subjects and Saints, and of about the same date, seems to have been adopted at Buckland, in Gloucestershire. The legend of St. Michael weighing souls continued to be commonly represented, and examples have been noted at Slapton, Stotfold, Lathbury, Beckley, Buislip, Lingfield, Lindfield, Netherbury, Cullompton, &c. At Worsted and St. Clements, Jersey, were representations of his contest with Satan, a subject more commonly found on the panels of screens. Portraits of the Apostles, though very numerous on the screens, are not often found in mural painting at this period. St. Peter occurs at St. John's, Bristol, SS. Andrew and Bartholomew at Brisley, St. James Major at St. Thomas', Salisbury. At Wellow (Somerset) are numerous large figures of Saints, amongst which the Virgin, SS. Bartholomew, Thomas, Stephen, and Margaret can be identified. St. John the Baptist occurs in the series at Friskney and Witton, and three scenes in his life are depicted in the Oxenbridge Chapel, at St. George's. Windsor, having been painted in or about the year 1522. In the Hasting's Chapel, also at St. George's, Windsor, are four incidents in the history of St. Stephen, of the end of the 15th century. St. Mary Magdalene appears on many of the screens, but not often in wall painting of this date. Bepresentations of her have been noted at St. Clement's, Jersey, and of Christ appearing to her after his Besurrection, at Bray. Besides St. Christopher and St. George, St. Catherine continued to be universally popular, and many mural paintings illustrating her life and martyrdom, especially in the Ivi eastern aud midland counties, hare been found. At Raunds, a series of pictures btill remain, which were originally painted early in the 15th century, and partly renewed about 100 years later. At Temps- ford, the representation of the Saint bound to the wheels may bo seen in a good state of preservation, at St. Mary's, Beverley, her history was delineated on the ceiling of the south aisle in 14 com- partments, while at Sporle no less than 24 scenes in the legend are depicted within small square divisions. They all date from quite the beginning of the 15th century, though it is thought that the later events in the series were inferior in execution, and painted by a different hand to the earlier ones. A figure of the Saint, probably dating from, the 15th century, was discovered at St. Martin's, Leicester. It has been destroyed, but drawings have been preserved, and if these are correctly delineated, the original may certainly be considered one of the most beautiful specimens of this branch of art which have yet been found in England. The other female Saints, though very common on the screens, do not appear often in wall paint- ings. St. Margaret has been noticed at Lingfield aud Lindfield, and a very elegant portrait of her still remains at Cassington. St. Agatha was formerly visible at Winchester Cathedral, SS. Ursula and Lucia at Stoke by Nay land, and SS. Ursula and Modwenna at the chapel of the Guild of the Holy Cross, Stratford-on-Avon, SS. Clare and Bridget at Cullompton, St. Barbara at St. Clement's, Jersey, probably St. Winifred at Mells, and St. Helen in conjunction with St. Dunstan at Broughton (Bucks). Of the male Saints, St. Thomas of Canterbury still maintained his popularity, and his martyrdom continued to be a favourite subject, and doubtless more pictures would have survived to us had not all representations of this Saint been specially condemned at the time of the Reformation. SS. Ed- mund and Edward the Confessor were also specially reverenced as heretofore. SS. Anthony, Sebastian, and Roche, seem also to have been highly esteemed, a portrait of the lost still remaining at Kettering, and another having been recently discovered at Grendon. St. Erasmus seems also at this period to have been very popular, and mural paintings have been found at Ampuey Crucis and Whit- well depicting his horrible martyrdom by disembowelling. Of other Saints, St. Martin perhaps occurs at Ruislip, North Tidworth, and Grendon ; St. Lawrence at Ruislip, North Tidworth, and Great Chishill ; St. Clement at South Leigh and Lingfield ; St. Blaise at Kiugston-upon-Thomes ; St. Dunstan at Latton and Broughton (Bucks) ; and King Henry VI. at Wit ton and Alton. All these Saints are more commonly met with, as will hereafter be men- tioned, on the panels of the screens. At Hardwick (Cambs) is the legend of St. Cyriao, a subject not recorded elsewhere in England. At the chapel of the Guild of the Holy Cross at Stratford-on-Avon are a series of paintings representing the legend of the finding of the Cross on which Christ suffered, of which no other example in mural painting has come to light. During the 15th century the practice of inscribing texts on the walls seems to have prevailed, though it Ivii became far more general after the period of the Eeformation. The following list -will denote the churches in which the most interesting series of paintings of the perpendicular period have been found, and full particulars of most of them can be obtained from the authorities referred to in the list : Pickering, Gawsworth, Friskney, Eatinds, Slapton, Lutterworth, Stratford-on-Avon, South Leigh, Broughton (Bucks), Brooke (Norfolk), Eaton, Earl Stonham, Chellesworth, Hessett, Latton, Salisbury, St. Thomas', and St. Clement's, and St. Brelade's, Jersey. Very interesting series of paintings, the dates of which have not been specified here, have been found at Pinvin, Notgrove, Lim- penhoe, Dray ton (Norfolk), Gorleston, Milton Abbas, Lanivet, Llanwyddyn, and Pluscardine Abbey. At St. Kenelm's Chapel was a representation of the history of St. Kenelm, found also at the neighbouring church of Halesowen. At Pinvin some of the paintings still remain in good preservation, and seem to be as early as the 13th century. At Notgrove the whole of the east wall has been pro- fusely decorated with New Testament subjects, and in many of the other above-mentioned examples the whole or some special portion of the walls have been covered with varied pictorial representations from Scripture history or the saintly calendar. Within an arch in the north choir aisle of Canterbury Cathedral is a very interesting painting, representing the Conversion, Trials, and Martyrdom of St. Eustace, the only instance in England where this Saint is portrayed in mural painting. At Cowley (Oxon) numerous subjects have been dis- covered, including a very fine representation of the Blessed Trinity over the east window, which has been preserved. Some of this series are of early 14th century date. At St. Lawrence's Church, Beading, no less than five distinct series of paintings were discovered, painted one over another, and similarly at Hovingham, Yorkshire, several courses of decoration were foiuid and destroyed. At Wimborne Minster, on the walls of the crypt or chapel beneath the Choir, was a painting, now destroyed, stated to have been a genuine fresco. If so, it is the only painting in fresco recorded in England. It is very doubtful, however, as to whether the assertion can be maintained.* Besides the ordinary wall spaces, decorative colouring and historical subjects were often introduced elsewhere in the churches, in the window splays, within recesses, at the back of sedilia and momirneuts, &c., &c. The splays of the windows of the Norman and early English period seem almost always to have been embellished * It will doubtless have been noticed that both in this Essay and in the List, the use of the common expression for mural paintings, viz., " fresco," has been most carefully avoided. The difference between the process of painting in distemper or tempera, and painting in fresco, as to a certain extent adopted in Italy, will be pointed out at length at the conclusion of this Essay. The following quotation will give the opinion of an authority on this subject. " The term fresco is so constantly used, and is so exceedingly " improper, that it ought at once to to given up. All mediaeval paintings in our " Churches are in tempera, and of a common kind." Surrey Archceol., vi. 304, note. Iviii with painting, and good examples of pictorial subjects of Norman date are recorded at Kempley, Little Wakering, and Borfreston. Of later date we find the series (?) of the Acts of Mercy at Chesterton, full length figures of saints at Eaton, Chnlgrove, Cassington, Newington, and St. Cross, Winchester, and of subjects of doubtful import at Little Kimble, Lanivet, &c. At South Elm ham is an unusual representation of St. Christopher in this situation. At Easby are depicted the four seasons. At Kimpton on either side of the east window are deep recesses, with figures painted on them. On the splays of some few of the low side windows, coloured decora* tion has also been discovered, as at Hannington, where are ornamental designs of the 13th century, and at Buckland (Herts) where are paintings of the Virgin and Child. The examples of figures and floral and other decorations on the various arched recesses are very common. In some Churches these arched recesses, generally of early date, occur on one or both sides of the Chancel arch, and seem to denote the former existence of an altar beneath them. Instances may be mentioned at Castle Rising and Doddingtou (Northants), where the Crucifixion is thus depicted, at Brixworth, where was a " Gloria," at Hauxton, St. Thomas of Canterbury, at West Harnham, and elsewhere. In the north transept of Stow Church, St. Thomas of Canterbury is portrayed on the back of a recess over an altar, and in a similar position in the south transept at St. Cross, Winchester, are a series of scenes in his life and the Crucifixion. Within an arch in the east wall of the first storey of the tower of Brook Church, Kent, is depicted Our Lord in Glory, and in a similar situation at Wa minister was a painting of St. Denis. These tower chambers are conjectured to have been oratories or residences for the priests. So again there are instances where painting has been discovered in the parvise or chamber above the porch, as at Harrow and Breamore, and on the inner wall of the porch itself, as at Wardley and Brought on Gifford. The niches for the images of Saints, &c., many of them ornamented with delicately-sculptured canopies, which are found in the walls of most churches, have been usually enriched with colour and gilding. In many instances plain colouring has been applied to form a back- ground to the image, as at St. Mary's, Oxford, and on the screens at St. Albans Cathedral. At Lichfield Cathedral and Ottery St. Mary are a series of canopied niches similarly decorated. At the Lady Chapel, St. Albans Cathedral, are some beautiful canopies with gilded foliage on the upper portion. At Melbourne (Cambs), the canopies of two niches, retain their gilding, while at Witney a rich diaper still remains on the background. At Market Deeping, on the lower part of two niches are painted shields, charged with crosses. At the back of one at Stacpole Elidur is painted a large cross and an angel holding a shield of St. George. At Linn twit Major is a very ela- borate example, the niche being surrounded by a band of sculptured scroll work enclosing a stem of Jesse, the whole retaining traces of its original illuminations. Even on the exterior of the churches remains lix of colouring have been in like manner discovered, as at Bolton Abbey, over the original western entrance, our Lord and two Angels, and simple decorative colouring at Bottisham, Axbridge, Bleadon, &c. The wall surface at the back of the sedilia was often adorned with painting, and sometimes with figure subjects. Three very rich examples have been noted at Tewkesbury, Dorchester, and Chatham, upon which rich diaper patterns, picked out with gilding, have been found, and, in the latter instance, destroyed. At Winchelsea the elegant sculptured diaper is further enriched with colour. At Great Yarmouth and Hornchurch were traces of figures, and other examples are noted, viz. , at Little Coggeshall, the head of Christ ; at Puckington, Elias and other figures ; and at Easby Church, arch- bishops seated. On the sedilia at Westminster Abbey, both on the side towards the presbytery and on the back facing the south presbytery aisle, were full-length figures of St. Peter, St. Edward the Confessor, King Sebert, Henry III., and an ecclesiastic. A representation of the Last Supper may also still be seen at Maid's Moreton. The canopies and other sculptured portions were likewise often overlaid with gilding and colouring, as evidenced by portions of very early sedilia found at Paignton, also of later date, recently dug up at St. Alban's Cathedral. Traces can still be made out on the beautiful example at Furness Abbey. In like manner, several instances exist or have been recorded where the piscina has been ornamented with colour, the f enestella or canopy being thus decorated, and sometimes subjects being intro- duced within the piscina itself. A good instance of this was found at Frome, where a somewhat rare specimen of a roodloft piscina was found retaining its original illumination. On an example at Anstey are two shields, and on another at Cheltenham a consecration cross. At the back of a piscina at St. Mary's, Bury St. Edmunds, is the sacred monogram within a collar of SS. , and in a similar situation at Lichfield Cathedral is painted the Crucifixion; at Sproughton, St. Mary the Virgin ; at Widf ord, traces of figures ; and in the Lady Chapel at Winchester Cathedral a portrait of Prior Silkstede. Many instances are noted where the reredos remains, or has been found in a more or less mutilated condition, but still bearing evidence of its former splendour and gorgeous colouring. Most of the examples are of the 14th and 15th centuries. The more elaborate specimens are composed of alabaster, but, as in the case of the monuments and effigies shortly to be mentioned, even this beautiful material was always lavishly overlaid with colour and gilding. In place of the elaborate sculptured altar pieces about to be described are often simple recesses over the altar space, with figures of the saints to whom the altar was dedicated, &c. depicted on the wall surface. Thus at Wivelsfield is a pattern of diaper and lozenge work of 13th century date ; over the altar in the chapel of St. Faith, Westminster Abbey, is a picture of St. Faith ; at Stow and St. Cross, Winchester, scenes in the life and martyrdom of St. Thomas of Canterbury ; at Great Canfield, the Virgin and Child, &c., &c. At Ix Whissendine was found, during the restoration of the churob, a plain slab of stone on which was painted the Crucifixion, with tue Virgin and St. John, SS. Andrew, Margaret, and the emblems of the Evangelists. Beneath these subjects, which are probably of 15th century date, were clear traces of an earlier and more elaborate design. In Norwich Cathedral is preserved a beautiful reredos, conjectured to date from 1370 and to be the work of the Siennese school, on which are sculptured representations of the Scourging, Christ bearing his Cross, the Crucifixion,'. Resurrection, and Ascen- sion. A reredos of somewhat similar character, though of earlier date, is preserved in the south presbytery aisle of Westminster Abbey, with figures of Christ and St. Peter, and the Adoration of the Magi, and the Raising of Lazarus. Examples with richly coloured and gilt canopies and niches have been found at Ludlow, Beigate, Micheldever, &c., and fragments with figures, &c. at Preston in Holderness, Great Yarmouth, Tofts, Sandy, Drayton (Berks), Wimborne, and Cobhatn. At Blunham were found portions with sculptured representations of the Virgin and Child, Christ bearing His Cross, and the Descent from the Cross, on the panels. At Whittlesford are numerous fragments of an altar piece similarly sculptured. Figures of the Virgin, St. Anne instructing the Virgin, our Saviour on the Cross, and St. Sitha can alone bo identified. The figure of the Virgin, which is larger than the others, and pro- bably a portion of the central panel of the reredos, is a most elegant specimen of sculpture and colouring. At Smarden a reredos has been recently noticed with representations of a "pieta," the en- tombment, and various figures. At Cury was discovered what was probably a portion of the principal altar piece, with the upper part of the figures of our Saviour blessing the Cup and the Apostles. At Somerton is preserved a very beautiful 14th century reredos with representation of the Last Supper, but none of the original colour- ing in tliis instance remains. A small portable altar-piece called an "iconuela" seems to have been a not uncommon possession of the wealthier classes. One is recorded to have been found at Fountain's Abbey, and another is noticed, and an illustration of it given in Schnebbelie's Antiquaries' Museum. A third is still preserved in Amport Church, having in the centre the head of St. John the Baptist on a charger, above angels holding his soul in a napkin, and below the Resurrection, and figures of saints on either side. The date is probably about 1500. The whole is of alabaster richly illuminated with colour and gilding. Of the more elaborate altar screens only a few survive. At St. Cuthbert's, Wells, in the east wall of each transept arc very beautiful examples, that in the south transept having a sculptured representation of the stem of Jesse. At Wellington (Somerset), another very rich specimen was dis- covered, with illustrations of the Crucifixion, SS. Christopher, Catherine, Michael, &c. It is now preserved in the Taunton Museum. At Beauchief Abbey was an altar-piece on which was carved the martyrdom of St. Thomas of Canterbury. This is now in private 1*1 possession. At All Souls College, Oxford, tho high nltar of the ehapel has been recently discovered and restored, and new figures inserted in the niches. In its pristine condition it must have been an unusually elaborate specimen. Of the detached altar screens only four retaining their colouring can be recorded as having sur- vived to the present day, viz. , the high altar screens at Westminster Abbey (restored) and at the Cathedrals at St. Alban's and Winchester, both probably designed by the same architect,* and the screen of the once richly endowed chapel of our Lady, in the crypt of Canter- bury Cathedral. All these examples were probably erected during the latter part of the 15th century. In Gunton's History of the Church of Peterburgh, an illustration is given of the beautiful altar screen formerly existing in the Cathedral there, which was destroyed by the fanaticism of the soldiers of the Commonwealth. It Avas of earlier date than those at Winchester, &c., and was, as we read in page 97, "exquisitely carved and beautified with guilding and painting." The screen now dividing the nave and choir of St. Alban's Cathedral, and erected about the year 1360, formerly served the double purpose of an altar screen to the parochial church and a division between that and the portion of the church to the eastward of it, which was reserved solely for the services of the abbey. It is a very elegant example, with numerous canopied niches, and retains some traces of colouring. There are not many examples of stone rood or choir screens which have survived to our day, and only a few of these retain remnants of their former profusion of illumination. The magnificent choir screen at Salisbury Cathedral of 13th century date was removed by Wyatt to the north-east transept, where it still remains, a brilliant example of gilded splendour. During some excavations at Finchale Abbey, the lower part of the screen was found in situ, still exhibiting its former rich colouring. At Totnes, the rood screen has been decorated with heraldic shields, and outlines of saints appear on the panels, and on the mutilated screen at Ingham traces of decoration still remain. On the interior of the beautiful choir screen at ,St. David's Cathedral, erected by Bishop Gower, are depicted the Cru- cifixion, emblems of the Evangelists, and scroll and other ornamental patterns. On the present organ screen at Exeter Cathedral are a series of panel paintings illustrating scenes from the Old and New Testament. Between the choir and north choir aisle of the Chapel of St. Cross, Winchester, is a stone screen with outlines of figures on the panels. The choirs of the Cathedrals of Canterbury and Bochester are enclosed by stone screen work, in each case bearing traces of elaborate early 14th century heraldic decoration. At Weston in Gordano colouring was found on the verge of the altar stone. No other instance of this has been recorded. * Screens of similar character still remain at.St. Saviours, Southwark, and Christchurch, Hampshire, but no mention has been made of any of their original decoration being; stil!, or till recently, in existence. Ixii On the few shrines which have entirely or partially survived to our day, gilding nod colour seem to have been most lavishly made use of. The shrine of St. Edward the Confessor, at Westminster Abbey, retains sufficient of its gilding, enamel, and colouring to demonstrate clearly its pristine splendour, and similarly those of St. Hugh at Lincoln, and of St. Alban and St. Amphibalus at St. Albans, bear traces of their early decorations. On the shrine of St. Alban, winch is entirely composed of a dark marble, a series of panels have been coloured red and blue, and enriched with gilding on the tracery. The shrine of St. Werburgh at Chester Cathedral is fully described in the new edition of Ormerod's History of Cheshire, vol, i. , pp. 298, 299. It is of the time of Edward III., and is richly painted and gilt. Upon it, within niches, are 30 statues of kings and saints of the Royal line of Mercia, and relations by blood to St. Werburgha. At Christchurch Cathedral, Oxford, portions of the shrine of St. Frideswide have been- found, the mouldings of 13th century date having been decorated with a plain band of gilding. Fragments of highly enriched slirines have been recently dug up at Cerne Abbas and Guisborough. A few examples of reliquaries have also survived to our time. A very early one of Norman character was dug up on the site of the cathedral of Old Sarum, and is now preserved in the Salisbury Museum. One of the 13th century, found in the wall of Kewstoke church, and supposed to have been brought from the neighbouring priory of Woodspring, and to have contained a relic of St. Thomas of Canterbury, may be seen in the museum at Taunton. A beautiful and richly gilt example in Limoges enamel belongs to Shipley church, and is kept at the neighbouring mansion of Knepp Castle.* A handsome specimen in alabaster, of the latter part of the 15th cen- tury, was accidentally discovered on Caldey Island, and is now in private possession. At Haslingden, Lancashire, two bones, retaining traces of gilding, and supposed to have been relics of St. James, were dug up. This instance has not been included in the list, as it is thought to bo hardly within its present scope. Only three examples can be adduced where traces of colour and gilding have been recently noticed on the bishops' thrones in our cathedrals, viz., at Durham, Wells, and Exeter ; and it is doubtful whether in any of these cases a particle of the original decoration survives at the present time. Of the stone pulpits, which are chiefly found in Devonshire and Somersetshire', only a few have been noted as retaining traces of their original colouring. Very gorgeous and elaborately sculptured examples of late date remain at Faignton, Harberton, and Dartmouth, and, with the colouring restored, at Cheddar and St. Catherines. At Totnes traces of nimbi prove that figures of saints had been depicted on the panels ; and at Bovey Tracey the saints, &c. still remain. These have been executed in plaster, * Two similar rcliqitaricft, tho property of Lord Zouche, are now in the loan collect ion, South Ki-nsin.-i ii MM- uni. Another balong* to mid in preserved in the library t th Society of Antiquaries, London. and coloured, and have recently been repainted. The Devonshire antiquary, Dr. Oliver, seems to have had some doubts as to the genuine antiquity of these figures. Only one example of a stone lectern retaining its colouring has been recorded, viz., at Ottery St. Mary, though other early examples have been found at Much Wenlock Abbey, Crowle (Worcestershire), &c., but no remains of decoration have been recorded as being noticed upon them. There is no doubt that in very many instances the fonts were decorated with varied illumination ; but as these have been unfortu- nately, during the past two centuries, either cruelly neglected and thrust on one side, or, what was worse, the special objects of the attention of successive churchwardens, but few have survived with any considerable remains of their original colour and gilding. Sky blue and other brilliant hues were deemed appropriate colours by the aforesaid custodians ; and to make a stone font simulate the appearance of marble was considered to be a triumt>h of art. Thus it is that so meagre a list has been compiled ; and even of these most of the examples exhibit merely the faintest traces of their undoubted original decoration. The font in the old parish church of Lenton, a fine Norman specimen, ornamented with rude though elaborate sculptures of the Crucifixion, &c., has experienced numerous vicis- situdes, but is still thought to retain some slight remnants of its original colouring. On the Norman font at Great Kimble, some decoration in red still remains on the bowl, which may be coeval with the font itself. So again on the transitional Norman example at Hornton some early colouring still exists. Of later date are noticed painted fonts at Wolston ("Warwickshire), circ. 1320, and at Wickham Market of about the same period. There are numerous instances, especially in the 15th century, where the armorial bearings of the benefactors to the church, or donors of the font, were properly blazoned on shields, generally sculptured, but sometimes simply painted, on the panels or elsewhere, but, with rare exceptions, the tinctures have been completely effaced. Traces of these have been noticed within the past few years on an early 14th century font at North Cove ; on one of about the year 1400, at Hagbourne ; and of a third at Aslacton. Another not uncommon subject on the 15th cen- tury fonts, especially in the Eastern Counties, was a representation of the Evangelistic emblems ; but of the numerous instances which could be cited, only that at Ludham can be mentioned as still clearly retaining traces of its original polychrome. The Seven Sacraments of the Bomish Church were deemed appropriate subjects for the panels of the bowls of the more ornate examples of the third pointed period, and a long list might be appended, but, as in the other instances, only a few can be cited as clearly displaying evidences of their former decoration, viz., at Brooke, East Dereham, Gresham, Loddon, New Walsingham, and Great Witchingham, Nor- folk, and at Gorleston, Westhall, and Woodbridge, Suffolk. All these examples are octagonal, and exhibit remains of rich gilding and varied colouring on the sculptures. At Brooke, East Dereham, New Ixiv Walsingham, and Woodbridge, the eighth panel has a representation of the Crucifixion ; at Gorleston ;of the Resurrection ; at Loddon of the Virgin and Child ; and at Great Witchingham of the Assumption of the Virgin. Of the Easter Sepulchres, which probably, either as permanent structures or movable erections, had a place in almost every church during the 15th century, but few remain, and of these only a very limited number retain any traces of decoration. None is recorded as being now visible on the well known examples at Patrington (York- shire), Hawton (Notts), Lincoln Cathedral, and Heckington (Lincoln), Northwold (Norfolk), or Woodleigh (Devon), though it may without hesitation be asserted on the general principle already affirmed, that their mouldings and sculptures were formerly further enriched with decorative colouring. Traces have been found _on specimens at Withybrook, St. Mary de Crypt, Gloucester, and Smarden, also on that at Stanton Harcourt, which, as was not unfrequently the case, served the double purpose of a tomb and Easter Sepulchre. At the back of the one at Huntingfield is a painting of Christ seated in Judgment ; while on that at South Pool is the more natural repre- sentation, in sculpture, of the Resurrection. In the course of the restoration of the church of Preston in Holderness, in 1881, numerous fragments in alabaster of an Easter Sepulchre, &c., of the middle of the 14th century, were found beneath the floor, two of which repre- sented the Resurrection. The monumental effigies and canopied tombs have been most fully treated of and described by various distinguished antiquaries and others most competent to deal with the subject, and their evidence clearly proves that there can be little doubt that colour and gilding were here also most lavishly applied in all cases where the designs were fully carried out. Cruel neglect and wilful mutilation have done much irretrievably to ruin these most interesting memorials, and to injure beyond repair the works on which the skill of the sculptor and painter was so successfully employed. It is a common occurrence, even in the present day, to hear of the monuments being destroyed, and to find the effigies of former benefactors buried or thrust out of the churches. One can hardly sufficiently condemn the ignorant or parsimonious spirit which can thus consent to the degradation of the memorials of those with whom the earlier history of the district or parish has been inseparably connected. It is doubtful whether any effigies retaining traces of their original colour remain of an earlier date than the 13th century. Of military effigies, that of King John at Worcester Cathedral is probably one of the earliest. Traces of gilding were noticed some few years ago on some of the cross-legged and other early effigies in the Temple Church, London. The first William Longespde, Earl of Salisbury, who died in 1227, is commemorated by a beautiful sculptured figure, now placed in the nave of Salisbury Cathedral, and exhibiting considerable remains of its former decoration. So do the two 13th century examples to Thomas and the second Maurice, Lords Uv Berkeley, in Bristol Cathedral, another one, date circ. 1250, to Sir Stephen de Haccombe, at Haccombe church. The effigies of Edmund Crouchback, Earl of Lancaster, and Aymer de Valence, Earl of Pembroke, at Westminster Abbey, still exhibit traces of their original coloured decorations, as do those of Gervase and Stephen Alard at Winchelsea. Three mutilated examples, but all retaining their early colouring, have been, within the past few years, dug up respectively on the sites of the monasteries at Kobertsbridge, Lewes, and Monkton Farleigh. In most of the instances the representation of the armour was carved and then coloured, but in some few examples it was merely painted on a flat surface, as may still be noticed on an effigy at Hampton Poyle. The effigy of Sir Stephen de Haccombe ' ' is formed of a block of red sandstone, on which a " coat of plaster has been laid, moulded to represent chain mail, and " once richly gilt." Murray's Handbook for Devon. The armour is similarly represented on the effigy at Ash. Many of the early cross- legged figures are of wood, and these will be referred to hereafter. Two small cross-legged effigies with remains of colour may be seen at Mappowder and Horsted Keynes.* The examples of the later military effigies are very numerous. The more important examples are placed on elegant altar tombs, with richly panelled sides and delicately carved canopies. It is difficult to pick out any specially ornamented monuments, as in too many cases the most beautiful specimens have been the most cruelly mutilated, and often all traces of the colouring have been intentionally obliterated. Monuments and effigies still retaining rich decoration may be mentioned as existing at Chillingham, Staindrop, Harewood, Methley, Bunbury, Elford, Warwick, Arundel, Battle, Porlock, North Cadbury, Hen- stridge, and Callington. Of effigies of civilians, the coloured examples are not very numerous. At Elford, on the north of the chancel, is one of date about 1500. At Yatton is another to Lord * The following list of cross-legged or early military effigies in stone or marble, oil which colour has been noted, may be appended as interesting: B'uckinghamshire. Ashendon. Cambridgesh ire. Hampton . Devonshire. Exeter Oath., Haccombe, Landkey. Do rsetshire. Mappowder. Durham. Hurworth. Gloucestershire. Bristol Oath. (2), Bristol, St. Mark's Chapel, Bishop's Cleve, Leckhampton. Kent. Ash, Minster. Leicestershire. Tilton-on-the-Hill. Middlesex. Westminster Abbey (2), London, Temple Ch. (10). Monmouthshire. Monmouth. Nottinghamshire. Gonalston (2 ) . Oxfordshire. Hampton Poyle. Shropshire. Leighion. Suffolk. Erwarton. Sussex. Horsted Keynes, Ifield, Lewes, Robertsbridge, Winchelsea. Wartvickshire. Birmingham, Lower Eatington, Guy's Cliff. Wiltshire. Salisbury Cath., Monkton .Farleigh, Great Bedwin. Worcestershire. Worcester Cath. Yorkshire. Bedale. Q 3254. e Ixvi Chief Justice Newton, late 15th century ; and at Long Ashton one to another judge, Sir Richard Choke, also of the end of the 15th century. At Ashburton portions of a figure habited in a scarlet robe with a powdering of golden flours de Us, were found in the wall, and, again, built up into it. At St. Nicholas, Guildford, is the effigy of Arnald Brocas, coloured red, of the end of the 14th century. At Berkeley church are three small figures, supposed to commemorate children of Thomas, eighth Lord Berkeley, of about the same date. The effigy of William of Hatfield, who died in 1344, in York Minster, represents him in the costume of a gentleman of the period. Similar figures also exist at Haccombe and Westminster Abbey. Of the effigies of ecclesiastics, the list of coloured examples is also somewhat meagre. At Axminster is a very early example. At Bathampton is a figure of a priest of the 13th century. At Christ Church Cathedral, Oxford, is a fine effigy of a prior, circ. 1330 ; and at Edington, of an ecclesiastic of somewhat later date. But the finest example is undoubtedly that of Bishop John de Sheppey, at Rochester Cathe- dral, of date 1360. This had been concealed in the wall for many years, and, owing to this fact, the colouring and gilding have pre- served their brightness, and present us with an admirable exemplifi- cation of the rich ecclesiastical vestments worn in the 14th century. At Wells Cathedral the effigy of Bishop Beckington, which has been removed from the chantry chapel, wherein it previously lay, is still richly coloured, dating from about the year 1460. At Exeter Cathe- dral the recumbent effigy of Bishop Bronescombe still retains its colouring, of the end of the 13th century, though the canopy above it is of much later date. Priestly effigies are noted at Fersfield and South Pool, of late 15th century, and at Poughley Priory, recently found in the ruins. At St. John's Church, Glastonbury, is a richly- coloured monument and effigy to a bursar to the abbot of the neigh- bouring wealthy abbey, said to have been brought from the abbey at the time of the dissolution of the monasteries. Of the female figures, in many instances bright colouring on the dresses and gilding on the girdles, head-dresses, &c., still remains. At Axminster is a very early effigy. At Stoke Fleming is an example of late 13th century ; and a portion of another of the same period remains at Stevenage. At Bradford on Avon is preserved an example of the 14th, and at Much Marcle and Horwood of the 15th century. A richly coloured effigy has been recently found in the wall at Abbots Kerswell. At Polesworth is a highly decorated specimen of the figure of an abbess ; and other female effigies of uncertain date may be noted at Bedale, Holt, Landkey, Shebbear, and Llandawke. The table tombs, as has already been mentioned, upon which the effigies were often coloured, generally displayed the armourial bearings of the deceased, blazoned in proper colours within the panels. A rather curious and late example of this exists at Willington, where are two 16th century table tombs, with the armorial bearings painted on the lower portion, which is otherwise nnornamented. The canopies of the tombs are often lavishly decorated with colour and gilding, as Ixvii may still be seen on the monuments of Archbishop Peckham at Canterbury Cathedral, of the Countess of Lancaster and Aymer de Valence at Westminster Abbey, and at Bainton, Borough Green, and Winchelsea, all of these dating between the years 1290-1350. The canopies above the effigies of Bishops Bronescombe and Stafford, at Exeter Cathedral, are rich examples of early 15th century date ; while those of Bishop Beckington and Joanna, Viscountess Lisle, at "Wells Cathedral, may be cited as highly decorated specimens of somewhat later date. At Porlock is another fine monument with considerable traces of its former rich colour and gilding still remain- ing. The noble monument of Elizabeth, Lady Montacute, at Christ- church Cathedral, Oxford, still retains the colouring with which it was everywhere embellished. The ceiling of the aisle and the arches above the tomb have been decorated with painting at the same period. In some cases colouring only remains on the lower panels, as at Keepham, where the " weepers " on the tomb of Sir Roger de Kerdiston are noted as having been painted. At Hereford Cathedral the sides of the chantry chapel of Bishop Audley are filled in with panels containing portraits of 33 saints. At Newark, on the monu- ment of Eobert Markham, only one panel, with a scene from the Dance of Death, remains. On two panels of a 16th century altar tomb at Stoke Charity are depicted the Virgin and Child and St. Thomas of Canterbury. On the south side of the monument of Lord Bourchier, in Westminster Abbey, are traces of elaborate colour- ing. Considerable traces of red colouring are still visible on the noble canopied tomb of Archbishop Walter Gray, in York Minster. Of much later date, the chantry chapels of Lord de la Warr at Boxgrove, and of Lord La Warre at Broadwater, have been highly enriched examples of decorative art. The beautiful monumental chapels of Bishops Alcock and West, at the east end of Ely Cathedral, still exhibit traces of their former elaborate decoration. In the Hungerford Chapel (now destroyed) at Salisbury Cathedral, in the chantry chapel of Peter Arderne at Latton, and in some of those at Tewkesbury Abbey, numerous subjects were depicted on the walls and monument itself. On that of John Clopton, at Long Melford, are painted the Resurrection, &c., with portraits of the deceased and his family at the head and foot of the tomb. On the eastern wall of the chantry of Prince Arthur at Worcester Cathedral is a richly gilt sculpture of the Descent from the Cross. On the ceiling of the lower portion of the elegant monument of the Duchess of Suffolk, at Ewelme, is painted the Annunciation and other subjects. Perhaps the earliest monument with remains of its ancient colouring is the one still existing at Whitchurch Canonicorum, stated to be of late 12th century workmanship. In many instances, where the monu- ments are placed within recesses in the walls, and in some few other cases, various subjects, inscriptions, &c., are depicted on the wall surface at the back. Thus at Narburgh was an inscription in gilt letters of the end of the 13th century ; at St. Peter's, Sandwich, e2 Ixviii inscriptions imd the Crucifixion ; at Rochester Cathedral, on the back of the monument of St. William, is a good example of 13th century scroll work. At Turvey and Knockmoy Abbey we find the Crucifixion ; and at St. Edmund's, Salisbury, traces of an indistinct subject apparently Christ and the Apostles. On Bishop Brones- cornbe's tomb, at Exeter Cathedral, are S3. John, James, and Jude ; at Weston Baggard, St. Mary the Virgin between two censing angels; and at Gorleston the Blessed Trinity, with other figures and shields charged with the implements of the Passion. At Ingham was an alleged representation of St. Hubert hunting, now quite gone. In some cases a sculptured bas-relief is inserted above, or at the back of, the monument, as at Horbling, where we find the Resurrection, and at Long Ash ton, two angels supporting a "gloria." The portraits of the deceased were often introduced, as at the back of the monu- ment of Simon de Apulia, at Exeter Cathedral, where is the bishop seated; at Silchester, the portrait of the lady whose effigy lies below ; at Bedale, on the dado of the tomb of Brian Fitzalan, the knight, St. Peter and the conveyance of the soul to Heaven ; at Dodford, the departed soul being borne to Heaven by angels ; at Hereford Cathedral, on the back of a monument of a dean, the dean kneeling to St. Anne instructing the Virgin ; at Maidstone, the Annunciation, with St. Catherine and (probably) St. Margaret, and kneeling figure of Dr. Wootton, the master of the college, and an archbishop and bishop within panels at the head and foot of the tomb respectively ; and, as a last and very late instance, may be mentioned the kneeling figure of Precentor Bennet, with scrolls, at Salisbury Cathedral, dating from about the year 1558. A rare example of red colouring occurs on the cross of a stone coffin lid of 13th century date at Hildersham. At Barrow Gournay is an incised slab of early 14th century date, where the lines have been coloured blue. Some few instances of painted shields, &c., occur on the incised alabaster slabs, which are principally found in the Midland counties, and usually of date between the years 1480-1580. In an example dug up at Dale Abbey were traces of red colouring in the grooves, and blazoned armorial shields are noted on specimens at WattoQ (Herts), Claverley, and St. Chad's, Shrewsbury. The beautiful brass effigies at Westminster Abbey of Edward in., Richard IL, and Henry VEL, and their Queens, have been overlaid with gilding. In some instances the inlaid brass figures were em- bellished with colouring, the heraldic bearings, being thus repre- sented on the ladies' dresses, &c., but the process here employed was generally that of enamelling. Gilding was also introduced on the fine brasses at Marholmc, Ketteringham, and Aspenden, where the other heraldic colours are represented in enamel. In a few instances the armorial shields are emblazoned in dry earth colours, as at Cople, Whig (Bucks), &c., all these dating in the 16th century. Numerous coloured statuettes, and richly sculptured subjects in bas relief or alto relievo, which cannot be identified as belonging Ixix either to monuments or altar pieces, have been at various times discovered in the churches. Of the statuettes several of St. Mary the Virgin have been found, viz., at Broughton in Airedale, Worksop, Anwick, Shimpling, Barling, Arundel, Great Bedwin, and Stewkley, also of the Assumption at Sandford. Several effigies of St. John the Baptist have been found, viz. , at Easton (Hants), Hereford Cathedral, and, dug up with several other figures, at St. Mary's Abbey, York, At Bideforcl, a small effigy, formerly in the church, "when cleaned was found to be a figure of this saint, and to have been executed either by Donatello himself or one of his pupils. It is supposed to have been presented to the church by one of the Devonshire worthies, the heroic admirals in the time of Queen Elizabeth. It is now in private possession. Figures of St. Peter have been discovered at Flawford and Beachamwell ; of St. Margaret, at St. Margaret's, Westminster ; of St. Leonard, at Milton ; of St. Ethelbert, at Hereford Cathedral ; of St. Erasmus, at Trinity Church, Cambridge, and a portion of another at St . Albans Cathedral ; of St. Eligius, at Freckenharn ; of St. Dominic, at Barling ; of St. Gobnet, at Bally- vourney ; and of Henry VI. at Alnwick. Richly coloured repre- sentations of the Blessed Trinity have been found at Carlton in Lindrick, Brant Broughton, and Upton (Bucks). Three very early sculptured figures were found embedded in the wall of St. Nicholas Church, Ipswich, one perhaps being intended for St. James Minor. Amongst the earliest coloured sculptures are those on the west front of Lincoln Cathedral, chiefly representing Old Testament subjects, the colour being especially visible on some of those which are con- cealed behind the later Norman work. The figures composing the very early Eood at Headbourn Worthy bear traces of colour, and a sculpture of Christ in Majesty, surrounded by the Evangelistic Emblems, found face downwards in St. Giles' Church, Durham, was also richly embellished with decoration. Of more elaborate composition, we find notices of coloured sculptures of the Nativity at Bolsover. the Adoration of the Magi at Long Melford, the flagel- lation of Christ at Thursby, the Descent from the Cross at Beachamwell, and a "Pieta" at Breadsall. The flaying of St. Bar- tholomew is noticed at Lostwithiel, the martyrdom of St. Erasmus at Buckenham Ferry, and a Pope inaugurating a bishop at St. Mary's, Nottingham. At Stoke Charity is a sculptured representation of the literal transubstantiation of the wafer, or St. Gregory's mass, which has been entirely overlaid with bright vermilion colouring. At the church of St. Peter Mancroft, Norwich, was an alabaster tablet with several figures of female saints. At Warwick are a series of niches containing figures of the Heavenly Hierarchy and several female saints. At Madron are several figures, also alleged to be the Heavenly Hierarchy. At Hillesden, round the upper walls of the chancel are numerous sculptured figures of angels holding musical instruments, all highly coloured and gilded. On the walls of an oratory in Norwich Castle are certain rude sculptures of St. Chris- topher, &c., bearing evidence of chromatic decoration.* Sometimes, but not often, subjects were moulded in plaster and then coloured. A curious and late example was found in the wall behind the papering of a room at Bushton Hall, a former seat of the Treshams. This is a large representation of the Crucifixion, with the two thieves and a variety of other figures. The saints on the pulpit of Bovey Tracey are of plaster, coloured. The stone bosses placed at the intersection of the groining ribs of the roofs were often most carefully sculptured, and further enriched with colour and gilding. Thus, at Exeter Cathedral, the colouring on those in the nave and Lady Chapel has been restored from traces of the original decoration, and those in the Lady Chapel of Chester Cathedral, and in the nave and aisles of St. George's Chapel, Windsor, have been similarly treated. In the south choir aisle of Lichfield Cathedral, and in the choir of Christchurch Priory Church, considerable remains of gilding are still visible. The roof of the Lady Chapel of Ely Cathedral everywhere shows signs of its former elaborate decoration, especially on the beautifully carved bosses whereon are represented the Nativity, Crucifixion, and history of the Virgin. At St. Helen's, Norwich, are numerous beautifully sculptured and painted bosses, aud on them are dis- played, the Annunciation, Nativity, Resurrection, and Ascension, figures of Apostles and Saints, and the Coronation of the Virgin, which forms the central and principal subject. But by far the most interesting series are those at Norwich Cathedral, which have been fully illustrated and described by Dr. Goulburn, and on which are exhibited the principal events of Old Testament history, from the Creation to the Judgment of Solomon, and of the New Testament from the birth of Christ to the final Judgment. Before drawing attention to the fine painted screens, roofs, and other remains of ecclesiastical furniture and decorated wood- work, which exist, or have from time to time been discovered, a few remarks may here be fitly inserted on the subject of murai decora- tion as applied to domestic buildings. Numerous instances still remain, or have at various times been found, which demonstrate the prevalence, if not the universality, of the practice of adorning with painting the walls of the chief apartments of castles and other mansions, and of the principal chambers of the ecclesiastical establishments. Some valuable information on this subject is given in an account of a painting; of the Annunciation, discovered in an old house at Salisbury .f Very early specimens of decoration have been found in an tipper arcade in Westminster Hall, where bright A similar figure of St. Christopher exists at Ouildfonl Castle, but it is uncertain whether it was ever coloured, as no traces now remain. In Blonicfieltl's History of Norfolk, mention is often made of images of St. Christopher bi;inir in the churches. Many of these seem to have been statuettes, but none now remain. In the South KensintrUm Mu-eum are some Interesting sculptured representations of this Saint chiefly brought from the Tyrol, nnd all still retaining rich colour and gilding. t S.-itiih Archccol. Awe. Jour*., iv. 91. Ixxi colouring had been laid on the shafts and imposts of, and masonry patterns on the wall within, the arches, the date being about the year 1100. On the walls of Bishop Gundulph's foundation at Bochester, and at the Bishop's Palace at Hereford, some very ancient painting has also been discovered. The encouragement given to this art by and during the reign of Henry HE. has already been referred to, and numerous records exist of paintings executed during this period at the castle of Guildford, the palaces of Clarendon and Winchester, &c., &c. One of the most important series which have been noticed are those in the Painted Chamber, Westminster Hall, where are depicted numerous events in the Old Testament history, two scenes connected with King Edward the Confessor, and certain allegorical subjects. At Chipchase Castle various wall decorations remain in a fragmentary condition, and considerable remains of later date have been found at Eochf ord Tower, Boston, at Gainsborough, Medbourne, Bradfield (Devon), Gloddaeth, &c. At Cowdray House, which has been entirely burnt out, and whose tottering walls still stand to attest its former grandeur, were a series of sacred and mythological subjects painted on the walls of the great hall, and another of ^historical incidents on those of the dining parlour, all probably executed during the reign of Edward VI. On the walls of the Carpenters' Hall, London, a series of paintings were found some few years back, and are still preserved. As might be expected, the chapels of the more important military and domestic buildings were adorned on the same principle as the churches. In the chapel of the Bishop's Palace at Chichester are some 13th century paintings, while of the two succeeding periods considerable remains have been noticed in the chapels of Prior Crauden at Ely, of Haddon Hall, Elsing Hall, Magdalen Hospital, Winchester, Harbledown Hospital, &c. In an old house at Bristol an oratory was discovered adorned with scriptural paintings. At East Bridge Hospital, Canterbury, are three very interesting wall paintings only recently discovered, and apparently of the 13th century. The finest represents Christ in Majesty, within a vesica and surrounded by the emblems of the Evangelists. Below this is a representation of the Last Supper, and at the side, the martyrdom of St. Thomas of Canterbury. A masonry pattern is mixed up with and seems to be of later date than the other paintings. At Berkeley Castle chapel numerous texts from the book of "Revelation" were found, which are reputed to have been painted about the year 1400, an early example of this kind of decoration. In the several apartments of the monastic and other religious establishments coloured decorations were also freely applied. The Chapter Houses were often most handsomely decorated, as, for instance, we may still see at York, Canterbury, Salisbury, Oxford, Westminster, Jervaulx, Beleigh, Laycock, &c., and read of at Hereford. In the Frater House at Durham was a wall painting of the Crucifixion, with the Virgin and St. John. In the refectory at Cleeve Abbey is a similar painting, and in that at St. Martin's Priory, Dover, is a representa- Ixxii tion of the Last Supper. At the Guesken Hall, Worcester, was depicted the Adoration of the Magi. On the wall of a room adjoining the abbey church at Selby were portrait figures within compartments, and an inscription of early 16th century date. Various decorative patterns, Ac., have been found on divers portions of the domestic buildings belonging to Norwich Cathedral, and at the abbeys of Fountains, Mendham, Battle, Cleeve, and elsewhere, some as early as the 12th century. Even the walls of the cloisters were often decorated with subjects and ornamental designs. In the Dean's Cloister, at Windsor, a crowned head has been conjectured to be a portrait of King Henry HE. At the college of Ashridge were a series of forty stone panels, on which were depicted as many scenes from the life and passion of Christ, most of which were destroyed at the beginning of this century, when the present stately mansion was erected. In the cloisters of Old St. Paul's, London, it is recorded that a painting of the Dance of Death was executed, and it is asserted that traces of decoration are still visible over the entrance to the ancient refectory of Westminster Abbey. Next to the wall paintings, and other remains of decoration in distemper, attention may now fairly be directed to the various panel paintings, timber mouldings enriched with colour and gilding, &c., with which our churches were formerly so bountifully adorned. Except in the very early examples, the process adopted in colouring the woodwork was different from that employed in the wall paintings, and will hereafter bo briefly described. And first ought to be noticed the rood and chancel screens, which, it is believed, formed a necessary portion of the furniture of, and consequently formerly existed in, every church in Great Britain, though, chiefly owing to the vandalism of the Puritans, or the restorers of recent date, comparatively few examples were permitted to remain in anything approaching a perfect condition. Above or on the top of the rood screens always hung or was placed the Holy Rood, consisting of representations, almost invariably in wood, of Christ on the Cross, with the Virgin and St. John on either side. At the time of the Reformation these ornaments were swept away, and, as a rule, utterly destroyed. A specimen was found not long ago at Ludham, concealed perhaps purposely in the staircase leading to the roodloft, and panel paintings at Cartmel Fell and West Somertou are likewise con- jectured to have formed part of the rood. Several instances might be recorded where the rood beam has survived to oiir time, but only on examples at Martham, Ufford, Postling, and Brabourne has the ancient colouring been observed. It may be assumed that all screens prior to the time of the Refor- mation were originally decorated with colour and gilding, but in the majority of instances paint and varnish have totally and beyond recovery destroyed their former splendour. The greater number of the screens were of wood, but some few examples in stone remain traces of their former illumination, and have already been Ixxiii noticed. Most of the wooden screens surviving to our time belong to the latter part of the 15th or early 16th century, and especially to the reigns of Henry VII. and Henry VIII. The finest still existing are to be found in Norfolk, Suffolk, and Devonshire, as may be seen at once by a reference to the list. It is doubtful as to whether any remains of coloured screen work of earlier date than the 13th century have survived to our time. During the 13th and 14th centuries, as far as can be ascertained from the few specimens remaining, the mouldings of the screens were enriched with colour, and the panels decorated with plain green and red tints, and sometimes powdered with flowers, stars, &c., but during the 15th and early part of the 16th century, figures of saints, sacred subjects, and rich diapers were depicted on the lower panels, in some instances as many as 40 different personages being thus portrayed. One of the earliest examples of this branch of our subject may still be seen at Eochester Cathedral, where, forming a kind of base to the present stalls, are on each side of the choir, a row of tri-f oliated arches of early 13th century date still retaining their original colouring. At Hullavington is the lower part of a screen of early English character, the colouring on which maybe also of this period. At Swanscombe and Willingham are screens of pure decorated character, the latter in a sadly mutilated condition, both of them retaining traces of simple colouring. At Lower Gravenhurst is a screen reputed to be of the same age as the church, which was re-built about the year 1350. The mouldings of the upper part have been varnished over, but exhibit traces of red colouring ; the lower portion has been boarded, but not panelled, and is ornamented with a decorative pattern in chocolate on a pale yellow ground. At Edingthorpe, the screen belongs to the decorated period, and the painted and gilt mouldings are probably of 14th century date, but the figures still existing on the lower panels are not earlier than the succeeding century. At Newtown, the screen has been conjectured to be of decorated character, and to have been executed in the early part of the 14th century, but comparing it with similarly carved ornamental woodwork, the date of which is undoubted, it may with far more probability be deemed a work of the latter part of the 15th century. In a treatise which professes to deal only with the subject of decorative colouring, it may perhaps be deemed beyond its scope to attempt any general remarks upon the screens, as in so many of the finest examples, no traces of colouring now exist, nor can it be actually proved that they ever were decorated. It may, however, be again confidently asserted that every church in the 15th century possessed its roodscreen, and that the screen was invariably enriched with colour and gilding. The roodscreens seem generally to have occupied the space beneath the chancel arch, so as to form a division between the nave and chancel. In the more important examples, the screen supported a gallery, called the roodloft, where the choir were located and some portions of the service administered. "The Ixxiv " roodloft generally projected in front of both aides of the screen, so " as to form a kind of groined cove, the ribs of which sprang or " diverged from the principal uprights of the screen beneath, and " this cove supported the flooring of the loft."* In many instances the colour and gilding on this upper portion still remains. As it cannot be disputed that these screens to a certain extent interfere with the due performance of the reformed service, continuing as they do, according to the ancient intention, to constitute a barrier between the nave and chancel, and looking at the inconvenience thereby caused to the minister and congregation, it is perhap 3 surprising that so many have survived to our day. Several fine examples still remain in an almost perfect state in Wales, though the ancient colouring has been in most cases destroyed. At Newark is a very fine chancel screen with projecting canopy, but here again varnish has successfully obliterated the colouring, and only a little gilding on the mouldings has been preserved and renewed. At Tilbrook, the projecting canopy remains with its original colouring, the mouldings being beautifully carved and gilt, and the groundwork of the spaces between being painted a delicate pale blue. At Charltou on Otmoor is another richly decorated screen, with canopy of very late date and partly Italian in its character, the carving of the shafts being decidedly of the classic order. Here the original colour and gilding is in very good condition. At Oakley is an earlier screen, which seems to have had a canopy extending across the chancel and aisles, but only that in the north aisle remains. On this has been some more than usually elaborate colouring, viz., a representation of Christ seated in Judgment, and showing the wounds, with an angel holding the instruments of the Passion, the general groundwork being painted red with a diaper of stars. At Maidstoue, on the north side of the chancel, is a similarly constructed screen, but very little of the colouring has survived, though enough remains to show how richly decorated it once was. Both of these last-mentioned screens are probably of the end of the 14th century. A very fine example of later date is preserved at Long Sutton, and another with the ^original colour on the canopy only at Stoke Dry.f At Great Eollwright and Avebury, the roodlofts are now placed above the chancel arch. On the cornices are generally beautifully carved patterns of running foliage, the vine leaf being the most common ; and often shields charged with the arms of the benefactors, and sometimes also black letter inscriptions recording the names, and soliciting prayers for the souls of the donors, as at Aylsham, Fritton (Norfolk), Ac. Very fine screens with richly gilt mouldings restored may be seen at Long Ash ton and Ban well, and also have been noted at Flnmborongh, Hexham, Litcham, Llangwm Ucha, St. Buryan, &c., t '.". At Brancepeth are numerous carved panels on which are , Principle* of Gothic Architecture, llth ed., ii. 88. t Th s screen is a late and curious example. On its wot side at each extremity is a projecting framework, apparently intended as a canopy over the pulpit and reading desk. sculptured various geometrical designs, retaining traces of colour and gilding, and conjectured to have belonged to a screen. A very late example of a roodscreen "with its original colouring exists at Hubberholme, the date of its erection being 1558. The panels of the screens were often the most elaborate portions with rich traceried canopies, the ground decoration being generally red and green, though very often a richly gilded diaper occurs, especially in the Norfolk examples, very ornate specimens still remaining at Bandworth, North Elmham, Gooderstone, and elsewhere. As has been already stated, a powdering of leaves, flowers, stars, &c. , seems to have been the earlier method of decorating the panels, and interesting examples may be seen at Ashby Folville, Luton, Trump- ington, Dickleburgh, and Burlingham St. Edmunds. At Stevington, on the panels are depicted numerous white harts, heraldic badges, probably denoting the erection of the screen during the reign of Henry VI. It is uncertain when the practice of portraying figures of saints, &c. on the panels was first introduced, and also whether this custom was generally adopted throughout the country, as the existing examples are rare, except in Norfolk, Suffolk, Devonshire, and Cornwall. It seems, however, tolerably clear that no example has survived to our time of an earlier date than the 15th century, and that with a very few exceptions, most of the extant specimens date from the latter part of the 15th or early in the 16th century. A glance at the "List" will demonstrate the wonderful variety of saints depicted on these screens, and as in the case of the mural paintings, so equally, and perhaps even more directly, from the figures on these screens, may deductions be drawn as to the pro- fessions, &c. , of the principal residents at the time of their erection. In almost all the examples, each main panel or division of the screen is sub-divided into two portions, on each of which is depicted a distinct figure or subject. An exception to this rule may be seen at Kelshall, where the four saints severally occupy the whole surface of the undivided panels. The most common arrangement seems to have been to portray the Apostles or Evangelists and the Doctors and Fathers of the Western Church, the latter usually occupying the panels of the doors of the central portion. Thus at Morston we find the Doctors of the Church and the Evangelists ; at Gooderstone, the Apostles and Doctors of the Church ; at Elsing, Irstead, Gisle- ham, &c., the Apostles alone. St. Paul is generally included in the series, in the place of St. Matthew, as at Hunstanton, Trunch, Tunstead, Westwick, &c. He is also introduced in lieu of St. Thomas at Lessingham, and of St. Matthias at Bandworth. At Belaugh and Aylsham, SS. Paul and John the Baptist occupy the . places of SS. Philip and Matthias, in the former case Moses being also introduced in the place of St. John the Evangelist. The Apostles were sometimes represented as holding scrolls, on which were inscribed sentences from the Creed, as at Mattishall, Weston Longville, Bingland, and St. Peter's, Thetford. At Clifton (Bedford- shire), are portions of a former screen ; on the panels are pairs of Ixxvi figures, one being an Apostle and the other a duplicate figure holding a scroll, supposed to be the corresponding prophet.* At Bovey Tracey, Kenton, and Chudleigh the Apostles and Prophets alternately are similarly represented. At St. Peter Mancroft, Norwich, are a series of panels with paintings of the Apostles and Prophets of very late, probably post Reformation, date. There does not appear to have been any regular order of arrangement in these series of the Apostles, except that St. Peter almost always occupies the panel immediately to the north, and St. Paul to the south of the doors of the central screen. A series of the Prophets are not uncommonly found, though as a rule these are of very late execution, as at Monks Bisborough. Screens of very elaborate character with these panel portraits of the Prophets still are, or till recently have been, in existence at Thornham, Harpley, Marston Moretaine, &c. In most of the examples each Prophet holds a scroll on which is inscribed a sentence from his book referring to the Messiah, as at Poringland, North Crawley, &c. It is uncertain whether in each instance the same text is given to each particular Prophet, but in the cases where the scrolls can be decyphered, there are many divergencies from the series of inscriptions now given to the Prophets depicted on the vault of the choir of Salisbury Cathedral, f In the series of the Prophets, king David is often introduced as at Thornham, Poring- land, North Crawley, and elsewhere, and Baruch occurs at Bedfield and Southwold. Another series of subjects which are found together are the " Holy Families," as still to be seen at Houghton Le Dale and Band worth, where are represented, the Virgin and Child, and SS. Mary Cleopas and Salome, each with their respective families. At the former church are also depicted St. Anne and the Virgin, SS. Elizabeth and John the Baptist, and SS. Monica and Augustine. J St. Mary the Virgin being tanght to read by her mother St. Anne, the Annunciation and Salutation were subjects not uncommonly delineated on the screens, while the Coronation of the Virgin appears chiefly upon the central doors, as at Holne and Portlemouth. Scenes from the life of Christ are not uncommon, as at Loddon. At Plymtree and Buckland in the Moor may be seen the Adoration of the Magi ; at Westhall and Ashton, the Trans- figuration ; at Broadclist, Christ with the Woman of Samaria ; at TJpwell, St. Michael at Plea, and SS. Simon and Jude, Norwich, are scenes from the Passion ; at Fowlis Easter, Hexham, and Kenn, is the Crucifixion ; and at Ashton, Bomsey, and Upwell, the Resur- rection. The screen at Fowlis Easter, is almost, if not actually, the An early example of this arrangement mny l>e seen on the brass of Abbot Dclnmerv. at St. Albaiu Cathedral. t The north aisle ceiling of St. Helen's, Abingdon, has a series of full length Ik-nr. s of royal parsonages and prophets, conjectured to have boon intended to illustm prowil -> f ('lit-i-.!. and to hate originally formed pnrt of a soreon. The prophets hold in* M-n.Hs nre also represented in ancient stained glass atOxburgh and in the ante-chapel of New College, Oxford. JWith tin; cm-jiti'in of SS. Monica and Aueii*tin<', tlii'so all occur in glans of contemporary date in the nntc-chnpel of All Rouls College, Oxford. Ixxvii only one which has escaped the fiiry of the Scotch reformers, and strange to say, it remains in admirable condition. On the lower portion is a most complete representation of the Crucifixion with the thieves on either side and a multitude of beholders all around. Figures of St. John the Baptist and St. Mary Magdalene often occur especially in Norfolk and Devonshire. A representation of Lazarus stepping forth from his tomb exists on the screens at Thoruham and Roxton. St. Joacim, the father of St. Mary the Virgin, is repre- sented with St. Anne and the Virgin on the south door of the screen at Harpley. St. Stephen, habited as a deacon, is also not uncommon. The only recorded picture of St. Barnabas is to be found at Wood- bridge, where several other rare saints are also depicted. At Barton Turf, the main portion of the screen is beautifully illuminated, and illustrations of the Heavenly Hierarchy are delineated on the panels. This subject occurs also at South wold, and is said to have decorated the screen at Tavistock, though not now remaining. We find similar representations in mural painting at Irstead, and in sculpture at Warwick and Madron. In glass the subject seems to have been not uncommon. Portraits of St. Michael are often found, representing him both in the act of contending with Satan, and of weighing souls. At Gooderstone, above all the figures are introduced busts of arch- angels, and a similar arrangement occurs above some of the principal panels at Randworth. It will be impossible to do more than to refer to the various saints depicted on the panels of the screens. A large number of portraits still remain either altogether unidentified or unsatisfactorily appro- priated, owing either to the absence of any distinguishing emblem, or to the uncertainty as to whom any particular emblem is intended to apply. In Norfolk and Suffolk the various saints can in most cases be identified by the emblems as given in "Husenbeth's Emblems of Saints," of which a third edition has just been published, but in other counties, and especially in Devonshire and Cornwall, the emblems represented do not seem to denote the same personages, and it is unfortunate that the scope of Dr. Husenbeth's work was not enlarged prior to the publication of the last edition, in which, as in the previous ones, almost all the illustrations from England are taken from examples in Norfolk and Suffolk. For instance, in the fine screens at Plymtree, Holne, Manaton, Woolborough, &c., many interesting figures occur, whose identity is still undetermined, or can only be hazarded from a possible resemblance to some certified example, and there can be no doubt that many erroneous appropria- tions have thus been inserted in the present work. Numerous examples occur of St. George represented on foot and trampling upon the dragon, also of SS. Anthony, Benedict, Clement, Blaise, Martin, Lawrence, Sebastian, and Roche, the two latter being constantly found together, as at Stalham, North Tuddenham, Holne, Plymtree, &c. Although there are not a great many instances where it can clearly be proved that St. Martin is portrayed, yet as he was Ixxviii generally depicted, as being simply habited as a bishop, and without any distinguishing emblem, it is probable that many of the episcopal portraits, which it has not been possible to identify, may be applied to him. Representations of SS. Leonard, Giles, Nicholas, Eligius, Erasmus, Francis, Denis, and Louis, seem to have been not uncom- mon, though only a few examples have survived. At Litcham is a painting of St. Hubert, the only portrait which can with certainty bo identified with the saint. At Suffield we find St. Julian Hospitator, an unique example, or possibly the figure may be St. Jeron or Geron, who is also stated to occur at North Tuddenham. At Houghtou-le-Dale is a figure of St. Sylvester ; at Oxburgh, St. Wille- brod ; at Woodbridge, St. Quintin ; * at Somerleyton, St. Zeno ; at Guilden Morden, St. Erkenwold ; in each case this being the only recorded picture of the saint in England remaining in this situation. The popular St. Christopher does not seem to have been often depicted on the screens, doubtless because his picture occupied a more prominent position. There are examples still remaining on the panels of the screens at Binham Abbey, Roxton, and Braduinch.f On some of the Devonshire screens are numerous saints, which have not yet been satisfactorily identified ; for instance, at Plymtrce may be found figures, perhaps intended for SS. Cyr, Eomuald, and Odilo, none of whom occur elsewhere ; at Fortlemouth is St. Cornelius and possibly SS. Machutus and Bruno, also unique examples in panel painting, though the former occurs in glass in the church of North Wolshom, and at Cossey Hall Chapel, Norfolk. At Woolborough, where the figures in some cases have been repainted, are numerous saints whose identity is uncertain ; amongst them seem to be SS. Irenoeus and Pancras, the hitter also occurring at Holne, but the former has not been noticed elsewhere, except in one or two cases where he has been mistaken for St. Hieronymus (Jerome). Of the English saints the most commonly represented were SS. Edmund, Edward the Confessor, Edward king and martyr, and Walstan, of the royal personages, these being all most usually met with in the Eastern Counties. SS. Oswald and Olave also occur, and St. Kfuelrn was formerly visible at Woodbridge. St. Ethelbert may still be seen at Burnhom Norton, and St. Wandragcsilas at Horsham, St. Faiths. Of the ecclesiastical saints, St. Thomas of Canterbury occurs by far the most often, and it may safely be asserted that where an archbishop appears without name or emblem, St. Thomas of Canterbury is generally intended to be portrayed. SS. Dunstan and Cuthbert are occasionally met with. St. William of York is noticed at Garboldisham, and St. Robert at Erpingham. At Hempstead, amongst several other figures occur SS. Theobald and John of Burlington (or this may be St. John of Beverley, who At St. Ililnip'. Poitiers, arc considerable remains of wall pointing!, amongst them a figure of a tiithop, with the name " Quint ian l.|.-." t There is alto a similar representation on one of the panels of the pulpit of Horshain St. Faith's church. Ixxix also appears on a screen at Hexliam, and the roof of St. Mary's, Beverley), neither of whom are found in painting elsewhere. At Bandworth is a bishop, conjectured to be St. Felix. On one of the screens at Hexham, now used as a vestry screen, are a series of early English saints not recorded as occurring elsewhere. Another English saint, of whom a few representations remain, is St. William of Norwich, who was crucified by the Jews, and afterwards canonized on account of the numerous miracles performed at his tomb. King Henry VI. and Sir John Shorne, neither of whom were ever actually canonised, are often found in the Eastern Counties included among the series of saints. The legend connected with Sir John Shorne is curious, tradition crediting him with the feat of imprisoning the Devil in a boot, and in all the representations he is depicted holding a boot whence a demon is emerging. It is somewhat singular that there is not a single representation remaining either in panel or mural painting which can be identified as portraying such popular and well-known English saints as St. Augustine the Apostle of England, St. Chad, St. Botolph, St. Alban, and others, whom we should rather have expected to find, than those foreign saiuts who are so constantly introduced. The representation of the female saints was also very common. In many cases both male and female saints appear on the same screen, and are sometimes placed alternately on the panels, as at Blyth, North Tuddenham, &c., and in three instances, viz., at Babingley, Ufford, and Tilbrook, the latter alone are depicted. At Babingley no less than 18 panels remained till within the last 50 years, and though the originals have been destroyed, excellent coloured drawings exist, being included in the collections of the late Mr. Dawson Turner, and now preserved in the British Museum. Many of the saints there depicted bear emblems which are not found elsewhere, and their identification has been to a certain extent conjectural. At Ufford no emblems are given to the several figures, which are of very late character, but the names still remain below them. The most favourite saints as shown by these panel paintings were SS. Catherine of Alexandria, Margaret, Etheldreda, Agatha, Agnes, Appollonia, Barbara, Helen, Dorothy, and Ursula. Several por- traits remain of SS. Bridget of Sweden, Sitha, Faith, Clara, Juliana, Sidwell, Petronilla, Withburgha, Christina, and Genevieve. Of the more uncommon representations we find St. Gertrude at Babingley, Hennock, and Woolborough ; St. Blida, mother of St. "Walstan, at St. James', Norwich, and perhaps at Babingley ; St. Scholastica at Komsey and Kenn ; St. Gudule at Berry Porneroy and Walpole St. Peter ; St. Elizabeth of Hungary at Gately and Fulbourne ; St. Joan of Valois at Bamham Broom, Upton (Norfolk), and St. James', Norwich; St. Catherine of Siena at Horsham St. Faith's and Portlemouth ; St. Wilgefortis at Worstead and perhaps at North Walsham ; while single examples occur of St. Etiphemia lx\x at Blyth ; St. Florence at Ufford ; St. Mary of Egypt at North Walsham ; St. Puella Ridibowne at Gately ; St. Winifred at Bab- ingley ; and St. Anastasia at Hennock. * On the former scm n <>f Pennant Melangell were a series of events in the life of St. Melangell. The mythical St. Veronica, usually represented emblematically by a napkin on which is delineated the head of Christ, also occurs both in Norfolk and Devonshire. On the screen at Bradninch are a full series of the Sybils bearing their respective emblems. It is possible that the same figures are portrayed at Ugborough. On the screen at Sparham are two scenes from the Dance of Death, H subject similarly represented on the screens at Hexham and Yoxford. In one or two instances portraits are supposed to have been painted on the screens. The most interesting example is that at Plymtree, where the Magi are said to be portraits of King Henry VII. , Prince Arthur, and Cardinal Morton, Bishop Fox being also introduced. At Bloxham is a figure supposed to be a likeness of Cardinal Wolsey. The practice of representing on the screens the donors and their families has been already alluded to. Thus at Aylsham we find Thomas Wyiner ; at Fritton (Norfolk), Sir John Bacon and Family ; and of unknown benefactors at Houghtou le Dale, Burnham Norton, Ipswich. St. Matthew's, and Romsey. On the panels of the pulpit at Burnham Norton axe portraits of John and Kathorine Goldale, and on the panel of a cupboard at King's Lynn is the kneeling figure of a priest. None of these examples are earlier than the end of the loth century. In some few instances a second tier of panels is introduced within the open tracery of portions of the screen, as at Attleborough and Eandworth. At Morley, St. Botolph's Church, Norfolk, above the screen is a panel with portrait of the rector between the two churches over which he presided. At Strensham the panels of the screen are incorporated in a western gallery, and many examples might be mentioned of the removal of the screens, or portions of them, to different situations in the church. At North Elmham the very fine screen has been subjected to many changes, and even within the past few years so many screens have been cut down, and even entirely removed, that it is unsafe to make any positive assertions as to the present condition or situation of any particular example. Many cases might also be mentioned where all the paint, varnish, &c. , have been so thoroughly removed that not a vestige of the original colouring has survived the process of scraping or washing to which the surface of the screen has been subjected. In some few instances small sculptured figures grouped round the doors, &c., are also introduced. At Beeston St. Mary's are carved and coloured repre- sentations of S3. George, Michael, &c. At Manaton are SS. Stephen, Paul, and the majority of the Apostles. A similar arrangement St. Anairtnuia also occurs In ancient stained glau in the ante chapel at All Souls College, Oxford. Ixxxi occurs at North Bovey, also in Devonshire, but no traces of colouring are there recorded.* On the back of the choir stalls at Carlisle Cathedral are some very interesting panel paintings, illustrating the histories of SS. Augustine, Anthony, and Cuthbert. At Chichester Cathedral are two large and elaborate pictures in a similar situation, executed at the charge of Bishop Sherborne and commemorating two important events in the history of the See. At the churches of Sail and Aylsham are galleries for the bell ringers ; the screen work across the tower arches retains traces of the former decoration, f At Weston in Gordano is a singular wooden platform within the porch and over the inner entrance, the use of which has not been satisfactorily ascertained. Considerable remains of painting are still apparent. Of wooden pulpits of pre-Keformation date, retaining their ancient colouring, only a few specimens remain, and these, as in the case of the screens, are chiefly to be found in Norfolk. At Burlingham St. Edmunds the pulpit has richly painted and gilded mouldings and cresting, and a diaper of various ornaments on the panels. At Long Sutton is another very lich example of about the year 1530. At St. Michael's, Coventry, was an early and very interesting speci- men of date about 1400, with some gilding on the tracery and mouldings. We sometimes find figures of saints depicted on the panels, as at Warmington, our Saviour, and various saints ; at Castle Acre, the four Doctors of the Church, who also appear at Burnham Norton, together with the portraits of the donors. At Horsham, St. Faith's, are numerous saints, including a representa- tion of St. Christopher, one of the few instances known of his por- traiture on panel in England. Of wooden lecterns, a handsomely carved and coloured example has been noticed at Littlebury, and another one, with the eagle, of St. John, the motto "In Principium," and musical inscription depicted on it, at Kandworth. Colouring formerly existed op specimens still preserved at Peakirk and Leighton Buzzard. At Hexham, a litany desk with panel paintings is still preserved. Of wooden fonts, which are of exceeding rarity, the only recorded example, with remains of its original polychromatic decoration, is to be found at Mark's Tey. Several instances of the font covers remain, with rich colouring and illumination on the mouldings and inter- mediate surfaces. Many of them are shaped like a spire, with numerous tiers of delicately carved canopies, gradually diminishing towards the summit, and reaching almost to the beam in the roof, * The following screens may be enumerated as being specially interesting, owing to the number of figures depicted on the panels. In many instances the screens are con- tinued across the aisles, and sometimes also enclose small chantry chapels, &c. Fowlis Easter ; Hexham ; Worstead, North Walsham, Aylsham, Barton Turf, Repps, Cawston, Houghton-le-Dale, Hunstanton, Babingley, Gooderstone, Randworth, North Elmham Loddon, Walpolc, St. Peter ; Woodbridge, Somerleyton, "WesthaH, Southwold, Eye ; Roxton, Clifton; North Crawley; Strenshain ; Kenn, Kenton, Ashton, "Woolborough, Tor Bryan, Manaton, Holne, Portlemouth, Ugborough, Bradninch, Plymtree ; and St. Budoc. t An elaborate painted ringer's gallery of modem date exists at Worstead. Q 3254. f Ixxxii whence they are suspended. One of the earliest recorded is that at Elsiug. which is of the decorated style of architecture, and dates from the 14th century. Another very beautiful example remained at Randworth until the early part of the present century, when it was swept awny as useless lumber during the carrying out of certain repairs to the church. Magnificent specimens still exist at South Acre, St. Gregory's Sudbury, Ufford, and Worlingworth. At Plym- stock is a late, but also elaborate, specimen, and one of about the same age has recently been restored to its original position in Shaugh Prior Church. At Foulsham, the interior of the font cover was adorned with paintings of the Evangelists. A very late example at Terrington, St. Clement's, is similarly ornamented with scriptural subjects. At Trunch and St. Peter, Mancroft, Norwich, are bap- tisteries, composed of wood and retaining traces of their original gilding and coloured decorations. Both these examples have rich canopies of late character bupported on shafts, and enclosing the space within which the font is placed. At Luton, a similar but much earlier baptistery in stone has been denuded of the decoration with which it was once probably enriched. The painted beam whence the font cover was suspended still remains at Sail, Shering- ham, and Trunch. Of other painted church furniture may be mentioned a curious hexagonal stand at Burlingham St. Andrew's, the bench ends wifh coloured decorations at Hemingborongh and Great Brington, and the carrel or stall at Bishop's Cannings. Several examples of ancient church chests still remain with their original decorations in fair preservation. The most interesting of these, as well as the earliest, may still be seen at Newport, in Essex, where on the inner side of the lid are paintings of the Crucifixion, the Virgin, and SS. John, Peter, and Paul. These date from the latter part of the thirteenth century, and are conjectured to be almost the earliest instances known of paintings in oil. At Durham Cathedral and . Burgate are ornamental chests of the time of Richard II. On the lid of the former are heraldic bearings, and on the latter two knights tilting. At Rainham (Kent) is a beautifully carved specimen with traces of colouring. At Great Yarmouth the hutch or corporation chest, supposed to have belonged originally to some church, is decorated with various colours and some diaper patterns. Some few examples of painted panels, which appear not to have belonged either to screens, pulpits, or roofs, still remain. At Mitchel- dean a series of panels illustrate the earthly life of Christ and the Day of Judgment The hitter subject still exists at St. Michael's, St. Alban's, and of late date at Gloucester Cathedral, and another example, now destroyed, was within the past few years preserved at Enfleld, The former was in existence at Bcrford (Salop) and St. Ger- mains. Figures of Our Saviour occur at Axbridge, His Crucifixion at Winsham and Bradninch, and His Entombment at Southwold. At Wart on are portrayed St. Mary the Virgin and various ecclesiastics, and a panel with the Coronation of the Virgin depicted upon it is preeerved in the Bishop's Palace, Llandaff. At the back of the altar Ixxxiii at Wilton Church, Norfolk, are SS. John the Baptist and John the Evangelist, with two priests kneeling at an alter. At Herringfleet and Komsey are also figures of ecclesiastics, and on the door of a cupboard in the vestry of St. Nicholas, King's Lynn, a priest kneeling with supplicatory scroll to St. Peter. At North Creake are three of the Cardinal Virtues and the emblematical representa- tion of St. Veronica. At Ingham were formerly three panels, which are now in private possession, on which are delineated scenes in the life of St. Nicholas. A curious painting has been preserved at a farmhouse close to the abbey of Strata Florida, illustrating Tempta- tion. At Loddon are portraits of Sir John Hobart and lady, and at St. Michael's, St. Alban's, and Wesenhani, of Henry VI. At the head of the monument of king Henry IV,, in Canterbury Cathedral, is a panel painting, now much worn, representing the murder of St. Thomas of Canterbury, whilst at the foot of the monument is an angel holding an armorial shield. At Milton Abbas are three panels incorporated with the present stalls, on which are depicted portraits of king Athelstan and his queen, and the Annunciation. At Cartmel Fell, on the Comer Hall pew, are various panel paintings of saints. In Gunton's History of the Church of Peterburgh, p. 95, mention is made of a series of very interesting painted panels, as formerly existing in the choir of that Cathedral. Upon these were delineated the Apostles, Prophets, the Salutation, Aaron's Eod budding, Boaz, David, Gedeon, and Moses, all with sentences in Latin verse. Some few monuments have flat wooden canopies above them, adorned with gilding and colour. At Canterbury Cathedral, above the tomb of Edward the Black Prince, is one of these canopies, richly ornamented with his motto, and with a majestic representa- tion of the Blessed Trinity, and evangelistic emblems on the under side. The monument of Henry IV. has a similar canopy, with the motto of the king and his queen on an ermine ground many times repeated on the verge and under side. At Westminster Abbey traces of colour are visible on the canopy above the monument of Queen Philippa. Above that of Richard H., on a richly gilded ground, are depicted the Coronation of the Virgin, Christ in Majesty, and two angels holding shields, charged respectively with the armorial bearings of the king and his royal consort. Above the Harington monument at Cartmel are some painted boards, with the emblems of the Evangelists depicted upon them. These, however, do not appear to occupy their original position. There can be no doubt that the wooden effigies were invariably overlaid with colour and gilding, or, in a few instances, as in the case of the effigy of Henry V. at Westminster Abbey, with plates of metal enriched with enamel. The cross-legged effigy of William de Valence, also at Westminster Abbey, is still ornamented with a thin layer of enamel and gilding, which originally covered the whole figure. At Salisbury Cathedral the table on which the effigy of William Longesp^, the first Earl of Salisbury, rests, is of wood, and 2 Ixxxiv similarly enriched with enamel and gilding. Colour and gilding has been noted on the following cross-legged effigies, viz. , at Ashwell Ruthm.lt ; Woodford (Northants) ; Weston (Stafford) ; Banharn ; Fersfield ; Bures ; Hildershain ; St. Saviour's, Southwark ; Aber- gftvenny ; and Chew Magna. At West Downe the early effigy of a judge, and at Tawstock of a lady, still retain their original colouring. At Staiudrop the monument and effigies of Henry, fifth Earl of Westmoreland, and his two wives, are entirely composed of wood, and have been profusely adorned with colour and gilding. Of the timber roofs, numerous examples are still, or have been till recently, in existence, where traces of the original colour remains, but, with few exceptions, these are all of the fifteenth or early six- teenth centuries. The flat roof at Peterborough Cathedral has already been noticed as being probably the most ancient specimen remaining, and perhaps the only coloured example in wood of the Norman period, which has survived to our time. The roof which spanned Conrad's glorious choir at Canterbury Cathedral was pro- bably of similar character, as must have been that over the nave of St. Alban's Abbey, though no remnants seem to have been retained in the several ceilings which have succeeded it. It is uncertain whether any examples of thirteenth century date can be adduced. Of the succeeding century examples have been noted of bold floral decoration on the groining of the passage leading from the cloisters to the Chapter House at Salisbury Cathedral. The Chapel of the Sanctuary between the retrochoir and Lady Chapel at St. Alban's Cathedral has had a flat panelled ceiling, and traces of colour are visible on the beams and bosses. At Shillington the roofs of the aisles and chancel aisles have a chevron pattern running along the central beam, and the east bay of the nave roof exhibits very elaborate decoration, which has been renewed within the past few years. At Edington the roofs still retain their fourteenth century colouring. But by far the greater number of examples belong to the perpen- dicular or third pointed period. In some few instances the wholo of the roofs are painted, but, as a rule, only the eastern bay of the nave above the roodloft, or the east end of the aisles, or other special portions of the churches, retain traces of their former decorations. Perhaps the most interesting examples are to be found at St. Alban's Cathedral. The roof over the choir to the west of the tower is flat, and divided into a series of panels, on which are painted angels holding the shields of the principal benefactors to the Abbey, round and across which are scrolls with sentences from the "TeDeum." On the central panels are the Coronation of the Virgin, and shields charged with the instruments of the Passion, and the Trinity banner. These panels seems to have been originally painted about the year 1390, and to have been restored and partially repainted between 1440 and 1460. The roof over the Presbytery and retrochoir is also of wood, of high pitch, and embellished with a series of representations within medallions, of the eagle of St. John the Evangelist, and the Ixxxv lamb of St. John the Baptist, the patron saints of Abbot John de Whetehamstede, during whose rule in the fifteenth century the painting was executed. Some very well designed foliage patterns are also introduced, and the whole presents us with an admirable specimen of the decorative art of that period. At Ufford the roofs all retain traces of colour and gilding, the main beams and wall plate being most elaborately painted. At Blythburgh the fine though sadly decayed roofs exhibit traces of rich decoration, with the sacred monogram and floral patterns on the beams, and angels holding shields at the intersections. The roofs at Bandworth, which were destroyed early in the present century, are recorded to have been very rich both in carving and gilding. At St. Mary's Church, Beverley, all the roofs appear to have been coloured ; that over the nave previously to 1829, representing a serene sky with stars of gold ; that over the choir has been repainted, and much of its interest has been thereby destroyed. On a numerous series of panels are depicted portraits of the kings of England from the mythical Brutus down to Henry VI., in whose reign the work was carried out. At Brant Broughton the nave roof has been very richly painted, as also at Kelshall, where the colouring has been renewed. At Southwold all the roofs seem to have been coloured ; the eastern bay of the nave over the roodloft has been most highly decorated with angels Avith scrolls, and the implements of the Passion. At Ludlow, the roof over the nave and aisles had been magnificently coloured. At Necton, supporting the nave roof, are sculptured figures of Our Lord and six Apostles on one side, and of St. Mary the Virgin and the remaining Apostles on the other, all highly illuminated. At Dsington, within image tabernacles supporting the nave roof, are several figures in oak, still bearing traces of chromatic decoration. At Aldenham the beams of the nave roof have been repainted ; the design exhibited some unusual decoration ; also angels holding shields, &c., on the principal timbers. At Meldreth are remains of delicate colouring on the east beam and along the wall plate of the nave roof. At Edingthorpe the two eastern bays of the nave roof have been richly painted, while at the neighbouring church of Knapton, the nave roof has been enriched with figures under canopies, angels, &c. At Biggleswade and Furneaux Pelham are still remaining good examples of painted roofs, and at St. Mary's and St. Martin's, Leicester, rich specimens were also formerly to be seen. In the chancel at Mapledurham, and the nave at Knowle, the ceilings have been painted and further embellished with a powdering of gilded metal stars, a not uncommon form of decoration, as, fo instance, at Swimbridge and Payhembury. At St. Mary's, Bury St. Edmunds, the east bay of the magnificent nave roof has been re- painted. At the east end of the south aisle, above the monument of John Barrett, the roof is elaborately painted with various mottoes and monograms. At St. John's Maddermarket, Norwich, the ceilings over the east end of the aisles are divided into numerous painted panels, those in the north aisle portraying angels holding labels with Ixxxvi sentences from the "TeDeum," and the name "Jesus" within a crown of thorns ; those in the south aisle, angels bearing the legend ' ' Ave Maria," and the name " Maria " crowned. At East Dereham, in the north aisle are depicted the two-headed eagle, and the initial " T " with martyr's crown, and in the south aisle the " Agnus Dei." These eagles seem to have been the insignia of certain guilds, and occur in a similar situation at Horstead, Redenhall, and the ancient chapel of the Hospital of St. Giles, Norwich. The eastern portion of the nave ceiling of Bainham Church, Kent, is divided into very large panels, each decorated with a large " rose en soleil," the badge of Edward TV. The roofs of Chantry Chapels at St. Mary's, Stam- ford, and Wellingborough are panelled, and exhibit a variety of painted decorations. In some late examples the panelled ceilings represent the heavens, with clouds, the sun, moon, and stars, as at Maids Moreton and elsewhere. At Empingham cherubs are also introduced. In buildings other than churches, not a great many examples of coloured woodwork have survived to our time. At Monk's Horton Priory the ceiling of an upper room was flat and panelled, and on each panel was painted the sacred monogram within a crown of thorns. These panels, which were of the time of Edward in., were removed about the year 1840. At Castle Acre Priory, in a room belonging to the Prior's lodgings, is some panelling on which are painted red and white roses, indicating the date of their execu- tion. At Icomb Place, and at an old inn at Kelvedon is some linen panelling with its original colouring. At Alfold House some of the ancient decoration remains on the beams and elsewhere in the hall. At the Old Blue Boar Inn, Leicester, on the roof of a room on the second story, painted scroll work appears on the principal beams, while at the Court House, Brinsop "there is some of the finest " timber work with polychrome in a very perfect state." At Queen's College, Cambridge, the roof of the chapel retains its 15th century colouring. At Baston Manor House a series'of panels were found in one of the rooms on which were depicted numerous royal personages, only king Athelstan and Bichard HE. could be identified. At Amberley Castle, once the palace and stronghold of the bishops of Chichester, a similar series of panels formerly existed with representations of Sinope, Cassandra, Ac. These have now been removed and are in private possession. They are supposed to have been painted by Theodore Bernardi, who is known for the works which he carried out under bishop Sherborue at Chichester Cathedral and Boxgrove. In an upper room in the tower of Pengersick Castle, "on the wainscot round the upper part of the " room are pictures in miniature, proverbs divided, and betwixt the " divisions, verses, all serving to illustrate each other, and to " enforce some moral instruction." These are of the time of Henry VIII. At Chalfield Manor House the hall screen still retains its coloring, and at an old house at Keavil the gallery in the hall has armorial shields depicted upon it. Ixxxvii A few remarks may here fitly be introduced on the subject of the destruction of the ancient paintings, and the adoption of a new order of church decoration in "post Reformation times. It seems doubtful as to what changes took place at once with regard to the arrangement of church furniture, and the obliteration of the former venerated paintings, and it is probable that little was done except the public destruction of such images, &c. , as had become notorious for the superstitious reverence with which they had been regarded, and for the miracles supposed to have been worked by them upon those who came to worship at their shrines. In many cases no doubt texts were painted over the existing pictures, but as has been mentioned, it was already a common custom to paint one series of subjects over those previously occupying the coveted position, the indifference to the works which had been executed at the cost of, and venerated by, their ancestors, being a remarkable feature of all ages. During the reign of Queen Mary an attempt was made to re-establish the former order of things, and we might expect to meet both with mural and panel paintings of this period. Perhaps the only certain examples were those on the walls of Becket's crown at Canterbury Cathedral, above the tomb of Cardinal Pole, which included a large and very poor representation of St. Christopher, now destroyed. In the beginning of the reign of Queen Elizabeth a stronger feeling seems to have been aroused against all relics of the popish religion, doubtless animated by the bitter intolerance displayed by the Papists during the brief period of the renewal of their supremacy during the preceding reign. Thus we have records of orders being sent out to destroy all images and to replace the paintings on the walls by texts from scripture. As an example, may be mentioned the following case, viz., of Thomas Lockwood, dean of Christchurch, Oxford, who received orders in 1559 to remove all popish relics and i mages, *and to put sentences of scripture on the walls instead of " pictures and other like fancies," which was done. Thus we constantly meet with texts of the latter part of the 16th century, often within very elaborate borders. In the crypt at Canterbury Cathedral are a series of this date, and on the piers of the choir at St. Albans Cathedral are lengthy New Testament sentences in blue letter. Of more elaborate subjects the most common were the pictures of time and death, which seem to be all of post reforma- tion date, and only a few of them as early as the 16th century. One of the earliest instances of this subject was found at Nuueaton, but is not now to be seen. The representations of Moses, Aaron, and king David, seem to have been common both in mural painting, and on panel and canvas throughout the 16th and 17th centuries. The series of paintings of the patriarchs at Hargrave and Burton Latimer are certainly as late as the reign of Queen Elizabeth, if not later. At Martock the apostles are similarly portrayed. Of early 17th century paintings, a few instances of which have been included in an Appendix to the present work, some curious and interesting examples have come to light. In the nave of Exeter Ixxxviii Cathedral various heraldic bearings of this period have beeu recently discovered. At Bratoft, over the chancel arch, is depicted the destruction of the Spanish Armada. At Hadleigh (Suffolk) was a wall painting representing the interior of a church destroyed in 1834. Over the south door of Stevington church was a scene portraying a judge and two other figures, a text, and the date 1633. At Great St. Helen's Church, London, a series of paintings of the apostles and saints of about the year 1630 has been destroyed, and at St. Andrew Undershaft, also in London, were scenes from the life of Christ, and whole length figures of apostles and other saints of about the same date. In the chapel of Lytes Gary Manor House are numerous armorial shields, and in that of the Castle of Farleigh Hungerford, are considerable remains of wall decoration, viz., figures of apostles, coats of arms, &c., and a very interesting representation of St. George on foot and clad in the armour in vogue during the middle of the 17th century. Of paintings on panel, only three instances have been deemed worthy of being recorded. At St. Andrew Undershaft, London, on the roof of the sacrariuin was the angelic choir in adoration. Another example is from Wool- borough Church, where are four panel paintings of the Evangelists, probably dating from the reign of James I. The third is at Terrington St. Clements, where the interior of the font cover, which bears the date 1635, has paintings on the inner panels, representing the baptism of our Lord, two scenes from the Temptation and other subjects. It was about the middle of the 17th century, during the supremacy of the Commonwealth, that most of the wall paintings, 4$rc., were obliterated, and such records as the journal of William Dowsing, relating his achievements in the eastern counties, prove to us the fanaticism of the Puritans, and their zeal not only in destroying all superstitious pictures and images, but also in recklessly mutilating ancient monuments and all the objects com- memorating the piety and religious enthusiasm of their forefathers. This wholesale destruction of so many gems of early ecclesiastical art, though possibly at the time.deeined a work of necessity, in order to crush finally the hopes and aspirations of the Roman Catholic party, cannot be too deeply deplored at the present day, as we can now only imagine or picture to ourselves the ancient splendour of our churches during the middle ages. Much has also been done through the neglect of those entrusted with the maintenance of the fabrics, or by the want of taste of successive generations of church- wardens during the past and early years of the present century, still further to reduce the store of objects of art, and to increase the number of those, the existence of which has been recorded, but of which no traces remain at the present day. Even during the present more enlightened times, incalculable injury has been done in the destruction of wall paintings, the sweeping away of screens, and the obliteration of all features of interest or antiquity in a church under the comprehensive title of restoration. It is certainly a sad, though undeniable fact, that there are but few cases where, during Ixxxix the necessary repairs of a church, many objects of archaeological value have not disappeared owing to the want of supervision of those who should have made it their business to preserve them. It is perhaps hardly advisable to enlarge further upon these points here, but should the publication of this list produce a greater interest in the objects with which it deals, much will have been gained.* It only now remains to allude to the post reformation paintings found in buildings which are not ecclesiastical. At Mendham Priory considerable remains of decorative painting of about the year 1550 existed on the walls of the buildings which had been erected on the site of the ancient Priory. So, too, on the walls of the banqueting hall at Lanercost Priory, various cinque cento designs, an armed figure, &c. , have been noticed. In the Priors chamber at Shulbrede Priory, Sussex, some quaint paintings of the Nativity, c., have been assigned to as late a date as the time of James I. At Paynes Place, Bushley, are couplets of verse on a white ground, circ. 1550. At Leven's Hall are shields of arms in plaster with their tinctures properly blazoned. At the Bury, Kickmansworth, on a wall apparently prepared for panelling, and partly in the timber work, are a series of representations of a decorative pattern in- red, black, and white, probably of the time of Queen Elizabeth. At an old house at Great Berkhampstead were found beneath the panelling, some wall paintings of serving men, &c. , and similar objects of somewhat later date have been noticed at Eastbury House, Barking, Essex. At the Manor House, Medbourn, have been found some interesting paintings representing an esquire, ladies, &c., which are late 16th or early 17th century work. On the wall of a room at the old Crown Inn, Rochester, was some late 16th century decoration, now destroyed. At West Stow Hall, in an upper chamber of the gate- house, are depicted the Ages of Man, and in an old house at Woodford, Essex, are 12 subjects exhibiting as many scenes from rural life, and dated 1617. At the ancient college of Wye, Kent, on the walls of P a Jacobean staircase, are painted large representations of truth, justice, charity, &c., and on the staircase itself are coloured sculptured figures of warriors and other personages. A date, 1622, occurs on the wall. In the upper room of a house at Monken Hadley is depicted a stag hunt of the time of James I. , and as a last instance may be mentioned a painting on the panel of the door of an upper chamber at the Manor House, Little Gaddesden, apparently of about the year * It is a common thing to read in accounts of the restoration of churches such phrases as " The walls have been scraped and repointed," " The several coats of whitewash have " been removed, and the walls replastered," and other similar expressions. In both these cases, as a rule, the following simple process is employed. By the aid of a chisel and hammer the whole of the layers of whitewash, including those early courses on which the paintings have been executed, are rudely hacked away, no attempt being made to preserve or ascertain the subjects of these mementoes of mediaeval times. It is no matter of surprise, then, that where this harsh treatment is adopted, one so often receives the answer to one's queries, that no discoveries have been made worthy of being recorded during the course of the restoration of the church. The unfortunate and somewhat prevalent practice of leaving the rough interior surface of the walls bare has already been commented upon and unhesitatingly condemned. Q 3254. g xc representing an event which happened in that year, namely, the Princess, afterwards Queen, Elizabeth being summoned by Lord Howard to repair to London. Such is a brief epitome of the history of this interesting subject, and a description of and reference to the most striking examples of the mural paintings and other painted decorations still or till recently existing, and it is sincerely hoped that it may prove of service to those anxious to cultivate a more intimate knowledge of this branch of art. It now only remains to explain the method employed and the ingredients and composition of the colours made use of by the artists, and then in conclusion to describe the most safe and effective mode of removing the washes or varnish by which the several subjects have been overlaid, and of preserving and bringing out the colours of the pictures when again exposed to view. In order to obtain the most valuable information on these points, the assistance of two of the greatest authorities in these matters has been solicited, and their consent has been most kindly and freely accorded. Their contributions which doubtless form the most important portion of this essay are herein-after fully set out, and are specially commended to the notice of all who are anxious to preserve these memorials of the piety of our ancestors during the middle ages, or who may take a general interest in the subject, and may wish to become more fully cognisant of an art, which is still imperfectly understood and appreciated. C. E. KETSEB, M.A., F.S.A. The methods employed by our mediaeval artists were of simplest character, particularly in the wall paintings of our churches. The latter were executed in "tempera," an Italian term represented by the English " distemper." It means no more than that which mixes or tempers the colours, and might be applied to any vehicle what- ever. But as generally understood, in former times as now, it is applied to that vehicle made of parchment size, or the superior egg- medium, i.e. eggs beat up with the juice of shoots of the fig-tree, but vinegar can also be used with the same effect, We have -proof that both species of tempera were known and practised in England ; but the former must always have been that used on walls, and it is this that we see in our mediaeval churches. Both are of the greatest antiquity, known to Greeks and Romans, and also to the ancient Egyptians. Under reasonable conditions it is very durable, as indeed is shown by works executed in this manner enduring for many centuries the humidity of our climate and all kinds of neglect. As regards the superior egg-medium it was chiefly employed in painting upon wood or panel, and when in our records we see the term "tabula '' it either refers to a movable picture, as above an altar, XC1 or to those executed in panels on a screen. The practice in Italy did not differ in this respect. The use of the term "tempera" as restricted to the above processes, was gradual, as even Vasari occa- sionly applies it even to oil as " tempering " colours. But when the term "fresco " was in familiar use for painting on the fresh or wet plaster, and oil vehicles became general, it naturally was convenient to keep the word " tempera " to the process when it was first applied. Our archaeologists, though often corrected, still frequently call our mediaeval wall paintings "frescoes." It is obviously most im- proper, as even the "fresco buono" of the Italians was not com- pletely developed until the 14th century, though the system was known to the Greeks and Romans. The colours generally used were of the commonest kind. Mostly earths, as in fresco, or of some mineral origin. The chief were col- cotha or Indian red, for they are nearly the same, red ochre, yellow ochre, terra verte, verditer and native cinnabar. Neither of the two last are used in fresco painting, and verditer, both blue and green, are colours which fade and change very easily. To these may be added " lamp black " and white, made from lime. Cinnabar, which stands in the place of vermilion, grows black in contact with lime, and this accounts for some reds turning quite black, probably assisted by damp. All our earliest paintings are monochromes, or very nearly so. As regards the decoration of oaken screens of which the Eastern counties show many fine examples, both "tempera " and oil were used. Indeed the latter was very much employed in this country, in early times, as our records prove. But it is very doubtful if this was for any delicate work. Many of the screens in Norfolk and Suffolk prove the influence of the Flemish artist, and we know many migra- tions from Flanders took place, bringing them superior manufactures, and doubtless a superior art practice. If we presume the use of oil in the painting of these screens, it seems always to have been applied on a ground of gesso, just as in preparation of panels by painters of both Flemish and Italian schools. But we cannot be sure that many which now seem to us as painted in oil were not first executed in tempera and afterwards varnished. It is, however, of little im- portance. But there are specimens of tempera simply, as well as in oil, or tempera varnished. On the screens we get a superior range of colours ; a finer blue, brighter green, a preparation probably of vermilion. The gilding is excellent, and in one or two instances, late in the 15th century, stamped processes are used for such parts as the shafts of the canopy, executed with much beauty and subtlety. Yaxley, Suffolk, offers an example. As regards the best mode of removing whitewash from the under- lying painting on walls, much depends upon the state of the latter. If these be sound and firm, an ordinary knife, if flexible, and thin from wear the better, can be used, or even a chisel, the rest depend- ing on the care of the manipulator. But there will always be some xcn portions still adherent, due to inequality of the surface and to other reasons. This may be removed by carefully damping with a squeezed out sponge, and again applying the knife, which then easily removes what remains. Even yet portions of white upon the colours will tend to render them fainter, but by a careful manipulation with diluted vinegar, cast on in a spray, this will disappear as the acid takes up and decomposes the lime. A spray of fresh water may afterwards follow to remove redundant acid. This process seems elaborate in description, but is less so in practice, but it depends, as all others, on the judgment and skill of the manipulator. But should it happen, as it often does, that one series of paint- ings covers another, the removal of the whitewash from the upper series, and that alone, is not so easy. The second series will be on a ground laid over the other, with which the superincumbent white- wash will have a tendency to combine, and the chances are all will come away together. This, however, may often disclose the more interesting earlier series ; possibly on the same subject ; as was the case at Raunds, in Northamptonshire. Here the life of St. Katharine which has been uncovered, preserves some of two periods, viz., 14th century and late in 15th. In discussing the mode of preserving these paintings by a varnish, it must be well considered. On stone, or upon a sound wall, no doubt some such manipulation may be very effective, if properly done. But the decay of wall-painting when exposed to the air, damp, &c. , arises from the loss of the material by which the colours were originally tempered. The medium is not so durable as the colours, and damp succeeded by dryness, and the variations of our climate, tend to its disintegration ; it comes off in dust or powder. This even takes place in " fresco buono," as may be seen in many churches in Italy, giving rise to the report of the colours fading. The colours do not fade, they simply disintegrate and fall off in dust. To restore to the decaying tempera painting, the medium it has partially lost, could be done by means of a spray, casting upon the surface a dilution of size in alcohol and water to make it sufficiently thin for the process. This could be done to any wall, however soft, with success ; but a hard varnish upon a soft wall would certainly hasten the decay. J. G. WALLEB. XC111 The first step in the preservation of mural paintings in dis- temper is the complete removal of the -whitewash, with which, in most cases, they have been coated. For this purpose I prefer ivory, bone or horn spatulas, thin at the end, but not pointed. These generally prove sufficiently powerful, but occasionally steel imple- ments are necessary. Whatever the material, the working end of the instrument should be ground in such a way as to present a very slightly curved edge, not the usual semi-circular form. It may sometimes be necessary to assist the action of the spatula by means of slips of linen, wetted with hot strong glue, ironed on to the white- wash, and allowed to dry there before being torn off. Bellows and badger hair softeners are useful to clear away dust and reveal the work. They must always be used (or, if needed, stencil brushes) before applying the reviving, fixing and waterproofing liquid, which is made by the following recipe : Melt 2 ounces by weight of pure white beeswax, and pour the melted wax into 6 ounces by measure of oil of spike lavender or oil of orange peel. Warm the mixture until it is clear, and then add 10 ounces by measure of picture copal varnish and 26 ounces of freshly distilled spirits of turpentine. The above mixture is to be applied warm by means of a broad flat soft brush to the wall picture. Sometimes it is necessary, if the colour be at all easily detached to apply the fixing liquid to the wall by means of a spray producer. A scent distributor worked by an india-rubber ball, by bellows, or by Fletcher's foot- blower will answer. Shelsley, Ennerdale Koad, Kew, A. H. CHUKCH, 26th January 1883. Professor of Chemistry in the Royal Academy of Arts. Q 3254- A LIST OF Buildings in Great Britain and Ireland having Mural and other Painted Decorations of Dates prior to the latter part of the 16th Century. ABBEY DORE CHURCH, HEREFORDSHIRE. Paintings and floral decorations of the 15th cent. Murray's Handbook of Herefordshire. Archceologia Cam- brensis, 3rd series, xiii. 403. On W. wall of choir ; figures of King David and " Time." J. H. James, Some Account of the Churches of Abbey Dore, &c., p. 4. N. Stephenson, Hist, of Llanthony Abbey, <&c,, p. 27. ABBOTSBURY CHURCH, DORSETSHIRE. E. end of S. aisle; The Resurrection. ? Early 16th cent. Defaced in 1750. Hutchins' History of Dorset, 3rd ed., ii. 730. ABERDEEN, ABERDEEN SHIRE, ST. MACHAR'S CATHEDRAL. Remains of colour and gilding on nave ceiling, and 48 armorial shields. Billing's Antiquities of Scot- land, vol. i. Antiquarian Cabinet, vol. ix. ABERGAVENNY CHURCH, MONMOUTHSHIRE. Colour on the wooden effigy of George de Cantilupe, circ. 1275 ; on the canopies above the heads of Sir Wil- liam Ap Thomas and his lady, and on the figures on slabs forming the lower part of the monument, circ. 1450. These probably were originally parts of a reredos. Painted shields on, and colouring on sculpture at head of, monument of Richard Herbert of Ewias Harold, circ. 1510. O.Morgan, The Abergavenny Monuments, pp. 22, 42, 43, 64, 65. Murray's Handbook of South Wales. ABINGDON, BERKSHIRE, ST. HELEN'S CHURCH. Ceiling of N. aisle ; painted with full-length figures of royal personages of the family of Jesse and Prophets, a genealogy of Our Lord, time of Henry VI. ? Originally part of a screen. Blackburne, Decorative Painting, p. 45. Q 3254. A ABIXGTOX, GREAT, CHURCH, CAMBRIDGESHIRE. N . wall of nave ; part of a text. S. of chancel, on head of containing arch, band of colour. ACLE CHURCH, NORFOLK. Original colouring on font, circ. 1410. East Anglian Notes and Queries, ii. 28. ACONBURY CHURCH, HEREFORDSHIRE. Paintings, restored. Havergal, Fasti Herefordenses, p. 157. On either side of W. window mural paintings ; destroyed, In S. W. corner, within a small chamber ; ? an oratory, the Salutation, restored. ACRE, CASTLE, CHURCH, NORFOLK. Rood screen, pulpit, and font. Civil Engineer and Architect's Journ., 1860, p. 5. East Anglian Notes and Queries, iii. 291. On the panels of the screen; Our Lord and the Apostles. On panels of pulpit ; the four doctors of the Church. Ceiling, E. end of N. aisle ; a diaper of crowned " M"s and lilies. Ceiling, E. end of S. aisle ; a diaper of crowned " N"s with mitre above. Chapels, E. end of aisles ; coloured panelling. Painted and gilt font cover repainted. Blomejield, (Parkin,) Hist, of Norfolk, ed. 1808, viii. 362. Bloom Notices of Castle Acre, Hist, and Antiq., pp. 281-293. ACRE, CASTLE, PRIORY, NORFOLK. The Prior's lodgings ; the panelling at the E. end of a room is painted with red and white roses. Britton's Archi- tectural Antiquities, iii. 16. Blackbume, Decorati/ve Painting, p. 46. Similar paintings on the ceilings of all the rooms j time of Henry VII. Carving on hearths, coloured scarlet. Prior's Chapel ; emblazoned shields of England and De Warenne, time of Henry VI. On E. wall ; " traces of an elaborate painting repre- senting pinnacled canopies and shrine work, surmounted by what appears to be an inscription." Bloom, Notices of Castle Acre, Hist, and Antiq., pp. 241-245. Cham- fers, Hist, of Norfolk, i. 381. ACRE, SOUTH, CHURCH, NORFOLK. Screen across N. aisle. Chambers, Hist, of Norfolk, ii. 662. Traces of colour on the rood screen now under the tower. Date about 1350. Remains of gilding and colour on the font cover. About 1500. ADDERBURY CHURCH, OXFORDSHIRE. Canopied niches of the reredos. Gent. Mag., 1834, i. new series, 163. Interesting paintings destroyed. A head of a bishop, late 14th cent. ; in private posses- sion. ADDINGTON, GREAT, NORTHAMPTONSHIRE, ALL SAINTS' CHURCH. Paintings, whitewashed over. Old wood panelling retaining the original painting worked up into pews. Churches of the Archdeaconry of Northampton, p. 98. ADDLETHORPE CHURCH, LINCOLNSHIRE. Painted roofs. Roof of porch ; remains of colour. Chancel screen ; enriched with colour and gilding. Associated Architect. Societies' Repts., viii. 80. Oldfield, Topog. and Hist. Account of Wainfleet, pp. 105, 106. ADVENT CHURCH, CORNWALL. Remains of colour and gilding on the nave roof. Date 15th cent. Murray's Handbook of Cormvall. Exeter Diocesan Architect. Soc., v. 110. Maclean, Hist, of the Deanery of Trigg Minor, ii. 319. ALBURGH CHURCH, NORFOLK. Over N. door; St. Christopher. Blomefield, Hist, of Norfolk, ed. 1806, v. 354. Chambers, Hist, of Norfolk, i. 134. ALBURY CHURCH, HERTFORDSHIRE. N.E. corner of N. aisle : colouring on the effigies of Walter de la Lee and Lady, circ. 1396. Cussans, Hist, of Hertfordshire, vol. i., pt. ii., p. 166. ALDBURGH CHURCH, NORFOLK. Over N. door ; St. Christopher, Blackburne, Decora- tive Painting, p. 16. ALDBURY CHURCH, HERTFORDSHIRE. N. side of chancel within the splay of a window ; floral pattern. ALDENHAM CHURCH, HERTFORDSHIRE. Ceiling. Civil Engineer and Architect's Journal, 1851, p. 196. E. wall of N. aisle; diaper pattern, &c. 15th cent. Partly whitewashed over. Also " The Trinity " and the emblems of the Evange- lists. An Elizabethan text has been painted over it. Whitewashed over. Blackburne, Decorative Painting, p. 14. Nave roof; scroll ornament, &c. Middle of 15th cent. Blackburne, Decorative Painting, pp. 79, 80. Screen of chapel, E. end of S. aisle ; tracery, scroll ornament, banding, &c. Late loth cent. Lithographed in Blackburne, Decorative Painting, p. 81. ALDWINCLE ST. PETER'S CHURCH, NORTHAMPTONSHIRE. Chancel ; on either side of chancel arch two paintings, ? Consecration Crosses. Associated Architect. Societies' Repts., vii. 243. ALFOLD CHURCH, SURREY. Over E. window ; the Crucifixion. On N. side of nave ; flowerpots with lilies and roses. Recovered with whitewash. Surrey ArchceoL, vi. 16. ALFOLD HOUSE, SURREY. Colouring on the beams and elsewhere in the hall, and on a doorway in the upper story. Date about 1500. Surrey Archceol., vi. 18. ALFORD CHURCH, LINCOLNSHIRE. Lower part of screen; remains of gold and colour. Associated Architect Societies' Repts., x., xii. On soffit of chancel arch ; remains of figures enclosed within vesica-shaped medallions. 14th cent. ALFRISTON CHURCH, SUSSEX. Painting of the Doom, whitewashed over. NeaU and Webb's Du,randus, note p. 57. N. wall of N. transept ; St. Catherine. J. M. JY llierologus, p. 2f">. ALKERTON CHURCH, OXFORDSHIRE. Walls and arches ; extensive remains of early paintings. Beesley, Hist, of Banbury, pp. 109, 143. ALLESTREE CHURCH, DERBYSHIRE. W. end of nave ; scroll patterns. On either side of E. window ; Black-letter (Elizabethan) texts. J. C. Cox, Churches of Derbyshire, iv. 2 90. ALLEXTON CHURCH, LEICESTERSHIRE. N. side of nave ; colouring on two Norman arches. Not now visible. Leicester Architect, and Archceol. Soc. Trans., ii. 172. ALMELEY CHURCH, SHROPSHIRE. E. part of nave roof; painted panels. Tudor period. Archcvologia Cambrensis, 3rd series, ix. 373. ALMONDBURY CHURCH, YORKSHIRE. Inscription round the church below the roof. Date 1522. Murray's Handbook of Yorkshire. ALNWICK CHURCH, NORTHUMBERLAND. Coloured and gilt effigy of a king, ? Henry VI., with purse, rosary, globe, and sceptre, dug up in 1816. A Descriptive and Hist. Account of Almuick, 2nd ed. 1822, p. 199. Tate, Hist, of Alnwick, ii. 111. Mackenzie, View of the County of Northumberland, i. 438. ALPHINGTON CHURCH, DEVONSHIRE. Rood screen. ALREWAS CHURCH, STAFFORDSHIRE. On the N. wall of the chancel ; a bishop accompanied by an acolyte, in the attitude of benediction. Date loth cent. ALTHAM CHURCH, LANCASHIRE. Pillars, arches, and S. wall, decorated with a geo- metriccal pattern, discovered in 1859 and destroyed. W. A. Waddington, Architectural Sketches on the Colder and Ribble, article iii. Murray's Handbook of Lancashire. ALTON CHURCH, HAMPSHIRE. Scenes in life of Christ, and portraits of King Henry VI. and several bishops. 15th cent. Murray's Handbook of Hampshire. Black's Guide to Hampshire. Moody, Sketches of Hampshire, p. 107. 6 ALVELEY CHURCH, SHROPSHIRE. E. end of S. aisle ; wall paintings. Church Times, 1879, p. 766. S. wall of chapel ; decorative colour. Representations of Time and Death. ALVESCOTT CHURCH, OXFORDSHIRE. Perpendicular chapel on S. side of chancel ; painted and gilt ceiling. Parker, Eccles. and Architect. Topoy. of England, Oxford, No. 176. S. transept roof; painted panels with gilded stars and bosses. Three Consecration Crosses. Antiquary, 1872, ii. 105. ALVINGTON, WEST, CHURCH, DEVONSHIRE. Screen ; repainted. AMBERLEY CASTLE, SUSSEX, The Queen's Room; Sinope, Cassandra, &c., said to have been painted by a Fleming, Theodore Bernardi. Early 16th cent. (On panels, removed.) Archceol. Journ., xxii. 65. Society of Antiquaries' Proceedings, 2nd series, iii. 28. Sussex Archceol., xvii. 205. British Archceol. Assoc. Journ., xx. 315. Removed to Parham. AMBERLEY CHURCH, SUSSEX. N.E. corner of S. aisle ; The Virgin and Child, a priest, &c. S. wall of S. aisle ; the Salutation and other fragments. Sussex ArchcBoL, xvii. 231. S. side of chancel arch and E. wall of S. aisle ; Scripture texts with earlier painting below. N. wall of nave; a consecration Cross. Early 12th cent. Black's Guide to Sussex. Archceologia, xlvii. 165. AMERSHAM CHURCH, BUCKINGHAMSHIRE. N. aisle ; mural paintings discovered and destroyed. AMPNEY CRUCIS CHURCH, GLOUCESTERSHIRE. Texts from the Bible, the Commandments, and the Lord's Prayer painted on the walls ; Martyrdom of St. Erasmus. N. wall; St. Christopher, with inscription. Signed " Thomas ye payntre of Malmesburie," in Black letters. (Much dilapidated.) AMPNEY CRCJCIS CHURCH, GLOUCESTERSHIRE eont. Les Trois Morts et Les Trois Vifs {?). 15th cent. (All plastered over again, 1871.) Over chancel arch ; the General Resurrection, part of a Doom. (Of later date than the former paintings.) Ampney Crucis Parish Mag., May and June 1871 Extract in the Art Library, South Kensington Museum. Remains of colour on the roofs. British Archceol. Assoc. Journ., xxv. 193. Remains of colour on wall pieces and trusses. Bristol and Gloucestershire Archceol. Soc. Transactions, 1877-8, pt. i. p. 23. AMPORT CHURCH, HAMPSHIRE. Let in to S. wall of S. transept ; an iconuela, or small alabaster tablet, on which is sculptured the head of St. John the Baptist on a charger ; above, two angels holding a napkin enclosing a soul ; below, Our Saviour rising from the tomb ; on either side, St. Peter, a royal abbess, ? St. Etheldreda, an archbishop, or abbot, and St. Cathe- rine, all richly painted and gilt. Date circ. 1500. Found while pulling down an old house in the parish. AMPTHILL CHURCH, BEDFORDSHIRE. Over the porch ; a painting formerly existed. Eccle- siologist, viii. 245. ANWICK CHURCH, LINCOLNSHIRE. Painted sculpture of the Virgin and Child ; found in the rood loft staircase in 1859. Trollope: Sleaford, Flaxivell, Aswardhurn, p. 192. Associated Architect. Societies' Repts., v.. xxi. ARDELEY, OR YARDLEY, CHURCH, HERTFORDSHIRE. S. wall of nave ; St. Christopher. S. aisle ; red colouring. Over chancel arch ; angel blowing a trumpet, probably part of a Doom. On either side of E. window ; painted and gilt rdche. A Guide to Hertfordshire, 1881, p. 129. ARDLEIGH CHURCH, ESSEX. N. wall of nave ; mural paintings destroyed in 1840. Church Builder, 1880, p. 26. ARDSLEY, WEST. See WOODCHURCH. ARELEY, UPPER, CHURCH, STAFFORDSHIRE. Nave roof; trace3 of colour. Garnet', Natural History of the County of Stafford, supplement, p. 33. ARLESEY CHURCH, BEDFORDSHIRE. E. beam of nave roof; pattern of chevrons. 15th cent. ARLINGTON CHURCH, SUSSEX. N. chancel chapel ; on jamb of E. window, floral orna- ment. ARMINGHALL CHURCH, NORFOLK. St. Christopher ; a diaper of the letter " A," with a consecration Cross below, and a text. IGth cent. De- stroyed. Norfolk ArchceoL, viii. 334. ARRETON CHURCH, ISLE OF WIGHT. On a window in the chancel ; traces of a scroll pattern. Scroll patterns discovered in the chancel, and destroyed. ABUNDEL CHURCH, SUSSKX. N. wall of N. aisle : Over N. door ; The Seven Deadly Sins. The Seven Acts of Mercy. Restored. ArcJuzologia, xxxviii. 432. Also Brit ink ArchceoL Assoc. Journ., vi. 440. Ecclesiologist, xviii. 34-1. Slack's Guide to Sussex. Nibbs' Churches of Sussex, No. 55. An Angel holding the cloak of a Saint, part of a large painting. S. wall of S. aisle ; large and indistinct subject. Several consecration Crosses remain. Date about 1390. Fitz Alan or College Chapel ; traces of colour visible through the whitewash. Remains of gilding on the monument of Thomas Fitz Alan, Earl of Arundel. Date about 1415. Blare's Monumental Remains of Noble and Eminent Persons. Remains of colour on the effigies of John Fitz Alan, Earl of Arundel, circ. 1434 ; and of William Fitz Alan, Earl of Amndel, and Lady, circ. 1487. Stothartfs Monumental Ejfiyies, pis. 119 and 137. Effigy of the Virgin, richly painted and gilt: dug up in 1847. Sussex ArchccoL, iii. 87. ASGAIUIY CHURCH, LINCOLNSHIRE. N. wall, E. end of N. aisle ; painting of an An-t-1 with scrolls. End of 15th cent. Trollopc : Sleaford, Flaxwett, Aswardhurn, p. 331. ASH, KENT, ST. NICHOLAS CHURCH. Walls of N. transept; fragments of figures and scroll and masonry patterns. British Archceol. Assoc. Journ., xx. 88. J. .R. Planche', A corner of Kent, Ask-next- Sandwich, p. 181 note. N. side of chancel ; painting and gilding on a cross- legged effigy. Glynne, Churches of Kent, p. 128. Archceol. Journ., viii. 302. ASHBOURN CHURCH, DERBYSHIRE. Monument of John and Edmund Cokayne, painted panels. Circ. 1 404. S. transept ; painted shields on monument of Sir Humphrey Bradborne. Circ. 1580. J. C. Cox, Churches of Derbyshire, ii. S82, 389. ASHBURTON CHURCH, DEVONSHIRE. S. aisle roof; painted ? panels. Destroyed. Gent. Mag., 1849, xxxi. new series, 194. Screen, removed, formerly had figures of the Apostles on the panels, sculptured in relief and painted. Portions of a painted effigy found in the chancel. C. Worthy, Ashburton and its Neighbourhood, pp. 11, 17, 18. ASHBY CHURCH, SUFFOLK. Last Judgment, St. Catherine, St. William of Norwich, and history of St. Wulstan. All covered with a fresh coat of whitewash. ASHBY FOLVILLE CHURCH, LEICESTERSHIRE. Panels and lower part of screen painted ; traces of colour on the roof; renewed in a different style. 'ASHBY ST. LEGER'S CHURCH, NORTHAMPTONSHIRE. Traces of colour on the rood screen. Deacon, Hist, of Willoughby, p. 96. ASHBY, CASTLE, CHURCH, NORTHAMPTONSHIRE. Paintings within the splay of a chancel window, loth cent. Gent. Mag., 1849, xxxii. new series, ]85. ASHBY, HEARS, CHURCH, NORTHAMPTONSHIRE. Over chancel arch ; the Day of Judgment. On wall of N. aisle ; diaper pattern. Destroyed. Ecclesioloyist, xxi. (xviii. new series) 263, and xxv. (xxii. new series) 305. 10 ASHCHTRCH CHURCH, GLOUCESTERSHIRE. Painted rood screen and loft. Associated Architect. Societies' Repts., vi. 240. ASHFORD, DEVONSHIRE, ST. PETER'S CHURCH. W. end of N. wall ; various figures. Ecclesiologist, vi. 40. ASHFORD CARBONELL CHURCH, SHROPSHIRE. Indications of painting on the walls. ASHMANHAUGH CHURCH, NORFOLK. Remains of screen. ASHOVER CHURCH, DERBYSHIRE. Rood screen ; original colour and gilding scraped off in 1843. J. C. Cox, Churches of Derbyshire, i. 21. ASHRIDOE HOUSE, BUCKINGHAMSHIRE. Cloisters [or refectory or college hall] ; on the walls, painted on 40 panels or compartments, passages from the life, death, and passion of Our Saviour, viz. : Our Saviour among the Doctors, His Baptism and Temptation, Miracles, Triumphal entry into Jerusalem, Last Supper, Betrayal, Trial before Pilate, Bearing the Cross, Cruci- fixion, Descent from the Cross, Burial, Descent into Hell, and the Ascension ; also the Trinity. Almost all defaced in 1800. Todd, Hist, of the College of Ash-ridge, p. 58. Sheahan, Hist, and Topog. of the County of Buckingham, p. 732. ASHTON CHURCH, DEVONSHIRE. Rood screen and parclose. loth cent. On panels of screen ; SS. Appollonia, Barbara, Anthony, Sidwella, George, Blaize, the Virgin and Child, Mater Dolorosa; SS. John the Baptist, Stephen, Dorothy, Michael, the Four Evangelists, and Four Doctors of the Church. In the interior of the screen ; designs relating to the Resurrection, Annunciation and Visitation of the Virgin, and the Transfiguration, with scrolls. Oliver's Ecclesiastical Antiquities of Devon, i 195. Exeter Diocesan Architect. Soc., 2nd series, ii. 96. Eccle- swlogist, xx. 286. Murray's Handbook of Devon. ASHTON KEYNES CHURCH, GLOUCESTERSHIRE. On N. wall over the vestry door; ? the Trinity. Destroyed. Builder, 1877, p. 795. 11 ASHTON, LONG, CHURCH, SOMERSETSHIRE. Chancel and aisle screens ; richly painted and restored. 15th cent. N. cHapel, back of monument of Sir Richard Choke ; two Angels supporting a Glory, formerly enclosing the Crucified Saviour. Boiuman's Ecclesiastical Architecture, pp. 14, 15, plates 3-10. Monument and effigies repainted and regilt. ASHWELL CHURCH, RUTLANDSHIRE. N. aisle; wooden effigy. 14th cent. N. chapel ; effigy of a priest, about 1500. Both shew- ing traces of colour and gilding. Associated Architect. Societies' Repts., viii., Ixiv. Leices- ter Architect, and Archceol. Soc. Trans., iii. 88. ASHWELLTHORPE CHURCH, NORFOLK. Coloured effigies of Sir Edmund de Thorpe and Lady. Stothard's Monumental Effigies, pi. 113. ASLACTON CHURCH, NORFOLK. On the font ; a painted shield. ASTBURY CHURCH, CHESHIRE. N. wall of nave ; a nearly obliterated painting, " the only one left of several which formerly adorned the walls," representing St. George receiving the thanks of the Princess, and the honour of knighthood from the Virgin, who holds the Infant Saviour. 15th cent. Murray's Handbook of Cheshire. ASTLEY CHURCH, WARWICKSHIRE. Coloured effigy of a lady. W. H. H. Rogers, The Ancient Sepulchral Effigies, &c., in Devon, p. 390. Saints on panels over choir stalls ; removed and re- painted in 1642. Chancel ceiling ; 14th cent, decoration. ASTLEY CHURCH, WORCESTERSHIRE. N. chancel aisle ; coloured monument of the Blounts. Date 1561. *> ASTON CHURCH, HEREFORDSHIRE. Wall pattern. Norman period. Kelly's Post Office Directory of Herefordshire. 12 ASTON CHURCH, WARWICKSHIRE. Coloured effigies of Sir Walter Arden and a Lady of the Arden family. Hollis, Monumental Effigies, pt. iv., pis. 7 and 8. ASTON LE WALLS CHURCH, NORTHAMPTONSHIRE. N. wall of N. aisle ; St. Christopher. Destroyed. ASTON, STEEPLE, CHURCH, OXFORDSHIRE. The original painted roof has given place to a modern flat one. W. Wing, Annals of Steeple Aston, p. 4. ASTWOOD CHURCH, BUCKINGHAMSHIRE. Chancel screen, Lipscomb, Hist, and Antiq. of Bucks, iv. 6. ATHELINGTON CHURCH, SUFFOLK. Remains of rood screen, with painted mouldings and powdered panels. ATHERINGTON CHURCH, DEVONSHIRE. Rood screen. ATTLEBOROUGH CHURCH, NORFOLK. At the E. end on the inner wall ; the Crucifixion. Over the W. tower arch ; the Legend of the Cross. Painted screen with three upper panels on each side of the central doors. On the N. side are St. John the Evangelist, the Virgin and Child, and St. John the Baptist. On the S., an Archbishop, probably St. Thomas of Canterbury, the Trinity, and St. Bartholomew. All are figured in Barrett's Memorials of Attleborough Church, pp. 108, 109, and 141. British Archceol. Assoc. Journ., v. 99. AVEBURY CHURCH, WILTSHIRE. S. aisle ; on splay of window ; decorative pattern. 14th cent. S. wall, E. end of nave; 1 4th cent, decoration. N. wall, E. end of nave; 15th cent, decoration. S. side of nave, onhoodmould of arches ; painted zigzag pattern. Built into chancel wall ; coloured fragments of a Norman, ?the chancel, arch. TJie Antiquary, 1881, iii. 45. Above the chancel arch ; upper part of rood screen painted and gilt. Early loth cent. 13 AVELEY CHURCH, ESSEX. Traces of colour on the nave columns. Rev. W. Palin, Stiff or d and its Neighbourhood, p. 167. AVINGTON CHURCH, BERKSHIRE. S. pier of chancel arch ; a pattern of lozenges. On the soffit of chancel arch ; row of stars. Probably 'early 12th cent. Archceol. Journ., xxxiv. 277. British Archceol. Assoc. Journ., xvi. 60. AWRE CHURCH, GLOUCESTERSHIRE. " The colouring of the quatrefoils and ribs in the roof is a copy of the old work/' Builder, 1875, p. 718. AXBRIDGE CHURCH, SOMERSETSHIRE. In the panel of a pew under the pulpit ; painting of Our Saviour. Time of Edward III. Kelly's Post Office Directory of Somersetshire. British Archceol. Assoc. Journ., xxxi. 465. Panel paintings of St. Paul and Zacharias. loth cent. ; found nailed to the roof. Long Ago, 1873, vol. i., p. 93. Aisle roofs, painted. Late loth cent. Above the arch opening from S. aisle to S. transept ; part of a Doom. Archceol. Journ., xxxviii. 87. Above the arch opening from N. aisle to N. transept ; part of a painting, the subject uncertain. Eastern piers and arches of nave richly coloured. 15th cent. At E. end of S. chancel aisle ; reredos partly con- cealed by a 17th cent, monument, and a niche on each side, with remains of rich colour and gilding. 15th cent. A niche over the W. doorway has traces of colour. 15th cent. AXMINSTER, DEVONSHIRE, ST. MARY'S CHURCH. Two painted effigies. 13th cent. Murray's Handbook of Devonshire. Traces of painting beneath the whitewash against the wall of the tower. J. Davidson, Hist, of Axminster CJiurch, p. 58. AYLESBURY, BUCKINGHAMSHIRE, ST. MARY'S CHURCH. Two or three panels of the rood screen forming the end of a pew, painted with figures of saints. Ecclesiologist, ii. 59. 14 AYLESBURY, BUCKINGHAMSHIRE, ST. MARY'S CHURCH cont. N. transept; effigy of a knight. 14th cent. With remains of colour and gilding. Lipscomb, Hist, and Antiq. of Budcs, ii. 55. S. wall of S. transept ; richly coloured niche. Parker , Socles, and Architect. Topog. of England, Bucks, No. 175. AYLMERTON CHURCH, NORFOLK. Nave roof. AYLSHAM CHURCH, NORFOLK. Rood screen ; the Apostles, omitting SS. John, Matthew, and Philip, Moses, SS. Paul and John the Baptist, and Thomas Wymer, the donor of the screen. Dated 1507. Remains of painting on the ringers' gallery. Roof of S. transept. Crowned M's. Blomefield, Hist, of Norfolk, ed. 1807, vi. 278. AYSGARTH CHURCH, YORKSHIRE. Rood screen. 15th cent. Traditionally said to have been removed from Jervaulx Abbey. Associated Archi- tect Societies' Repts., i. 262. Repainted. R. S. Chatlock, Wensleydale, p. 25. On the arches ; " rude fresco paintings in small pat- terns." Hardcastle, Wanderings in Wensleydale, p. 34. BABINGLEY CHURCH, NORFOLK. Over door ; St. Christopher. Destroyed. Painted screen. Destroyed. On the panels, also destroyed ; SS. Catherine, Anne instructing .the Virgin, Mary the Virgin, Cecily, Mary Magdalene, Helen, Agnes, Dorothy, and Margaret. BACKWELL CHURCH, SOMERSETSHIRE. N. chancel chapel ; remains of colour on three shields of a late 15th cent, monument. BACTON CHURCH, SUFFOLK. Over chancel arch ; St. Peter receiving Souls at the gate of Heaven ; part of a Last Judgment. Late 15th cent. ArchcBol. Journ., xxx. 193. Eastern bay of nave roof still richly coloured. Bran- don's Parish Churches, ii. 68. 15 BACTON CHURCH, SUFFOLK cont. E. jamb of N.E. window of nave clerestory, and on E. pier adjoining chancel wall ; ? the scourging of Our Lord. Figures, &c. on "W. wall of nave, on N. wall of N. aisle, and S. wall of S. aisle- BADLEY CHURCH, SUFFOLK. Painted rood screen. BAINTON CHURCH, NORTHAMPTONSHIRE. N. wall of N. aisle ; indistinct subject with canopies showing through the whitewash. Late 14th cent. BAINTON CHURCH, YORKSHIRE. S. aisle ; remains of colour on the canopy of the monu- ment of a De Mauley. Early 14th cent. BAKEWELL CHURCH, DERBYSHIRE. Yernon chapel ; effigies of Sir George Yemon and his two wives have been richly painted, the colouring partly renewed. Date about 1560. J. C. Cox, Churches of Derbyshire, ii. 21. BALLYVOURNEY, KOMAN CATHOLIC CHAPEL, COUNTY CORK, IRELAND. Coloured effigy of St. Gobnet. 14th cent. Archceol. Journ., xii. 85. BALSCOT CHURCH, OXFORDSHIRE. On walls and arches ; extensive remains of early paint- ings. Beesley, Hist, of Banbury, pp. 109, 123. BAMPTON CHURCH, DEVONSHIRE. Tn central compartments of screen ; subjects emblema- tical of the Passion. Oliver's Ecclesiastical Antiquities of Devon, i. 169. BAMPTON CHURCH, OXFORDSHIRE. Stone reredos, painted. Early 15th cent. Hall's Book of the Thames, p. 52. Giles, Hist, of Bampton, p. 28. BANGOR is Y COED CHURCH, FLINTSHIRE. Curious painting on S. wall; ? portrait of Dinoth, last Abbot o Bangor. Probably 16th cent. Destroyed. Archceologia Cambrensis, 4th series, vii. 154. Thomas, Hist, of the Diocese of St. Asaph, p. 800. 16 BANHAM CHURCH, NORFOLK. E. end of N. aisle ; painted screen. Blomefield, Hist, of Norfolk, ed. 1805, i. 354. Cftambers, Hist, of Norfolk, ii. 702. Wooden effigy of Sir Hugh Bardolph, died 1203; originally painted all over. 0. Af organ, Tfie Abergavenny Monuments, p. 24. BANSFIELD HALL, SUFFOLK. From the chapel at ; painting on panel of two figures. Bury and West Suffolk Archozol. Inst., ii. 209. BANWELL CHURCH, SOMERSETSHIRE. Rood screen. loth cent. Restored. Said to have been brought from Bruton Abbey. Rutter's Delineations ofN.W. Somerset, p, 138. BARDWELL CHUECH, SUFFOLK. Over the chancel arch ; the Day of Judgment. About 1500. Over N. door ; St. Christopher. About 1500. On N. wall of nave ; the Legend of St. Catherine. Late 14th cent. And " Les Trois Morts." Early 16th cent. On S. wall of nave ; Tree of the Seven Deadly Sins, with group of minstrels, and the Martyrdom of St. Edmund. Late 14th cent Painted roof, with the date 1421 on an open book held by an angel. Parker, Eccles. and Architect. Topog. of England. Suffolk, No. 360. Suffolk ArchwoL, ii. 41. British Archceol. Assoc. Journ., xxviii. 124. All the paintings are whitewashed over. BARFORD, GREAT, CHURCH, BEDFORDSHIRE. N. of chancel ; on the effigies and shields on the monu- ment of the Auscells, gilding and colour, circ. 1591. BARFORD, LITTLE, CHURCH, BEDFORDSHIRE. Perpendicular rood screen ; diapers. Parker, Ecclea. and Architect. Topog. of England, Bedford, No. 105. BARFORD, LITTLE, CHURCH, OXFORDSHIRE. Chancel arch ; scroll pattern. BARFORTH, OR OLD RICHMOND, YORKSHIRE, RUINED CHAPEL OF ST. LAWRENCE. Colour still remaining on the sheltered {>arts of the walls. W. Uylton Longstaffe, Richmondshire, Its A ncient Lords and Edifices, p. 1 44. 17 BARFRESTON CHURCH, KENT. On the E. wall of chancel ; nine medallions containing figures of saints, the central one, perhaps Our Lord, defaced, supported by two seraphims. Between each of these medallions are smaller ones, containing crosses, and with foliage on each side. Over the central medallion, part of a consecration cross. Below, and forming the background to the original altar, painting representing the folds of a curtain. Within the splay of the central E. window ; a niinbed head in the centre, and an angel on either side. Band of red and yellow round this and the other Norman chancel windows. Within the S.E. window ; the Annunciation. Within the N.E. window ; the Adoration of the Magi. In the N.E. corner; two archbishops, one pointing down towards a consecration Cross. Archceologia, xlvii. 164, 165. Above each of the E. windows ; a seraph with an arch- bishop and bishop between them. Above, on left side of the wheel window ; an angel and two male figures. On N. wall of chancel ; within the splay of the eastern window, a male and female, perhaps the founders. Within the splay of the western window two figures one holding a scroll. Between the windows, a figure seated, with four others looking towards him, and a nimbed archbishop behind him. The paintings are probably co-eval with the church, viz., about 1180. A complete set of coloured drawings in the Society of Antiquaries' Library. Only the painting of the Adora- tion of the Magi, and some traces of colouring in the N.E. corner, remain ; the rest have been whitewashed over. BARKING ABBEY, ESSEX. Remains of bright colouring on the walls of a small side chapel or vestry of the Abbey Church. Discovered in 1875. Builder, 1875, p. 829. British Archceol Assoc. Journ., xxxii. 114. BARKING CHURCH, SUFFOLK. Rood screen ; prophets. Destroyed. Mural paintings, covered with whitewash. Q 3254. B 18 BARKSTON CHURCH, LINCOLNSHIRE. Over N. door ; St. Christopher. 15th cent. Destroyed. Associated Architect. Societies' Repts., v. xxii., ix. 23. BARK WAY CHURCH, HERTFORDSHIRE. Found built up in E. wall ; two groups of figures in Italian alabaster, (i) the Holy Family, (ii) the decollation of St. John the Baptist ; the principal figures being em- bellished with ornaments and aureoles of solid gold. Cussans, Hist, of Hertfordshire, vol. i., pt. ii., p. 33. BARLAVINGTON CHURCH, SUSSEX. " Slight remains of wall painting." M. A. Lower, History of Sussex, i. 27. BARLING CHURCH, ESSEX. Alabaster statuettes of the Virgin and St. Dominic, richly coloured ; found walled up in the N. aisle. Essex Archceol., iv. 120. BARLOW CHURCH, DERBYSHIRE. Scroll patterns. Destroyed. J. C. Cox, Churcltes of Derbyshire, i. 64. BARNACK CHURCH, NORTHAMPTONSHIRE. On a corbel in the S. porch ; painted imitation of the indented moulding. 13th cent. BARNET, EAST, CHURCH, HERTFORDSHIRE. Pattern of lines, &c. Probably 13th cent. Destroyed. Associated Architect. Societies' Bepts., iii. 359. Painted roof; Angels, &c. 15th cent. Eccksiologist, xiii. 65. BARNHAM BROOM CHURCH, NORFOLK. Hood screen; St. Walstan, St. Joanna, St. Ursula, St Withburga, St. Mary Magdalene, &c. Tlie Eccle- siologist's Guide to the Deaneries of JBrisley, &c., pp. 50, 54. BARNINGHAM CHURCH, SUFFOLK. Rood screen ; perpendicular period. Murray's Hand- book of Suffolk. Parker, Eccles. and Architect. Topon of England, Suffolk, No. 365. BARNINGHAM WINTER CHURCH, NORFOLK. A consecration Cross was discovered on the S. wall of the chancel, and after being copied was re-covered with whitewash. 19 BABNSTAPLE CHURCH, DEVONSHIRE. S. wall of nave over tower arch ; part of large subject, probably " Les trois Rois morts et les trois Rois vifs," and kneeling figure of the donor below. 1 4th cent. BARNWELL. See CAMBRIDGE, ST. ANDREW-THE-LESS. BARNWOOD 'CHURCH, GLOUCESTERSHIRE. N. side of nave ; scroll painting on piers and arches. 15th cent. BARRINGTON CHURCH, CAMBRIDGESHIRE. E. beam of nave roof ; traces of colour. BARROW CHURCH, SHROPSHIRE. A knight on horseback, and other mural paintings. Discovered in 1851. Murray's Handbook of Shropshire. Kelly's Post Office Directory of Shropshire. BARROW CHURCH, SUFFOLK. Remains of painted rood screen, BARROW - ON - SOAR, LEICESTERSHIRE, HOLY TRINITY CHURCH. Remains of painting on tie beam at the E. end of the roof of the nave. Ecclesiologist, vi. 184. BARTHOMLEY CHURCH, CHESHIRE. E. end of N. aisle ; effigy of (?) Robert Fulleshurst. End of 15th cent. Original colouring on the vestments, carefully washed off. E. Hinchliffe, Barthomley, p. 33. BARTLOW CHURCH, CAMBRIDGESHIRE. S. wall of nave ; St. Christopher. BARTON CHURCH, SUFFOLK. Panel from a parclose screen formerly at, now in the possession of Sir Henry Bunbury, Bart. ; a friar kneeling to the Virgin, with scrolls. Suffolk ArchceoL, i. 231. BARTON BENDISH, NORFOLK, ST. ANDREW'S CHURCH. On chancel arch, small circles. 13th cent. Colouring and gilding on a niche in the N. wall of the nave. 15th cent. Faint traces of painting on the S. wall of the nave. BARTON BENDISH, NORFOLK, ST. MARY'S CHURCH. On S. wall of nave ; an indistinct painting, perhaps St. Catharine. Below a recumbent figure. On the splay of the S. doorway, a crowned head. 15th cent. B 2 20 BARTON SEGBAVE CHURCH, NORTHAMPTONSHIRE. Over the E. tower arch ; the Day of Judgment. On N. wall of tower ; the Last Supper. Discovered in 1378 during the restoration of the church. BARTON TURF CHURCH, NORFOLK, is described as having been, previous to 1793, covered with mural decorations. All were destroyed in that year in the course of restorations. The rood-screen was saved, and is richly painted with the Heavenly Hierarchy, and SS. Appollonia, Citha, and Barbara. Late 14th cent. See published account by Rev. J. Gunn. S. aisle screen; Henry VI. (painted subsequently), St. Edward the Confessor, St. Edmund, and St. Olave. loth cent. Proceedings of the Royal Archccol. Institute, Nonvich Vol. p. xxxix. East Anglian Notes and Queries, iii. 290. Illustrations of Norfolk Topography, p. 7. Nor- folk ArchcKol., iii. 19. The EcclesiologisCs Guid-e to ilie Deaneries of Brisley, &c., p. 122. Sacristy, iii. 154. BARTON, EARL'S, CHURCH, NORTHAMPTONSHIRE. Painted chancel screen, partly repainted. Date about 1400. BARTON, WESTCOTT. See WESTCOTT BARTON. BASINGSTOKE CHURCH, HAMPSHIRE. Decorative painting and mottoes. Elizabethan period. Drawing of them in the tower doorway. Black's Guide to Hampshire. BASTON MANOR HOUSE, KENT. Portraits of Kings Athelstan, Richard III., and other royal personages ; discovered painted on the panels of one of the rooms. Date, time of Henry VII. Gent. Mag., c. pt. ii., p. 497. Blackburne, Decorative Painting, p. 1 9. BATH ABBEY CHURCH, SOMERSETSHIRE. Old colouring on the fan tracery vaulting renewed. Builder, 1875, p. 92. BATHAMPTON CHURCH, SOMERSETSHIRE. Recess in eastern exterior wall of chancel ; remains of colour on the back of the recess, and on an effigy of an ecclesiastic. 13th cent. British ArcJucol. Assoc. Jov,m. t xxiii. 292. 21 BATTLE ABBEY, SUSSEX. On walls of refectory ; traces of masonry pattern. On walls of chamber beneath the refectory ; vermilion stencilling. G. L. W. C., A guide to Battle Abbey, pp. 48, 53. Remains of colour on the vault of the calefactory. E. C. Mackenzie Walcotfs Battle Abbey, pp. 64, 65. BATTLE CHURCH, SUSSEX. Over the chancel arch ; Les Trois Morts, &c. Archceol. Journ., v. 69. N. side of nave; The Passion, &c. Early 14th cent. British Archceol. Assoc. Journ., ii. 141 ; and Builder, 1864, p. 733. Colour and gilding on the monument and effigies of Sir Anthony Browne and Lady. Circ. 1540. M. A. Lower, History of Sussex, i. 36. Antiquarian Repertory, new ed., iii. 182. Masonry patterns and other ornamental decoration dis- covered during the restoration, and destroyed. Late 12th cent. Archceol. Journ., xxxiv. 278. E. C. Mackenzie Walcotfs Battle Abbey, pp. 77, 86. BAUNTON CHURCH, GLOUCESTERSHIRE. N. wall of nave ; St. Christopher, with defaced inscrip- tion above. Over the chancel arch ; scenes from the Passion. Builder, 1876, p. 522; 1877, p. 46. Church Builder, 1876, No. LIX. p. 182. On either side of chancel arch ; large turreted canopy work, alternately red and green% BEACHAMPTON CHURCH, BUCKINGHAMSHIRE, Coloured pattern much injured on the E. wall of the chancel, at the E. end of the S. aisle, and the adjacent bay of the arcade. BEACHAMWELL CHURCH, NORFOLK. Sculptures of the Descent from the Cross, and St. Peter ; curiously gilt and painted. Blome/ield, (Parkin,} Hist, of Norfolk, ed. 1807, vii. 297. Norfolk Archceol, i. 250. Chambers, Hist, of Norfolk, i. 42. BEAMINSTER CHURCH, DORSETSHIRE. Over chancel arch ; Last Judgment (nearly destroyed). BEAUCHIEF ABBEY, DERBYSHIRE. Altar piece formerly at, now in the possession of the Foljambe family, with sculptured representation of the Martyrdom of Thomas a Becket ; once rich in painting 22 BEAUCHIEF ABBEY, DERBYSHIRE cont. and gilding. Figured in Smith's Sheffield and its Neigh- bourhood, in Addy's Hist. Memorials of Beauchief Abbey, p. 11, and in the Reliquary, vii. 205. BEAUDESERT CHURCH, WARWICKSHIRE. Pattern on a Norman window. BECCLES CHURCH, SUFFOLK. Enrichments of the south porch, originally painted and gilt. Suckling's History of Suffolk, i. 1 5. BECKLEY CHURCH, OXFORDSHIRE. Belfry; 2 series of floral ornaments. 13th and loth cents. End of S. aisle ; Virgin and Child under a cinquef oil canopy with diapered background. 14th cent. Over this has been painted, St. Michael weighing Souls. 15th cent. Over the W. tower arch ; the Last Judgment, and below, on either side, St. Peter and St. Paul. 14th cent. Archceol. Joum., iv. 256"; Builder, 1864, p. 725 ; and Exeter Diocesan Architect Soc., iv. 48. BEDALE CHURCH, YORKSHIRE. Remains of colour on the effigy of a Lady of the Fitz- Alan family. Hollis, Monumental Effigies, part iii. pi. 3. Murray's Handbook of Yorkshire. Coloured effigy of Brian, Lord Fitz-Alan. Circ. 1302. Blore's Monumental Remains of Noble and Eminent Persons. Hollis, Monumental Effigies, pt. iv. pi. 4. Dado of the tomb of Brian, Lord Fitzalan, built into exterior wall of vestry ; figures of the knight, St. Peter, and the conveyance of the soul to heaven. The colours are fast fading away. A third knightly effigy has the flowers of his shield painted on his jupon. 1^. Hylton Longstaffe, Richmond- shire, its Ancient Lords and Edifices, p. 55. BEDDINGTON CHURCH, SURREY. Over chancel arch ; Scenes from the Passion. Destroyed. Tracings in the Library of the Royal Archaeological Institute. ArchceoL Joum., vil 298. Surrey Archa'ol., J. report, p. ix. BEDFIELD CHURCH, SUFFOLK. Lower part of rood screen ; painted mouldings, and figures of Joel, Baruch, &c., depicted on the panels. 23 BEDFONT CHURCH, MIDDLESEX. Within two arched recesses on N. of chancel arch. (i.) In E. wall of nave ; the Crucifixion with the Virgin and St. John. Late 13th or early 14th cent. (ii.) In N. wall of nave ; the Day of Judgment. Early 14th cent. Copy in Art Library, South Kensington Museum. Portion of another painting. Destroyed. Archceol. Journ., xxiii. 63, xxxviii. 84 (note), 89. Ecdesiologist, xxvi. (xxiii. new series), p. 318. BEDFORD, BEDFORDSHIRE, ST. PAUL'S CHURCH. Roof S. side of tower ; signs of former painting and gilding. Gent Mag., 1849, xxxi. new series, 599. Blyth. Hist, of Bedford, p. 173. Pulpit, ornamented with gilt tracery on a blue ground. Lysons, Magna Britannia, Bedfordshire, p. 52. Builder, 1881, vol. xli., p. 170. BEDWIN, GREAT, CHURCH, WILTSHIRE. N. transept ; diaper work, with figures of St, John the Baptist, St. George, &c. S. transept ; Crucifixion, and what appears to be the history of a saint. Early 14th cent. Gent. Mag., 1842, xviii. new series, 413. On E. wall, above the space for an altar ; paintings of ten or twelve saints ; whitewashed over. Within a recess in the S. wall of S. transepb ; Effigy of Sir Adam de Stokke, with remains of colour. Early 14 th cent. Northern respond, E. end of nave ; Effigy of the Virgin, richly coloured and gilt. Wilts Archceol. and Nat. Hist. Soc. Mag., vi. 278-280. BEER FERRERS CHURCH, DEVONSHIRE. Painted screens with figures of saints formerly depicted on the panels. Decorated period. Archceol. Journ., i. 399. BEESTON, NORFOLK, ST. MARY'S CHURCH. Rood screen ; St. Clement, and traces of painting on the panels and small sculptured figures of St. George and the Dragon, St. Michael, a ploughshare and tun, after the letter B, and an eagle, loth cent. Antiquary, 1871, i. 152. Carthew's Hundred of Launditch, ii. 381. Texts and inscriptions on the walls. The Ecclesiologist's Guide to the Deanei*ies of Brisley, &c., pp. 17, 21. 24 BEESTON REGIS, NORFOLK, ALL SAINTS' CHURCH. Portion of rood screen painted and gilt in the vestry' 15th cent. Figures of the Apostles formerly depicted on the panels. Hart, Antiq. of Norfolk, p. 65. BEIGHTON CHURCH, NORFOLK. Rood screen with panel paintings of Saints and Apostles. Removed. BELAUGH CHURCH, NORFOLK. Rood screen ; the Apostles, omitting SS. Philip and Matthias, SS. Paul and John the Baptist, the faces all destroyed. Hart, Antiq. of Norfolk, p. 65. BELEIGH ABBEY, MALDON, ESSEX. On the interior of the W. doorway of chapter house ; decorative painting. 13th cent. Hadfield's Ecclesiastical, Castellated, and Domestic Architecture ; or, Churches of Essex, pL Ixxv. fig. 1 ; Builder, 1876, p. 813 ; Murray's Handbook of Essex. Spurrell, Notes on the present state of Beleigh Abbey, p. 16. BELTON CHURCH, SUFFOLK. N. wall of nave ; Les Trois Vifs, c. St. Christopher and St. James Major. 15th cent. Archosol. Journ., xxi. 218., xxx. 193. East Anglian Notes and Queries, ii. 326. BEMPTON CHURCH, YORKSHIRE. Chancel roof ; rudely painted flowers on some of the beams. Priekett's Priory Church of Bridlington, p. 53. BENGEO CHURCH, HERTFORDSHIRE. E. wall of nave, S. side of chancel arch ; an ecclesiastic, perhaps St. Leonard, preaching, and scene from the history of St. Catherine. Circ. 1300. S. side of chancel; on splays of lancet windows, masonry pattern. Cussans, Hist, of Hertfordshire, vol. ii., pt. ii., p. 37. BENTLEY, GREAT, CHURCH, ESSEX. Remains of colouring on two niches in the E. wall of the chancel, and on the entrance to the roodloft on the N. side of the chancel arch. 15th cent. BEPTON CHURCH, SUSSEX. Over chancel arch ; remains of decorative colour. 25 BERE REGIS CHURCH, DORSETSHIRE. The Crucifixion or the Trinity. Remains of decorative colouring throughout the church. BERKELEY CASTLE CHAPEL, GLOUCESTERSHIRE. Painted roof. On the wall under the arched passage ; traces of black letter texts from the book of Revelation. Date about 1400. J. H. Cooke, F.S.A., A Sketch of the History of Berkeley, 2nd ed., p. 15. Bristol and Gloucestershire Archceol. Soc. Trans., 1876, p. 138. BERKELEY CHURCH, GLOUCESTERSHIRE. Over chancel arch ; part of a Doom. E. end of N. aisle ; The Martyrdom of a Saint. Within the splay of a window in N. aisle ; figure of a Saint or Angel. Remains of colour ; wall and decorative patterns were found on all the walls, round all the windows, on the nave piers, round all the arches, and on the chancel screen. Ranging from the 13th to 1 5th cents. Most of it has been renewed. British Archceol. Assoc. Journ., xxi. 352. J. H. Cooke, F.S.A., A Sketch of the History of Berkeley, 2nd ed., p. 20. On the sills of the S. aisle windows ; three small effigies which bear traces of painting and gilding. British Archceol. Assoc. Journ., xxiv. 79. S. side of nave ; remains of gilding on monument, and effigies of Thomas eighth Lord Berkeley and his Lady. Late 14th cent. BERKHAMPSTEAD ST. MARY'S. See NORTHCHURCH. BERKHAMPSTEAD, GREAT, HERTFORDSHIRE, ST. PETER'S CHURCH. N. Transept ; traces of colour on the monument and effigies of a Torrington, or Incent, and Lady. Late 14th cent. Cussans, Hist, of Hertfordshire, vol. iii., pt. i., p. 64. Clutterbuck's Hist, of Hertfordshire, i. 306. On nave walls ; the Apostles, and St. George and the Dragon. Destroyed. J. W. Cobb, Hist, of Berkhamsted, pp. 44, 46. BERKHAMPSTEAD, GREAT, HERTFORDSHIRE. Old farm house at Hucksters End. Beneath some old panelling some curious paintings, one of three serving men. Circ. 1550. Cussans, Hist, of Hertfordshire, vol. iii., pt. i., p. 55. 26 BERRY- POMEROY CHURCH, DEVONSHIRE. Rood screen ; on the panels, the four doctors, SS. James Minor, Thomas, Stephen, Jude, Matthias, Mary Mag- dalene, Barbara, and Gudule. Building News, 1879, p. 429. LysonJ Mayna ' Britannia, Devonshire, p. cccxxvii. C. Worthy, Ashburton and its Neighbourhood, p. 120. Woiih, Tourist's Guide to S. Devon, p. 57. BERSTED, SOUTH, CHURCH, SUSSEX. On E. wall of chancel ; portions of a winged figure. On a pillar of the nave ; St. Christopher. White- washed over. Sussex Archceol., xxiv. 168. Now de- stroyed. On a pillar, N. of nave ; painting in compartments, with several figures. Subject uncertain. Decorative painting round the capitals, and on various parts of the church. BERWICK BASSETT CHURCH, WILTSHIRE. Rood screen. BERWICK ST. JAMES' CHURCH, WILTSHIRE. Within the splay in the head of the E. window ; The Ascension. 13th cent. BERWICK ST. JOHN'S CHURCH, WILTSHIRE. Wilts Archceol. and Nat. Hist. Soc. Mag., vii. 246. BESFORD CHURCH, WORCESTERSHIRE. Painted roodloft. Ecclesiologist, xxiii. (xx. new series) 291. Noakes, Rambles in Worcestershire, 2nd series, p. 122. Associated Architect. Societies' Repts., xiii. 274. BEVERLEY MINSTER, YORKSHIRE. Painted canopy of niche from altar screen, restored. Colling, Gothic Ornaments, ii. pi. 27. Part of original altar screen richly coloured and gilt. Long Ago, 1873, vol. i., p. 252. " The roof of the choir has been coloured partly from indications of former painting." Murray's Handbook of Yorkshire. Numerous richly carved and coloured fragments found in a well close to the high altar. Yorkshire Archceol. and Topog. Journal, v. 126. The decoration of the groining of the navo is a repro- duction of the design and colouring found under modern yellow washes. 27 BEVERLEY, YORKSHIRE, ST. MARY'S CHURCH. Chancel ceiling panelled and painted with figures of English kings. Date 1445. Panels repainted. Transept ceilings, also painted. Murray's Handbook of Yorkshire. N. transept ; inscriptions on roof. Nave ceiling ; before 1829 represented a serene sky with stars of gold. S. aisle; over capitals of piers; heads, &c., with remains of colour and gilding. N. wall of nave, behind the Minstrels' Pillar ; two sepulchral recesses ornamented with mural colouring, and with inscriptions now nearly obliterated. S. porch; remains of colour and gilding on vaulting and bosses. Associated Architect. Societies' Repts., viii. 104, 105, 110. N. side of nave, on Minstrels' Pillar ; coloured statuettes of the minstrels. Archceologia, xxi. 554. Sheahan and Whellan, Hist, and Topog. of Gity of York, &c., ii. 267, 268, 269, 271. Ashby De La Zouch, Anastatic Drawing Soo., 1855, p. 2, pi. x. Ceiling of S. aisle ; the history of St. Catherine in 14 compartments. Destroyed. S. cross on ceiling of Chantry Chapel ; St. John the Baptist, St. John the Evangelist, the Annunciation, St. John of Beverley, a king, queen, and ecclesiastic, all with inscriptions. Destroyed. Gent, Hist, of Rippon, pp. 79, 81. Oliver, Hist, of Beverley, pp. 351, 353, 355. BEVERSTON CHURCH, GLOUCESTERSHIRE. " The literal Transubstantiation of the Wafer." Dis- covered in 1844, and, after drawings had been made, recovered with yellow wash. Society of Antiquaries' Proceedings, i. 55. J. M. Neale, Hierologus, p. 295. Neale and Webb, Durandus, p. 57. BIBURY CHURCH, GLOUCESTERSHIRE. Opposite the S. door ; St. Christopher. Whitewashed over. Rudders' History of Gloucestershire, p. 286. Blackburne, Decorative Painting, p. 16. Antiquarian Cabinet, vol. v. BLDDENDEN, KENT, ST. MARY'S CHURCH. Painted ceiling. About 1500. Ecclesiologist, xvi. 319. S. chancel chapel ; coloured bosses on ceiling. Glynne, Churches of Kent, p. 222. 28 BlDDENHAM CHURCH, BEDFORDSHIRE. Over S. doorway, back of a Norman window ; figure of a saint. Whitewashed over. BIDEFORD CHURCH, DEVONSHIRE. Rood-screen. Ecclesiologist, xxviii. (xxv. new series), p. 308. BlGGLESWADE CHURCH, BEDFORDSHIRE. E. bays of aisle roofs ; scroll and ornamental patterns. 15th cent. Only the S. aisle colouring now remains. BlLDESTONE CHURCH, SUFFOLK. Chamber over porch ; destroyed ; traces of painting. East Anglian Notes and Queries, i. 33. BlLLINGFORD CHURCH, NORFOLK. Rood screen. Mural painting with a number of figures ; the subject uncertain. Norfolk Archceol., vi., 2nd annual report, p. ii. Over N. door; St. Christopher. Antiquarian and Architect, Year Book, 309. E. wall ; painted niche. BlLLINGFORD CHURCH, SUFFOLK. Nave, S. wall ; St. Peter at the gate of Heaven (?) Painted rood screen; whitewash partly removed. BlLLINGHAY CHURCH, LINCOLNSHIRE. Perpendicular roof; painted. Trollope: Sleaford Flaxwell, Aswardhum, p. 495. BINHAM ABBEY CHURCH, NORFOLK. Portions of screen ; figures of saints on the panels ; obscured by white paint and Scripture texts. Gent Mag., 1847, xxviii., new series, 264. Proceedings of the Royal Ardiceol. Institute, 1847, Norwich vol., p. 180. Viz. ; on N. side E. face ; SS. Agnes, Agatha, Sebastian, and Thomas of Canterbury. On S. side W. face; St. Catherine, Henry VI., and St. Christopher. BINSTEAD CHURCH, SUSSEX. On jambs of a window. N. side of chancel ; St. Margaret and another subject. N. wall of chancel ; diaper pattern. S. wall of chancel ; ? the Entombment, and Our Lord in Glory. 13th cent. Sussex Archceol., xx. 233. 29 BIRCHAM, NORFOLK, ST. ANDREW'S CHURCH. Two Dedication Crosses. BlRCHINGTON, KENT, ALL SAINTS' CHURCH. North chancel chapel ; remains of a mural painting. W. Miller, Jottings of Kent, p. 148. Remains of colouring on the screens and walls. ? De- stroyed. Ecclesiologist, xxv. (xxii. new series,) 204, 290. BIRMINGHAM, WARWICKSHIRE, ST. MARTIN'S CHURCH. On E. wall of chancel, and N. jamb of E. window, paintings of St. Martin, (i.) as an archbishop, (ii.) dividing his cloak with a beggar, (iii.) cutting down a sacred tree, and (iv.) a representation of his shrine. Time of Eichard II. Long Ago, 1873, vol. i., pp. 21, 49. Colour and gilding on effigy of Sir William de Ber- mingham the 2nd. Time of Edward II. In crypt at W. end ; a band of fleurs de lis, painted in distemper. On beam over chancel arch ; Our Lord in Judgment. In chancel, a diaper of white roses on a chocolate ground. Indications of colour, concealed by texts within scroll borders, in various parts of the church. J. T. Bunce, Old St. Martin's, Birmingham, pp. 11, 12, 15, 23, 24, 27, and pi. viii. Coloured effigy of an Ecclesiastic. Hollis, Monumental Effigies, pt. vi., pi. 9. BISHAM ABBEY, BERKSHIRE. E. wall of hall ; St. Peter. Sheahan, Hist, and Topog. of the County of Buckingham, p. 901. BISHOP'S CANNINGS. See CANNINGS, BISHOP'S. BISHOP'S CLEEVE. See CLEEVE, BISHOP'S. BISHOP'S LYDEARD. See LYDEARD, BISHOP'S. BISHOP'S STORTFORD. See STORTFORD, BISHOP'S. BISHOP'S TAWTON. See TAWTON, BISHOP'S. BISHOP'S WILTON. See WILTON, BISHOP'S. BISLEY CHURCH, GLOUCESTERSHIRE. N. wall ; St. Michael subduing the evil angels. Dis- covered in 1771. 30 BLACKFORD CHURCH, SOMERSETSHIRE. N., S., and W. walls of nave; decorative painting. Destroyed. Statuette of (?) St. Michael, with traces of gold and colour. BLACKMORE, ESSEX, ST. LAWRENCE CHURCH. Coloured bosses of roof. Suckling's Antiquities and Architecture of Essex, p. 25. Murray's Handbook of Essex. BLAKENHAM, LITTLE, CHURCH, SUFFOLK. On E. side of chancel ; St. John the Baptist. East Anglian Notes and Queries, iv. 11. Painted panels at E. end of chancel. Parker, Eccles. and Architect. Topog. of England, Suffolk, No. 8. BLEADON CHURCH, SOMERSETSHIRE. Over inner doorway of porch ; coloured niche, with Cross and figures of the Virgin and Child. Pooley, Old Crosses of Somerset, p. 68. /., L. E. H., Visitor's Hand- book to Weston-mper-Mare, p. 256 (note). BLEDINGTON CHURCH, GLOUCESTERSHIRE. Roof of nave ; remains of scroll painting, loth cent. S. wall of S. aisle ; remains of texts. 15th cent. BLETSOE CHURCH, BEDFORDSHIRE. N. wall of nave ; a knight on horseback. BLEWBURY CHURCH, BERKSHIRE. N. wall of S. aisle ; remains of colour showing through the whitewash. BLISLAND CHURCH, CORNWALL. Lower part of rood screen. Maclean, Hist, of tlie Deanery of Trigg Minor, i. 54. BLOFIELD CHURCH, NORFOLK. Rood screen ; the Apostles. Hart, Antiq. of Norfolk, p. 66. Restored. Eastern Counties Collect., p. 96. N. wall of N. aisle ; a consecration cross. BLOXHAM CHURCH, OXFORDSHIRE. N. aisle ; St. Christopher. Over the chancel arch ; part of a Doom; with the inscription " Came comburemer " (?). Chapel, S. side of nave ; our Lord in Glory, and in the Judgment Hall. Round S. nave arcade ; scroll pattern. 31 BLOXHAM: CHURCH, OXFORDSHIRE cont. Rood screen ; " the lower panels have been richly painted with figures of Saints," viz., SS. Matthew, Mark, and John, their evangelistic emblems, and portrait of Cardinal Wolsey. Ecclesiologist, xxviii. (xxv. new series,) 374. British Archceol. Assoc. Journ., xxxvi. 129. BLUNDESTON CHURCH, SUFFOLK. Rood screen ; with figures of St. Peter, Angels and Saints on the panels. Suckling's History of Suffolk, i. 318. Parker, Eccles. and Architect. Topog. of England, Suffolk, No. 222. East Anglian Notes and Queries, iii. 316. On the walls ; St. Christopher and other subjects. Whitewashed over. BLUNHAM CHURCH, BEDFORDSHIRE. Sculptures of the Virgin and Child, Our Saviour bearing the Cross, and the Descent from the Cross, richly gilt and coloured, and probably portions of a reredos. Found in 1849, in the wall under the E. window, and now preserved at the Rectory. BLUNTISHAM, HUNTINGDONSHIRE, ST. JOHN'S CHURCH. Rood screen. Ecclesiologist, iv. 239. BLYBOROUGH CHURCH, LINCOLNSHIRE. N. wall of chapel; remains of decorative colouring. Time of Henry VIII. Associated Architect. Societies' Repts., xiv. p. x. BLYTH CHURCH, NOTTINGHAMSHIRE. Nave walls, upper part ; masonry patterns. 12th cent. On vault of nave ; gold stars and flowers on an azure ground. Screen ; cresting of painted alabaster. Panels of screen ; S.S. Barbara, Stephen, Euphemia, Edmund, and Ursula. Murray's Handbook of Notting- hamshire. J. Raine, Hist, of Slyth, p. 54 and pi. Associated Architect. Societies' Repts., xv. 155. BLYTHBURGH, SUFFOLK, HOLY TRINITY CHURCH. On the beams of the ceiling ; the sacred Monogram and floral patterns, with angels at the intersections holding shields, and richly painted and gilt. Cromwell, Excur- sions through Suffolk, ii. 119. Portion of rood screen ; with painting in the lower panels ; partly whitewashed over. Date about 1450. 32 BLYTHBURGH, SUFFOLK, HOLY TRINITY CHURCH cont. Bench Ends ; SS. Anthony, Bartholomew, and Matthias. Painting and gilding on the font. Paley's Introduction to Illustrations of Baptismal Fonts. Van F007-8, 1844, p. 23. Painted reliquary, used as an alms box. E. wall of chancel, exterior ; consecration crosses with traces of colour. BOLSOVER CHURCH, DERBYSHIRE. In the S. aisle ; bas relief representing the Nativity. Retains much of its original colouring. Date 14th cent. Builder, 1878, p. 748. J. C. Cox, ChurcJies of Derbyshire, i. 102, and iv. -451. BOLTON ABBEY, YORKSHIRE. Nave roof ; painted about 1513, recently renewed in a different style. Murray's Handbook of Yorkshire. Wfiitakers Hist, and Antiq. of Craven, 3rd ed., p. 486. Within a niche over the Early English W. door ex- terior ; faint traces of a painting of Our Lord and two angels. Whitaker's Hist, and Antiq. of Craven, 3rd ed., p. 492. BOLTON-ON-SWALE CHURCH, YORKSHIRE. Fronting the entrance ; St. Christopher. W. Hylton Longstaffe, Richnwndshire, Its Ancient Lords and Edifices, p. 47. BONCHURCH CHURCH, ISLE OF WIGHT. Paintings which appear to represent the Glory of the Righteous and the Condemnation of the Wicked. British Archceol. Assoc. Journ., xi. 320. W. H. D. Adams, The Hist. Topog. and Antiq. of the Isle of Wiglit, p. 196. BORDESLEY ABBEY, WORCESTERSHIRE. A head, fragments of tabernacle work, mouldings, &c., coloured and gilt, dug up on the site of the chapel. J. M. Woodward, TJie Hist, of Bordesley Abbey, pp. 93, 102, 103. BOROUGH GREEN CHURCH, CAMBRIDGESHIRE. N. wall of chancel ; traces of colour on various portions of the central monument. Archmol. Journ., xxxiv. 123. BORTHWICK CASTLE, EDINBURGHSHIRE. Remains of painting on walls and ceiling of Great Hall. Billing's Antiquities of Scotland, vol. i. 33 BOSHAM CHUKCH, SUSSEX. Wall painting of the Virgin and child. Destroyed. BOSTON CHURCH, LINCOLNSHIRE. Painting on a tie beam of the nave roof. Thompson's History of Boston, p. 183. Aisle roofs ; formerly panelled and ornamented with scriptural and historic paintings. Antiquarian Itine- rary, vol. vi. Lincolnshire Churches, 1843, Boston, p. 37. BOSTON, LINCOLNSHIRE, THE ROCHFORD TOWER. Mural paintings representing the Annunciation, St. Anne instructing the Virgin, St. Michael, St. Anthony, and ? the Rochford coat of arms. Early 16th cent. Associated Architect. Societies' Repts., v. Ixxvii. BOTTESFORD, LEICESTERSHIRE, ST. MARY'S CHURCH. Over chancel arch ; paintings discovered during the restoration. Ecclesiologist, ix. 268. viz., the Doom. Chancel : colour and gilding on the monuments, and effigies of the Earls of Rutland. The earliest, date 1543. Associated Architect. Societies' Repts., vii. 208. BOTTISHAM CHURCH, CAMBRIDGESHIRE. Inner S. doorway ; painted mouldings. On the outside, a niche ; the interior " decorated with chocolate coloured crosses upon a vermilion ground/' Cambridge Antiq. Soc. Proceedings, Bottisham, p. 26. BOVEY TRACEY CHURCH, DEVONSHIRE. Les Trois Morts et les Trois Vifs, the Agnus Dei, and St. Michael weighing Souls. {Engraving in Art Library, South Kensington Museuni). Exeter Diocesan Architect. Soc., vi. 309, and pi. 39. Remains of colour on the chancel screen, pulpit, and some panels of the roof. 15th cent. Ecclesiologist, xix-. 135. Painted font. Lysons, Magna Britannia, Devonshire, p. 329. On panels of pulpit ; plaster figures of the Evangelists and SS. George, Margaret, Peter, Paul, Andrew, and James. Repainted. On panels of screen ; Apostles and Prophets, alternately. Worth, Tourist's Guide to S. Devon, p. 75. BOVINGDON CHURCH, HERTFORDSHIRE. Under the tower ; coloured effigy of a knight, Circ. 1360. Cussans, Hist, of Hertfordshire, vol. iii., pt. i., p. 186. Q 3254. C 34 BOWDEN, LITTLE, CHURCH, NORTHAMPTONSHIRE. On the N. wall, E. end of N. aisle ; the Ascension, and some decorative painting. 13th cent. BOWNESS CHURCH, WESTMORELAND. Scriptural texts with comments upon them, explanatory of certain doctrines of the reformers ; time of Edward VI. or Elizabeth. Gent. Mag., 1849, xxxii. new series, 586. BOXFORD CHURCH, SUFFOLK. E. end of S. aisle ; Edward the Confessor, kneeling figure, &c. Suffolk Archceol., iii. 294. BOXGROVE CHURCH, SUSSEX. Ceiling of nave and chancel. Said to have been painted by Theodore Bernardi about 1530. Murray's Handbook of Sussex. M. A. Lower, History of Sussex, i. 71. De la Warr monumental chapel. Circ. 1532. " Displays numerous devices and heraldic decorations, richly coloured and gilded." Proceedings of the Royal Archceol. Institute, Chichester vol., p. 3G. BOXTED CHURCH, SUFFOLK. E. bay of nave ; painted, perpendicular period. Parker, Eccles. and Architect. Topog. of England, Suffolk, No. 463. BOYTON CHUUCH, WILTSHIRE. South chapel ; altar tomb, fonnerly richly painted and gilt. Bristol and West of England Archceol. Mag., p. 29. BOZEAT CHURCH, NORTHAMPTONSHIRE. Late decorated rood screen, " retains marks of painting and gilding." Churches of the Archdeaconry of North- ampton, p. 200. And figures of Our Saviour and the Dove, an Apostle, nude figures kneeling to the Virgin, &c., on the panels, covered with brown paint. A ssociated A rchitect. Societies' Rcpts., ix. xliii., x. Ixxxvii. BRABOURNE CHURCH, KENT. Within the splays of original E. windows (now walled up) ; floral ornament. Perhaps 1 2th cent. Round an arch leading from the S. aisle to the Scott chapel ; roses. Early 14th cent. On N. wall, E. end of south aisle ; floral decorations within an oblong wall pattern. 35 BEADENSTOKE PRIORY, WILTSHIRE. Prior's room ; carved and painted chimney-piece. Time of Henry VI. Ceiling of principal room ; painted boss. E. Kite, Hist. Notes on the Places of Interest to be visited by the British Archceol. Assoc. in 1880, p. 73. BRADFIELD CHURCH, BERKSHIRE. Ecclesiologist. xii. 287. BRADFIELD CHURCH, NORFOLK. E. end of aisles; roofs "curiously painted with the history of the Saints, whose chapels were there." Blome- field, (Parkin,} Hist, of Norfolk, ed. 1810, xi. 7. Cham- bers, Hist, of Norfolk, ii. 950. BRADFIELD-COMBUST CHURCH, SUFFOLK. N. wall of nave ; St. George, St. Christopher, and an angel. About 1400. BRADFIELD HOUSE, DEVONSHIRE. In the hall ; " two huge figures are painted on the " wall over the dais, with the words ' vivat E(dwardus) " Rex' above them." Worth, Tourist's Guide to N. Devon, p. 84. BRADFORD ABBAS CHURCH, DORSETSHIRE. Nave roof; beams decorated with red and white roses, and supported on painted angels holding armorial shields. N. aisle roof ; rafters ornamented with armorial shields. About 1500. Murray's Handbook of Dorset- shire. Hutchins, Hist, of Dorset, 3rd ed., iv. 123. BRADFORD-ON-AVON, WILTSHIRE, TRINITY CHURCH. Within a recess on N. side of nave ; coloured panelling, &c. Late 15th cent. Remains of colour round the chancel arch. On the chancel walls. ; Traces of illumina-. tion ; Sentences from the Creed, &c. Wilts. Archceol. and Nat. Hist. Soc. Mag., v. 212, 215, 217. S. porch wall ; portion of the effigy of a lady richly coloured. First quarter of the 14th cent. Found during restorations in 1865. Remains of colour on a Norman capital found at the same time. Archceol. Journ., xxii. 85. British Archceol. Assoc. Journ., xxi. 192. BRADNINCH CHURCH, DEVONSHIRE. Rood screen. Date loth cent. Painted, and with figures of Saints and Martyrs depicted on the panels. C 2 36 BRADNINCH CHURCH, DEVONSHIRE cont. Exeter Diocesan Architect. Soc., 2nd series, ii. 9C. Ecde~ siologist, xxviii. (xxv. new series), p. 308. Viz., the doctors of the Church, the Sybils bearing their emblems, the Annunciation, Visitation, the temptation and expulsion from Paradise, Samson, the Infant Christ, and numerous other figures. On panels of screen at \V. end, formerly at N.E. corner of nave ; ? SS. Bridget, Christopher, Giles, the Crucifixion, SS. Francis, Michael and Satan, George and the Dragon, Gabriel, Sebastian, and other figures. Painting on panel of the Crucifixion, formerly in N. aisle. Murray's Handbook of Devonshire. Black's Guide to Devonshire. Worth, Tourist's Guide to N. Devon, p. 83. BRADWELL PRIORY, BUCKINGHAMSHIRE. Small chapel, now converted into a stable ; on the ceiling and walls, paintings of clouds, angels, &c. SJieahan, Hist, and Topog. of the County of Buckingham, p. 495. BRAILES CHURCH, WARWICKSHIRE. Nave roof. On some of the beams traces of decora- tion, one with heads of Our Lord and the Apostles. Church Builder, 1879, No. Ixxi. p. 148. BRAINTREE CHURCH, ESSEX. Canopy over the vestry door and string course. Early English. Destroyed. Builder, 1864, p. 724. BRAMDEAN CHURCH, HAMPSHIRE. Walls of chancel, diaper pattern. 13th cent. Chancel arch, remains of colour. British ArchceoL Assoc. Journ. t viii. 155. BRAMFIELD CHURCH, SUFFOLK. Between the four arms of a cross, which was fixed to the wall beneath an arched recess, N. wall of nave, are nimbed angels issuing from clouds, with scrolls, and bearing chalices. Conversion of St Paul, two angels, &c. Rood screen ; figures of the Evangelists, St. Mary Magdalene, and three Saints effaced, HrHixh Archceol. Assoc. Journ., xxv. 79. Parker, Kccles. and Architect. Topog. of Einjli n7v Painti'il rMi^irs of Margaret and Elixalxjth, wives of Sir John Tnlhot. Circ. l.">">0. 7/< ///*, Monumental Ejfcyies, pt. vi. pi. 10. r chancel arcli ; the Doom. Destroyed. W. A. Cotton, ISi'ontxyrovi' Church, il* I fist, and Antiq., pp. 12, 71. BROOK OHUK< ii, KENT. Oratory in the tower ; over the altar, our Lord giving the benediction. On chancel walls ; scenes from the life of Chi On nave walls ; the history of a saint. Four consecration crosses. Decorated period. BROOKE CHURCH, NORFOLK. W., N., and S. walls ; the Prodigal Son. 14th cent. The Seven Deadly Sins. Expulsion from Paradise. St. Christopher, &c. loth cent. Norfolk ArcliccoL, iii. G2. British Archceol. Assoc. Joum., xiv. 28. Painted font. British Archcvol Assoc. Joum., xiv. 53. BROOKE L'urucn, RUTLANDSHIRE. N. wall of N. aisle ; figure of Our Saviour and other subjects. Destroy' < /. BROOME CHURCH, NORFOLK. Painted font. BROUOHTON, BUCKINGHAMSHIRE, ST. LAWRENCE'S CHURCH. Space between windows N. side of nave ; the Virgin with the body of our Lord. Over the N. doorway ; the Day of Judgment. 1 5th cent. Over the S. doorway ; St. George and the Dragon. 15th cent. Space between windows, S. side of nave ; an Arch- bishop or Bishop ? St Dunstan, and a female Saint ? St Helena. Below, horseshoes, hammers, and various implements. Remains of decorative patterns. A series of tracings are in the Library of the Royal Archceol. Institute. Archfcol. Journ., vi. 176. Builder, 1864, p. 725, and 1881, vol. xl., p. 747. Qent. Mag., 1849, xxxi. new series, 405. Ecclesiologi8t,i3L.3l4i. SheaJuin, Hist, Topog. of the County of Buckingham, p. 508. 45 BROUGHTON CHURCH, HUNTINGDONSHIRE. Remains of colour on a pillar on the N. and on the S. sides of the nave ; also decorative painting round the arch of the chancel doorway (? old). BROUGHTON CHURCH, NORTHAMPTONSHIRE. In N. aisle ; the Virgin. S. side of nave, above the main arcade; numerous figures. Discovered in 1854, and again whitewashed over. BROUGHTON, OXFORDSHIRE, ST. MARY'S CHURCH. N. wall of chancel ; the Five Joys of the Virgin. Over chancel arch and on N. wall of nave ; subjects concealed by whitewash. Coloured shields on the founder's monument, renewed. BROUGHTON GIFFORD CHURCH, WILTSHIRE. On inner W. wall of S. porch ; round the heads and on jambs of two doorways, remains of decorative colour. BROUGHTON-IN-AIREDALE CHURCH, YORKSHIRE. Sculptures of the Virgin and Child, and another subject ; with remains of colour and gilding. Found in 1871. Whitaker, Hist and Antiq. of Craven, 3rd ed., p. 113. BROUGHTON, BRANT, CHURCH, LINCOLNSHIRE. Painted roof. 15th cent. Associated Architect. Socie- ties' Repts., ix. 254, xiii. Ixvi. Portion of a sculpture of the Trinity ; richly painted and gilt. BRUNSTEAD CHURCH, NORFOLK. S. wall ; Seven Deadly Sins. Destroyed. BRUTON CHURCH, SOMERSETSHIRE. E. bay of nave roof ; decorated with gold and colour. Aisle roofs ; painted shields, &c. Somerset. Archceol. and Nat. Hist. Soc. Proceedings, xxiv. pt. i., p. 34. BRYMPTON D'EVERCY CHURCH, SOMERSETSHIRE. Painted rood beam, with shields, &c. loth cent. BUCKENHAM, NEW, CHURCH, NORFOLK. Rood screen ; diapers, BUCKENHAM FERRY, NORFOLK, ST. NICHOLAS CHURCH. Sculpture representing the Martyrdom of St. Erasmus, with remains of colour and gilding. Late 14th cent. Discovered in 1840. Norfolk Archceol., i. 243. 46 BUCKLAND CHURCH, GLOUCESTERSHIRE. Nave roof; has remaius of colour, time of Henry VII. Wall paintings in nave whitewashed over. British ArchceoL Asaoc. Journ., xxxii. 97, 442. On nave walls ; Our Saviour on the Cross, St. Michael and various other figures on pedestals showing through the whitewash. Powdering of the Rose en Soleil and texts. Round the windows and on the pillars ; decorative colour. BUCKLAND CHURCH, HERTFORDSHIRE. S. wall of Lady Chapel ; decorative pattern. S. side of chancel, on splays of a low side window ; the Virgin and child, and a female Saint. Cussans, Hist, of Hertfordshire, vol. L, pt. ii., p. 49. The stem of Jesse. Building News, 1868, p. 177. BUCKLAXD-IX-THE-MOOR CHURCH, DEVONSHIRE. Rood screen ; illuminated mouldings. On the panels; the Adoration of the Magi, the An- nunciation and St Simon; (on the doors,) SS. Philip, Bartholomew, Andrew, and James Minor ; SS. Matthias and Thomas, and six figures (? of the other Apostles), effaced. On inner side 'a king, &c. C. Worthy, Ashburton and its Neighbourhood, p. 53. BUGBROOKE CHURCH, NORTHAMPTONSHIRE. Rood screen ; rich perpendicular with remains of colour and gilding. Churches of the Archdeaconry of North- ampton, p. 274. Associated Architect. Societies' Jfoy */>., ix., cii. 11 IN BURY CHURCH, CHESHIRE. St. Christopher . and altar-piece. Archceol. Journ., xxiv. 07. Screen between chancel and chantry ; grotesque figures, flowers, &c., with date 15 27. Screen between nave and : th. Annunciation, Sancta Jubana ? Juliana, &c., on the lower portion. Lysons* Magna Britannia, Che*l hr, p. 4 J-.'l. In the centre of chancel; Monument and effigy of Sir Il'igh Calveley, formerly adorned with a profusion of colour ami gilding. Ormerod's ///'.-/"/?/ of Cheshire, ii. H- > Monumental Effigies, p. 77, pi. 99. 47 BURES, SUFFOLK, ST. MARY'S CHURCH. Wooden effigy, time of Henry III., formerly painted. British Archceol. Assoc. Journ., xxxii. 41 G. Private chapel, now used as a barn ; stencilled walls, and one or two consecration crosses. 13th cent. BURES, MOUNT, CHURCH, ESSEX. S. wall, E. end of nave ; (?) the meeting of the Virgin and Elizabeth. Early coloured decoration on the nave arcade. Destroyed. Essex Archceol., i., new series, p. 131. BURFORD CHURCH, OXFORDSHIRE. N. wall of nave ; St. Christopher. Bloxam's Princi- ples of Architecture, 10th ed., p. 411 ; llth ed., ii. 201. In niche at E. end, and round the E. window ; remains of colour. In S. transept ; floral pattern. Chantry Chapel ; S. side of nave ; floral patterns. Early 15th cent. Painted pulpit. BURFORD CHURCH, SHROPSHIRE. N. wall of chancel ; wood panelling, on which are paintings of the Twelve Apostles ; in the centre panels Richard Cornwall and Janet his wife. Executed 1517. Murray's Handbook of Herefordshire. BURGATE CHURCH, SUFFOLK. Painted chest ; two knights tilting. Time of Richard II. Suffolk Archceol., i. 212. Parker, Eccles. and Architect. Topog. of England, Suffolk, No. 131. Murray's Hand- book of Suffolk. BURGH CHURCH, SUFFOLK. BURGH CASTLE CHURCH, SUFFOLK. St. Christopher, &c. Suckling's History of Suffolk, i. 338. BURGH ST. PETER CHURCH, NORFOLK. (?) Martyrdom of St. Thomas & Becket. Destroye'd. Norfolk Archceol., vii. 374. N. wall of nave ; St. Christopher. S. wall of nave ; the death of the Virgin. BURLESCOMBE CHURCH, DEVONSHIRE. Screen, late 15th cent. Repainted. Ecclesiologist, xxii. (xix. new series), 123 ; and xxviii. (xxv. new series), 308. 48 BURLINGHAM, ST. ANDREW'S ( 'in i: ii, NORFOLK. Rood screen ; SS. Thomas of Canterbury, Edward the Confessor, Benedict, Withburgha, John the Baptist, Cecilia, Walstan, Catherine, Edmund, Edward King and Martyr, and Etheldreda. East Anglian Notes and Queries, iii. 200. Norfolk ArchceoL, iii. 19. Date, 1536. Hexagonal wooden stand, curiously ornamented with pointings. Early loth cent. Formerly in the church. Proceedings of the Royal ArchceoL Institute, Norwich vol., p. xxxix. BURLINGHAM, ST. EDMUND'S CHURCH, NORFOLK. S. wall of chancel; Murder of Becket. Late 14th cent. Norfolk ArchceoL, v. 185. Rood screen ; powdered panels, tracery, cresting, &c. 15th cent. Pulpit ; panels, tracery, cresting, powder of stars and flowers, &c. Early 15th cent. Blackburne, Decorative Painting, pp. 81-8G; and Colling, Gothic Ornaments, ii., pi. 102. Cotman, Archi- tect. Etchings, 3rd series, pi. vii., p. 5. BURNHAM NORTON CHURCH, NORFOLK. Painted screen, with figures of King Ethelbert, St. Gre- gory, the Virgin, and the donors, depicted on the panels Late 15th cent. On panels of pulpit the Four Doctors of the Church, and portraits of John Goldale and Katharine his wife. Restored. Blomejield, (Parkin,) Hist, of Norfolk, ed. 1807, vii. 17. Cfiainbers, Hist of Norfolk, i. 24. BURNHAM OVERY CHURCH, NORFOLK. Over chancel doorway ; St. Christopher. Illustrations of Norfolk Topography, p. 27. Whitewashed over. BURNSALL CHURCH, YORKSHIRE. Wall of S. aisle ; Black letter texts. Circ. 1550. Sculpture representing tha Adoration of the Magi, with remains of colour and gilding. Discovered in 1858. Wh'dakers Hist, and Antiq. of Craven, :5nl ed., pp. ">04. ">0o. Itr'(*t<>! ami Gloucestershire ArchceoL Soc. >nsactions, 1877-8, pt. i., p. 1G6. BUKROW-OX-THK-HlLL < 'lUI!d of 8t. Gabriel (commonly called St. John's) : S. side of crypt on ceiling of western portion or nave ; Seraphim holding scrolls. Various subjects within medallions and decorative painting. Mainly late 12th cent. 55 CANTERBURY CATHEDRAL, KENT cont. The Norman pillar, supporting the arches between the nave and chancel. Retains its original colouring. On a buttress strip on N. and S. sides of inner chapel or chancel ; an angel with six wings full of eyes and the feet resting on a winged wheel. (See Isaiah vi. and Ezekiel i.). On N. side ; a tree and domes, &c. above. On the vault of the ceiling ; our Lord within a vesica, supported by four angels, in the act of benediction. On the N. wall ; the events connected with the nativity and naming of St. John the Baptist. On the S. wall ; the Annunciation, Salutation, and Birth of our Saviour. On the E. wall ; within the splay of a recessed arch, St. John writing the Apocalypse, and the angels of the seven churches, each with a candlestick (only four remain), and the seven stars, within medallions. Over western arch ; a seraph holding a scroll ; a tree, &c. Decorative colour and inscriptions on scrolls in various parts of this chapel. Date probably late 12th cent. These paintings have recently been preserved from further decay. See description and illustrations in Archceol. Cantiana, xiii. 48-80. Dart, Hist, and Antiq. of Canterbury Cathe- dral. Wright's Archaeological Album. Antiquarian and Architect. Year Book, 1844, p. 174. J. Brent, Can- terbury in the Olden Time, p. 284. Chapter Heuse ; remains of colour on the canopies at the E. end. Middle of the 14th cent. On E. wall ; the Coronation of the Virgin. Ceiling; painted mouldings. Cloisters ; bosses of roof formerly coloured. Texts painted on the walls in 1472. Winkle's English Cathedrals, i. 36, 37. Cromwell, Excursions through Kent, p. 66. For an account of all the paintings, see ArchceoL Journ., xxxv. 275-288. In the library ; panel painting of Queen Edy ve. CANTERBURY, KENT, ST. ALPHEGE CHURCH. Eemains of diaper painting in niche. CANTERBURY, KENT, EAST BRIDGE HOSPITAL. The Martyrdom of Thomas a Becket. /. Brent, Canterbury in the Olden Time,]). 240 (note). o6 CARBROOKE CHURCH, NORFOLK. Panel of rood screen ; angel under canopy .and diaper pattern. 15th cent. Colling, Gothic Ornaments, i. pi. 88. Ceilings of nave and aisles, original colouring. Cham- bers, Hist of Norfolk, ii. 980, 981. The Ecdesiologist's Guide to the Deaneries of Brisley, st end of north aisle ; the Descent from the Cross. Sale of Joseph by his Brethren. Martyrdom of St. Catherine, &c. Ecdesiologist, iii. 56., ix. 192. F. A. Paley, Notes on Twenty Parish Churches round Peterborough, p. 95. Sweeting, Parish Churches in and around Peter- borough, pp. 18, 19. F. Whellan, Hist. Topog. and Di- rectory of Northants, 1874, p. 655. St. Christopher. Martyrdom of St. Agatha. The Entombment. Early 14th cent. Gent. Mag., 1846, xxv., new series, 631. Only three scenes in the history of St. Catherine now (1880) remain. CATFIELD CHURCH, NORFOLK. On N. wall of the nave ; the Wheel of Fortune, the Tree of the Seven Deadly Sins, the S:ven Virtues, the Seven Sacraments of the Church, Our Saviour and the Woman of Samaria, and (?) Nathan and David. On S. wall of nave ; the Adoration of the Shepherds, The Magi before Herod, and presenting their offerings ; Martyrdom of St. Lawrence, Martyrdom of St. Cathe- rine, The Resurrection, with Mary Magdalene at the Sepulchre, St. John the Evangelist before the Latin Gates, and the History of St. John the Baptist. Time Edward III. 59 CAT FIELD CHURCH, NORFOLK cont. Norfolk Archceol., i. 133 and 365. British Archceol. Assoc. Journ., xiv. 27. Exeter Diocesan Architect. Soc., iv. 46. Illustrations of Norfolk Topography, p. 32. The Ecclesiologist's Guide to the Deaneries of Brisley, &c., p. 96. Hart, Antiq. of Norfolk, p. 63. Whitewashed over. Rood screen; on lower panels are 16 figures of Kings, including St. Edmund, with ermine and gilt crowns. CAWSTON CHURCH, NORFOLK. E. wall of S. transept ; the Dedication of the Church to St. Agnes. 15th cent. Norfolk Archceol., in. 37. On N.E. column of nave ; a pattern of roses and two- headed eagles. Rood screen ; on the doors, the Four Doctors of the Church. Sir John Shorne, The Apostles, SS. Paul, Helena, and Agnes on the panels. About 1400. British A rchceol. Assoc. Journ., xxiii. 263, 376, xxxvii. 135. East Ang- lian Notes and Queries, iii. 291. Blomefield, Hist, of Norfolk, ed. 1807, vi. 266. CAYTHORPE, LINCOLNSHIRE, ST. VINCENT'S CHURCH. Over arch opening into tower ; Last Judgment. Associated Architect. Societies' Repts., ix. 30. CERNE ABBAS, DORSETSHIRE. Portions of a shrine richly painted and gilt, dug up on the site of the Abbey Church. Hutching Hist, of Dorset, 3rd ed., iv. 27. CERNEY, NORTH, GLOUCESTERSHIRE, ALL SAINTS' CHURCH. Remains of frescoes discovered on the walls. Dollman, Antient Pulpits, p. 20. CERRIGYDRUIDION CHURCH, DENBIGHSHIRE. Traces of wall paintings. Thomas, Hist, of the Diocese of St. Asaph, p. 534. All destroyed. CHADDESDEN CHURCH, DERBYSHIRE. E. end of N. aisle ; figures painted on the reredos, representing Our Saviour on the Cross, &c. J. C. Cox, Churches of Derbyshire, iii. 309. CHADDESLEY CORBET CHURCH, WORCESTERSHIRE. Over the chancel arch ; the Last Judgment. Now concealed by whitewash. Indications of colour on the walls. Bowman's Ecclesiastical Architecture, p. 12. 60 CHAGFORD CHURCH, DEVONSHIRE. N. side of nave ; colouring on the arches, and remains of large subject above them. CHALDON CHURCH, SURREY. W. wall of nave; Ladder of the Salvation of the Human Soul, and the Road to Heaven. End of 12th cent. Surrey Archceol., v. 275 et seq., and vii. 295. Archaiol. Journ., xxx. 35. CHALFIELD, GREAT, CHURCH, WILTSHIRE. Walls of Tropenel Chantry ; figures of saints, subjects from the bible, c., time of Henry VIII., whitewashed over, once existed. Walker, Hist, and Antiq. of the Manor House and Church of Great Clialfield, Wilts, pp. 11-24. Pugin, (T. L. Walker,) Examples of Gothic Architecture, pt. ii., pp. 11, 24. Builder, 1881, vol. xlL, p. 251. Devizes and Wiltshire Gazette, August 18th, 1881. CHALFIELD, GREAT, MANOR HOUSE, WILTSHIRE. Hall screen ; painted and gilt. Circ. 1530. Walker, Hist, and Antiq. of the Manor House and Church of Great CJtalfield, Wilts, pp. 22, 24. Pugin, (T. L. Walker,) Examples of Gothic Architecture, pt. ii., p. 22, pis. xvii., xviii. CHALFONT ST. GILES' CHURCH, BUCKINGHAMSHIRE. S.E. corner of S. aisle ; two scenes from the history of St. Catherine. S. wall of S. aisle ; the Crucifixion, Herod's feast, and the Beheading of St. John the Baptist. Over chancel arch ; decorative painting, battlements, &c. All 14th cent CHALGROVE CHURCH, OXFORDSHIRE. N. wall of chancel ; the Stem of Jesse and the Life of Christ. Within the window splays; SS. Mary Magdalene, Helena, Gabriel, and the Virgin. S. wall of chancel ; the Death of the Virgin, and the Day of J udgment. Within the window splays ; SS. John the Baptist, John the Evangelist, Lawrence, and Bartholomew. E. wall of chancel ; the Descent into Hell, Resurrection and Ascension, and the Assumption and Coronation of the Virgin. Within the window splays ; SS. Peter and Paul. 13th and 14th cents. Cl CHALGROVE CHURCH, OXFORDSHIRE cont. Archccologia, xxxviii. 431. Gent Mag., 1837, viii., new series, 547. Ecclesiologist, xx. 279. Archceol. Journ., xxxviii. 84. CHARD CHURCH, SOMERSETSHIRE. Some indistinct paintings discovered on the walls of the chancel. Vermilion colouring round the nave arches. CHARLTON HORETHORNE CHURCH, SOMERSETSHIRE. N. chantry chapel ; remains of polychrome on two niches. Ecclesiologist, xii. 153. CHARLTON ON OTMOOR CHURCH, OXFORDSHIRE. Rood-loft with original painting and gilding. Date about 1500. Parker's Architectural Guide to the Neighbourhood of Oxford, p. 11. DunJdn, Hist, and Antiq. of the Hundreds of Bullington and Ploughley, vol. i., p. 207. CHARLWOOD CHURCH, SURREY. S. aisle ; the legend of St. Margaret, (?) of St. Eulaha, and the story of St. Nicholas. 1 3th cent. The Martyrdom of St. Sebastian or Edmund. 14th cent. And " Les Trois Vifs et les Trois Morts." Archceol. Journ., xvi. 89, and xxi. 209. N. chancel, on either side of E. window ; richly coloured niches, found in 1844. Brayley's Hist, of Surrey, 2nd ed., iv. 60. CHARWELTON CHURCH, NORTHAMPTONSHIRE. Gilding and painting, nearly obliterated, on the monu- ment of Sir Thomas Andrew and his two wives. Date about 1450. Bakers Hist, and Antiq. of North- amptonshire, p. 303. CHATHAM CHURCH, KENT. Sediiia richly painted and gilt. Date late 13th cent. Discovered and destroyed in 1788. Vetu,sta Monumenta, iii. pi. 4. CHAWLEIGH CHURCH, DEVONSHIRE. Rood screen, loth cent. Ecclesiologist, xxviii. (xxv. new series), 308. Exeter Diocesan Architect. Soc., 2nd series, ii. 96. 02 CHECKENDOX, OXFORDSHIRE, ST. MARY'S CHURCH. Wall and vault of apse ; Our Saviour and the Twelve Apostles. About 1300. Restored 18C9. Other paintings have been discovered much obliterated. l.ding News, 18C8, p. 708, and 1869, p. 261. Church Builder, 1869, No. xxxi., p. 95. The series of Apostles includes St. Paul. Date 12th cent. Proceedings of Oxford Architect, and Historic. Soc., new series, No. xvi., p. 75. Remains of colour on arch and capital of a Norman doorway. CHECKLET CHURCH, STAFFORDSHIRE. " Ancient and curious paintings beautified." Emblems of mortality, time, and eternity, with black letter texts, one from Hosea, xiii. 14. Redfern, Hist of Uttoxeter, p. 348. Garner, Nat. Hist, of tJie County of Stafford, supp., p. 9. Murray's Hand- book for Staffordshire. CHEDDAR, SOMERSETSHIRE, ST. ANDREW'S CHURCH. Painted pulpit. About 1500. Dollnian, Antient Pulpits, p. 27. Restored. On E. pier of arch opening to S. chapel ; coloured niches. About 1500. Nave roof repainted. Late 15th cent. Builder, 1873, p. 413. On N. of chancel ; monument of Sir Thomas de Cheddar and Lady. 1443. Repainted. Under the tower ; part of a large subject, (?) St. George and the Dragon, discovered and destroyed. CHEDDINGTON CHURCH, BUCKINGHAMSHIRE. Remains of painting discovered in 1855-56, and destroyed. Sheahan, Hist, and Topog. of ilie County of Buckinf/ham, p. 658. CHELLESWORTH CHURCH, SUFFOLK. Over chancel arch ; Day of Doom. This painting has undergone " restoration." Over great western arch ; part of a painting of St. George and the Dragon. In the S. aisle ; St. Christopher, and other fragments of painting. loth cent Su/olk ArchcBol., i. 146. Archceol. Journ., vii. 87. Parker, Eccles. and Architect. Topog. of England, Suffolk, No. 452. Illustrated London 2fct08,Sept. 15th, 1849, p. 187. 63 CHELMORTON CHURCH, DERBYSHIRE. N. wall of N. aisle ; various figures and some black letter texts. J. C. Cox, Churches of Derbyshire, iL 83. S. wall of S. transept; ornamental texts. 15th cent. CHELMSFORD MUSEUM, ESSEX. See LATCHINGDON. CHELTENHAM CHURCH, GLOUCESTERSHIRE. S. wall of chancel, and N. jamb of chancel arch ; de- dication crosses. Bristol and Gloucestershire Archceol. Soc. Trans., 1878-79, p. 71. Destroyed. CHELTENHAM, GLOUCESTERSHIRE, OLD HOUSE AT. Panel painting of Edward the Black Prince conferring a crest of five ostrich feathers on Sir Richard de la Bere. Bigland's, Gloucestershire, i. 312. Lower, Curiosities of Heraldry, p. 172. CHENIES CHURCH, BUCKINGHAMSHIRE. Tombs of the Earls of Bedford ; richly painted and gilt. Parker, Eccles. and Architect. Topog. of England, Bucks, No. 48. CHERITON. See STACKPOLE ELIDUR. CHERRY HINTON CHURCH, CAMBRIDGESHIRE. On the rood screen ; Our Lady of Pity, St. Mary Magdalene, and other Saints. Now painted over. Over the N. doorway ; St. Christopher. Whitewashed over. Churches of Cambridgeshire, pp. 23 and 30. Lysons' Magna Britannia, Cambridgeshire, p. 59. CHESHAM CHURCH, BUCKINGHAMSHIRE. On S. wall of S. aisle ; St. Christopher. On N. wall of N. aisle ; St. Michael weighing Souls. Destroyed. 14th cent. On N. W. tower pier ; a head. Consecration Cross. Records of Buckinghamshire, iv. 27-28. CHESHAM Bois CHURCH, BUCKINGHAMSHIRE. St. Christopher. Whitewashed over. Chancel roof; the original loth cent, painting. Restored. CHESTER CASTLE, CHESHIRE. Chantry of St. Mary, formerly on the wall ; a picture of Moses receiving the tables of the law. Thomas' Visitors' Guide to Chester, 1853, p. 23. 64 CHESTER CATHEDRAL, CHESHIRE. Lady Chapel ; colouring on the walls and the bosses of the ceiling. Cheater Architect. Archceol. // Historic, tioc., ii. 140, 264. N. aisle ; altar tomb, loth century. Murray' 8 Hand- book of Chesl CHESTER, CHESHIRE, ST. JOHN'S CHURCH. Painting on pillar adjoining the N.W. pier of the tower; subject uncertain. Archwologia Cambrensis, 3rd series, xv. 196. Remains of colouring and masonry patterns on the walls of the S. transept. Cliester Architect. Archceol. and. Historic. Soc., ii. 345. CHESTER, CHESHIRE, CHURCH OF ST. MARY-OX-THE-HILL. On S. wall, in a line with the pulpit ; the Crucifixion, with the Virgin, St John, and an Archbishop on a groundwork of foliage. Above, a crowned figure, pro- bably King Henry VI. On jamb of adjoining window ; the Resurrection. Late loth cent. Chester Architect. ArcJtceol. and Historic. Soc., i. 400. CHESTER, CHESHIRE, ST. PETER'S CHURCH. On a pillar near S. door ; the Annunciation to the Shepherds. The Artisan, January, 1848. Grooves of the pillars, painted. Builder, 1847, p. 596. CHESTER, CHESHIRE, ST. WERBURGA'S CHURCH. St Werburgh. Archceologia Cambrensis, 3rd series, xiv. 450. CHESTERFIELD CHURCH, DERBYSHIRE. On either side of the transept arch ; the Crucifixion and another subject. Over the N.W. door ; two series of paintings. J. C. Cox, Churches of Derbyshire, i. 133. All whitewashed over. CHESTERTON CHURCH, CAMBRIDGESHIRE. Over chancel arch and the E. nave arches ; the Last Judgment. Within the splays of the E. window, N. side of N. aisle ; painting in compartments, subject uncertain, perhaps the seven acts of mercy. Circ. 1300. Remains of paintings in the nave, within the spandrels of the n relies and elsewhere. A. 0. H'dl, Churches of Cambridgeshire, p. 175. 65 CHESTERTON CHURCH, CAMBRIDGESHIRE cont. Found on a block of stone used to fill up a window ; painting of St. Dorothy. About 1350. Now in the Fitzwilliam Museum, Cambridge. Cambridge Antiq. Soc. Journ. f iv. 1. CHETWODE CHURCH, BUCKINGHAMSHIRE. N. of chancel, back of arched recess ; bold foliaged pattern. CHEVELY CHURCH, CAMBRIDGESHIRE. In N. transept ; Arabesque patterns, and powdering of " fleur de lis." Suffolk Archceol., i. 244. A pattern of " fleur de lis " within the splay of the W. window, figured in Fairlie's Illustrations of Cheveley Church. CHEVENING CHURCH, KENT. Painted font. Blackburne, Decorative Painting, p. 72. CHEW MAGNA CHURCH, SOMERSETSHIRE. Wooden effigy of Sir John Hautville. 13th cent. Repainted. Murray's Handbook of Somersetshire. British Archceol. Assoc. Journ., xxxii. 415. CHICHESTER CATHEDRAL, SUSSEX. Nave and choir ceilings ; paintings executed in 1520, erased in 1817 or 1829. Coloured engraving existing. Proceedings of the Royal Archceol. Institute, Chichester Vol., p. 99. British Archceol. Assoc. Journ., i. 257. Anti- quarian Cabinet, vol. vi. W. wall of S. transept; a series of shields within quatrefoils, with inscriptions below. 14th cent. . S. side of S. transept ; remains of colouring on efiigy of Bishop Langton. Circ. 1338. Choir ; stalls of Bishop Sherborne gilt, and with the names of the Prebendaries, &c. painted over them in antique characters. S. choir aisle; monument and efiigy of Bishop Sher- borne, died 1536. Have been regilt and repainted. Back of stalls, S. choir aisle ; Ceadwalla bestowing'the monastery of Selsey on St. Wilfrid, and the confirmation of the grant by Henry VIII. to Bishop Sherborne. Painted by Theodore Bernardi. Circ. 1520. On N. wall of N. transept ; portraits of the Monarchs of England and the Bishops of Selsey and Chichester. Painted by Theodore Bernardi. Circ. 1520. Q 3254. E 66 CHICHESTER CATHEDRAL, SUSSEX cont. On the pier of the arch opening from N. transept into the library ; a Bishop on a diapered ground. Above, within the splay of the arch ; the lower portion of two other figures. Late 1 2th cent. N. wall of Lady Chapel, within a recess ; remains of bold foliated ornament. Remains of colour on the groin- ing of the ceiling, and capitals of the groining shafts in the Lady Chapel. Partly restored. Murray's English Catliedrals, pp. 303 and 310. Murray's Handbook of Sussex. Black's Guide to Sussex. Ecclesiologist, xxix. (xxvi. new series), 208. M. A. Lower, History of Sussex, i. 105. Antiquarian CcJ'i vol. vi. Cromwell, Excursions through Sussex, p. lo. CHICHESTER, SUSSEX, ST. OLAVE'S CHURCH. E. wall of chancel ; the Coronation of the Virgin, 16 figures of Saints under canopies, 2 consecration Crosses, decorative patterns, &c. 12th and 13th cents. Destroyed. Sussex^Archceol, v. 213, 222, viii. 321. Proceedings of the Royal Archceol. Institute, Chichester vol., p. 97. CHICHESTER, SUSSEX, THE BISHOP'S PALACE. Domestic chapel of the Bishops ; the Virgin and Child. Time of Henry III. Gent. Mag., 1835, iii. new series, 197. Proceedings of the Royal Archceol. Institute, Chichester vol., p. 99. Two consecration crosses. Ceiling of Great Hall ; panel paintings with armorial bearings and devices of Bishop Sherborne, and the nobility and gentry of the county. Winkles' English Cathedrals, ii. 37. CHICHESTER, SUSSEX, HOUSE BELONGING TO MR. MASON. Paintings discovered on the walls, representing a row of houses, and figures of birds and flowers. 16th cent. ArcJuKol. Journ., i. 165. British ArcJueol. Assoc. Journ., iv. 199. Ardiwologia, xxxi. 483. CHICKERELL, WEST, CHURCH, DORSETSHIRE. St. Christopher. Whitewashed over in 1759. Hutchins' History of Dorset, i. 424; 3rd. ed., ii. 496. Blackburne, Decorative Painting, p. 10. CHIDDINGLY CHURCH, SUSSEX. Recess in S. chancel wall ; masonry pattern. Sussex Archceol, xviiL 186. 67 CHILDEKDITCH CHURCH, ESSEX. Scripture texts. British Archceol. Assoc. Journ., i, 313. CHILLINGHAM CHUUCH, NORTHUMBERLAND. S. aisle ; altar tomb of Sir Ralph Grey and his wife, Elizabeth Fitzhugh, has been sumptuously coloured, Perpendicular period. Wilson's Churches ofLindisfarne, p. 76. CHILTINGTON, WEST, CHURCH, SUSSEX. N. wall of nave under trefoil headed arches ; the Annunciation, Salutation, Nativity, Angels appearing to the Shepherds, and Adoration of the Magi. Seraphim between the heads of the arches. 13th cent. Also St. Christopher. E. splay of E. window, N. of nave; Christ showing the wounds and surrounded by certain implements. On pillars between nave and S. aisle ; ? St. Michael weighing Souls ; and other subjects, mixed up with texts. Round, and on the soffits of, the arches, and on S. wall of nave ; masonry, star, intersecting arched, lozenge, and zigzag patterns. 12th and 13th cents. S. wall of nave under trefoil headed arches ; the Triumphal Entry into Jerusalem, ? the Last Supper, ? the Betrayal, the Scourging, Christ bearing his Cross, the Crucifixion, the Maries at the Sepulchre, and the Resur- rection. 13th cent. In S.E. corner ; foliage decoration. Within an arch between S. aisle and chancel chapel ; figures of the Apostles, and part of a vesica held by seraphim, probably enclosing a [figure of Our Lord in Glory. Late 12th cent. Over this has been painted a bold scroll pattern, angels blowing trumpets, &c. Archceol. Journ., xxxviii. 82, 92, 95. Within the splay of a decorated window in S. aisle ; Painted niche. CHILTON CHURCH, BERKSHIRE. Remains of rood-loft painted in gaudy colours. Hewett, Hist, of the Hundred of Compton, p. 18. CHILTON CANTELO CHURCH, SOMERSETSHIRE. N. transept ; diaper pattern, and the death, burial, assumption, and coronation of the Virgin. Destroyed. Somerset Archceol. and Nat. Hist. Soc. Proceedings, xx. 71. E 2 68 CHIPCHASE CASTLE, NORTHUMBERLAND. " Traces of the ordinary mediaeval decoration of the interior walls of castellated residences, may still be seen in the tattered fragments of Mural Gothic paintings, es- pecially in the third story or family chambers." Revd. G. R. Hall, Memoir on Chipchase Castle, p. 9. Mackenzie, View of the County of Northumberland, ii. 222. CHIPPENHAM CHURCH, CAMBRIDGESHIRE. Screen and rood-loft. Lysons' Magna Britannia, Cambridgeshire, p. 59. CHIPPENHAM CHURCH, WILTSHIRE. South chancel chapel ; painted roof and cornices. Late 15th cent. CHIPPING ONGAR. See ONGAR, CHIPPING. CHISELHURST, KENT, ST. NICHOLAS CHURCH. Wall paintings from 1442-1460. N. aisle, the Scadbury Chantry ; S. side, a red and white rose with date, 1422, and a falcon on a fetter lock with date, 1460. Screen " with moulded cornice ornamented with small gilded estoiles." Archosol. Cantiana t xiii. 388. CHISHILL, GREAT, CHURCH, ESSEX. Over chancel arch ; portion of a Doom. On N. wall ; St. Lawrence. Remains of texts, &c. All destroyed. CHOLESBURY CHURCH, BUCKINGHAMSHIRE. N. and S. walls of nave ; various figures. Destroyed. CHRISTCHURCH PRIORY CHURCH, HAMPSHIRE. Remains of colour and gilding on the rood screen. Time of Edward III. Archceol. Journ., v. 73, 142, 144. Pilasters supporting the choir roof. Painted about 1310. In a chapel E. end of N. choir aisle ; effigies of Sir John Chydioke and his Lady retain traces of their original colouring. Early 15th cent. Murray's Hand- book of Hampshire. Bosses of choir retain their original polychrome. Pro- ceedings of the Royal Archceol. Institute, Winchester vol. CHULMLEIGH CHURCH, DEVONSHIRE. Rood screen. Ecclesiologist, xxviii. (xxv. new series) p. 308. 69 CHUESTON FERRARS CHURCH, DEVONSHIRE. Screens, richly painted. Builder, 1865, p. 212. ClRENCESTER CHURCH, GLOUCESTERSHIRE. Chancel, band of quatrefoils. Restored. ST. KATHARINE'S CHAPEL. E. end of N. wall ; St. Christopher, on diaper back- ground. W. end of N. wall ; medallion with two figures. S. wall ; St. Katherine with emblems, on diaper background. F. G. Baylis, Ancient Churches of Gloucestershire, p. 30. ST. JOHN'S CHAPEL. On rib of arch, S. aisle ; wall pattern. Restored. In S.E. angle ; painted and gilt screen work. LADY CHAPEL. On spandrel on S. wall ; a Purgatory. TRINITY CHAPEL. N. wall ; Martyrdom of St. Erasmus. 14th cent. Archceologia, xv. 405. Portrait and arms of William Prelatte, and black letter text below. Hist, and Antiq. of Cirencester, pp. 65, 67, 69, 73. Fragments in other parts of the church. CLACTON, GREAT, CHURCH, ESSEX. Coloured decorations on the walls. 15th cent. Essex Archceol., iv. 86. CLAPHAM CHURCH, BEDFORDSHIRE. Traces of early decoration of nave walls. D. G, C. Elwes, Bedford and its neighbourhood, p. 112. CLAPHAM CHURCH, SUSSEX. E. end of S. aisle; painted decoration on the splay of a lancet window. Sussex Archceol, xxvi. 276. CLAPTON IN GORDANO CHURCH, SOMERSETSHIRE. N. of nave ; female Saint beneath a canopy, holding a cross. N. of chancel ; consecration cross. CLATFORD, GOODWORTH, CHURCH, HAMPSHIRE. Side walls of nave. Middle of 15th cent. British Archceol. Assoc. Journ., vii. 431. Destroyed. On the E. pillar, N. side of nave ; remains of black letter inscription. 70 CLAUGHTON CHURCH, LANCASHIRE. Fine rood screen, painted and gilt. IGth cent. De- stroyed. Whitaker's History of Richmondshire, ii. 24-4. CLAVERDON CHURCH, WARWICKSHIRE. E. wall ; remains of scroll painting. Warwickshire Churches, Deanery of Warwick, ii. 32. CLAYHANGER CHURCH, DEVONSHIRE. Screen ; painted panels. Murray's Handbook of Devon- shire. Introduction. CLAYWORTH CHURCH, NOTTINGHAMSHIRE. Coloured mouldings found in the churchyard wall. Associated Architect. Societies' Repts., xiii. xi. CLEEVE, BISHOP'S, CHURCH, GLOUCESTERSHIRE. Remains of painting under N.W. window of N. aisle, and elsewhere. Colouring on n cross-legged effigy in S. transept, and on the effigy of a nun. Bristol and Gloucestershire Archceol. Soc. Trans., 1878-79, pp. 262, 265, 1879-80, p. 24. CLEEVE, OLD, ABBEY, SOMERSETSHIRE. E. wall of refectory, now part of farm ; the Crucifixion, with SS. Mary and John, loth cent. Somerset Archceol. and Nat. Hist. Soc. Proceedings, vi. 95. British Arduxol. Assoc. Journ. y xxxi. 410. Worth, Tourist's Guide to N. Devon, p. 10. Photograph in the Art Library, S.K. Painted chamber, leading out of the refectory; SS. Margaret Katherine, and Thecla. British Archceol. Assoc. Journ., xxxi. 411. Vault of vestibule to chapter house ; traces of pain- ting. British Archaiol. Assoc. Joum., xxxi. 408. Buil. S- j>>il<-hr!<,'. p. 21. DEXFORD CHURCH, NORTHAMPTONSHIRE. E. end of N. aisle ; late perpendicular screen work " with shit-Ids painted with the instruments of the Passion, and much painting and gilding remaining, especially a good gilded crest of the Tudor flower." Churches of the Archdeaconry of Northampton, p. 79. DEXHAM CHURCH, BUCKINGHAMSHIRE. Panels of the roof painted with the arms of the Bow- yers. Time of Henry VIII. Lipscomb, Hist, and Antiq. of Bucks, iv. 449. Slieahan, Hist, and Topog. of tlie County of Buckingham, p. 859. Not now existing. S. aisle, over S. door.; the Doom, loth cent. DEXXINGTON CHURCH, SUFFOLK. Painted screens. British Archceol. Assoc. Journ., xxi. 178. DEXTON CHURCH, NORFOLK. Rood screen ; SS. Edward The Confessor, Edmund, Mary Magdalen, Sitha, Walstan or James Major, Agnes, Dorothy, Jude, Clement, Barbara, and Paul. Circ. 1500. These panels now form the side of the church chest. DENVER CHURCH, NORFOLK. On the splay of a window; a painting, subject uncertain. Date about 1360. Norfolk Archceol, vii. 358. DEOPHAM CHURCH, NORFOLK. Back of screen ; foliated diaper. DERBY, DKKBYSIUKE, St. PETER'S CHURCH. E. end of N. aisle ; portions of mural paintings. E. window of S. aisle ; scroll work on the jambs. Remains of colour on the capitals of the columns. J.C. Cox, Churches of Derbyshire, iv. 153. DEREIIAM. K\>i. NORFOLK, Cut IICH OF ST. NICHOLAS. Ceiling, N. aisle ; two-headed eagle, and the letter T with martyr's crown. Armstrong, Parish Church of East Dereham, 18C4, p. 34. Gent, Mag., 1847, xxviii., new series, 480. 85 DEREHAM, EAST, NORFOLK, CHURCH OF ST. NICHOLAS cont. Ceiling of S. aisle ; painted and gilt mouldings, and en the panels, the Agnus Dei. Chambers, Hist, of Norfolk, ii. 824. Rood screen. Destroyed. Font with remains of colour visible under a modern coating of white paint ; the Seven Sacraments, and the Crucifixion. Date about 1400. Murray's Handbook of Norfolk. DEREHAM, WEST, ABBEY, NORFOLK. Paintings representing Saul's entry into Jerusalem, and Saul arming David. Illustrations of Norfolk Topo- graphy, p. 41. DEREHAM, WEST, CHURCH, NORFOLK. Traces of paintings. Hart, Antiq. of Norfolk, p. 66. DERSINGHAM CHURCH, NORFOLK. Rood screen, with figures of the Virgin, SS. Denis, Juliana, &c. on the panels. Sacristy, iii. 152. Painted pulpit. DERWENT CHAPEL, DERBYSHIRE. Remains of decorative colouring discovered on the walls when the church was pulled down in 1867. Reliquary, x. 29. DEVIZES, WILTSHIRE, ST. JOHN'S CHURCH. Nave roof; originally painted. N.E. chapel; black letter inscription. 15th cent. Some paintings were discovered in the nave, and were destroyed. Wilts Arcliwol. and Nat. Hist. Soc. Mag., ii. 225, 228^ 231. E. end of chancel ; an arcade of Norman arches was discovered during the restoration of the church, with traces of colouring on the mouldings. Archceol Journ.> xxxiv. 277. DEJIZES, WILTSHIRE, ST. MARY'S CHURCH. Nave roof; originally painted ; Black-letter inscription on it. Date 1435. On a stone taken from the E. chancel wall ; a foliated pattei-n. Probably late 12th cent. On N. wall of nave ; the Assumption of the Virgin ; St. Christopher; and St. George and the Dragon. On S. wall of nave ; texts and flowers, of Queen Mary's time, with traces of earlier paintings below. 86 DEVIZES, WILTSHIRE, ST. MAKY'S CHURCH cont Over chancel arch ; remains of a large subject, ? the Doom, loth cent Destroyed. Wilts Archceol. and Nat. Hist. Soc. Mag., ii. 239, 244. Hist, of Devizes, H. Butt, 1859. p. 570. DlCKLEBURGH CHURCH, NORFOLK. PaneLi-of rood screen ; quatrefoil ornament 15th cent. Colling, Gothic Ornaments, i. pi. 18. N. wall of chancel ; Christ bearing the Cross, and probably, the Resurrection. Partly renewed. Blomejield, Hist, of Norfolk, ed. 1805, i. 200. DILWYN CHURCH, HEREFORDSHIRE. Numerous traces of wall decoration, discovered and destroyed. British Archceol. Assoc. Joum., xxviL 153. Lady Chapel ; 13th cent, painting. S. aisle and N. transept; stencilling, loth cent. Screens of Lady Chapel and N. transept, vermilion freely used on. Archceologia Cambrensis, 3rd series, xiv. 136. DITCHEAT, SOMERSETSHIRE, ST. MART'S CHURCH. Remains of painting and gilding on roof. Ecclesio- logist, vi. 184. Somerset Archceol. and Nat. Hist. Soc. Proceedings, xxiv., pt. 1, p. 49. DlTCHINGHAM CHURCH, NORFOLK. N. wall of nave ; les Trois Vifs et les Trois Morts, and the Final Judgment. 14th cent. Archceol. Journ., v. 69, Norfolk Archceol., ii. 405. Gent. Mag., 1847, xxviii. new series, CHURCH, WILTSHIRE. N. wall, E. end of nave ; St. Christopher, and St. Mi- chael weighing Souls. Archceol. Journ., xii. 195. Wilts Archceol. and Nat. Hist. Soc. Mag., iv. 147. Tunstall, Rambles about Bath and its neighbourhood, 7th ed., ]>. 407. Whitewashed over. Copied in glass in a modern window, S. side of nave. On W. wall of nave; two consecration crosses. 12th cent. Archceologia, xlvii. 165. On tympanum of S. doorway ; part of a semicircular arch, and other remains of colouring. 12th cent. CHURCH, DEVONSHIRE. Rood screen. 87 DITTON, FEN, CHURCH, CAMBRIDGESHIRE. Chancel, on either side of E, window ; painted niche. Late 14th cent. DITTON, WOOD, CHURCH, CAMBRIDGESHIRE. Screen and rood-loft. Lysons' Magna Britannia, Cambridgeshire, p. 59. DODDINGTON CHURCH, KENT. Painted woodwork. Murray's Handbook of Kent, DODDINGTON CHURCH, NORTHAMPTONSHIRE. On the S. side of the chancel arch ; the Crucifixion. Murray's Handbook of Northants, p. 27. Building News, 1871, p. 37. F. Whellan, Hist. Topog. and Di- rectory of Northants, 1874, p. 876. DODFORD CHURCH, NORTHAMPTONSHIRE. N. wall of N. aisle, within the arch and at the back of the tomb of Hawise and Wentiliana de Keynes ; the de- parted soul being carried away by angels ; and five coats of arms. Date about 1340. On S. side ; remains of painting and gilding on the tomb of Sir John Cressy. Circ. 1447. Baker's Hist, and Antiq. of Northamptonshire, p. 360. Archceol. Journ., xxxv. 258. On walls of N. aisle ; decorative colouring. 14th cent. DONCASTER, YORKSHIRE, ST. GEORGE'S CHURCH. Panels of nave roof; representations of the Apostles, Twelve Tribes of Israel, various coats of arms, &c. Destroyed in 1853. Hatfield, Memorials of St. George's Church, Doncaster, p. 38. /. Wainwright, Yorkshire, i. 82. DONCASTER, YORKSHIRE, ST. MARY MAGDALEN'S CHURCH (now destroyed). Arches ; scroll patterns, &c. Norman period. Builder, 1864, p. 688, and a work on the church by the Rev. J. E. Jackson. DONINGTON CHURCH, LINCOLNSHIRE. Within a niche over W. door ; statuette of Our Lord, once coloured and gilt. Associated Architect. Societies' Repts., x. 202. DORCHESTER CHURCH, OXFORDSHIRE. E. wall of S. transept ; the Crucifixion. Diaper work and other traces of colour discovered on the back of the sedilia, on mouldings of S. chancel window, 88 DORCHESTER CHURCH, OXFORDSHIRE cont. and below the Jesse (N. chancel) window. Ecclesiologlst, v. 24. S. nisle ; head of a female Saint, &c. Colour on the effigy of a Bishop, 14th cent., and on other monuments. Dorchester ChurcJi, Oxon, J.H. Parker, 1845, pp. 12, 13, 36. DORMINGTON CHURCH, HEREFORDSHIRE. On the W. wall ; Our Lord in Glory, and two other subjects, one, perhaps, the Martyrdom of St. Margaret. Masonry pattern on wall and window splays. Builder, 1877, p. 249. Hereford Times, Feb. 17th, 1877. DORNEY COURT, BUCKINGHAMSHIRE. On panels of several rooms; coats of arms with in- scriptions below, too far gone to be restored. Sheahan, Hist, and Topog. of the County of Buckingham, p. 846. DOUGLAS CHURCH, LANARKSHIRE, SCOTLAND. On N. side of chapel ; remains of colour on the mo- nument of Archibald, Fifth Earl of Douglas. Date about 1438. Store's Monumental Remains of Noble and Eminent Persons. DOULTING CHURCH, SOMERSETSHIRE. Transept roofs ; formerly had colouring and metal stars studded on the panels. Late 15th cent. DOVEBRIDGE CHURCH,' DERBYSHIRE. N. aisle roof; scroll pattern. J. C. Cox, Churches of Derbyshire, iii. 120. DOVER CASTLE, KENT. Mural decoration in one of the rooms. 13th or 14th cent. DOVER, KENT, ST. MARTIN'S ABBEY. Refectory, E. end wall ; Christ and the Apostles. The Last Supper. Probably 13th cent. On one of the side walls ; decorative colour. ArcJiaol. Cantiana, iv. 16. Murray's Handbook of Kent. J. T. Perry, An Account of the Priory of St. Mai-tin, Dover, p. 17. DOWNE, WEST, CHURCH, DEVONSHIRE. Colouring on the effigy of a Judge. Date about 1310. Ex< t< r Itlocesan Architect. Soc., 2nd series, iii. 197. IP. II. If. Rogers, The Ancient Sepulchral Effigies, &c. in Devon, pp. 47, 367. 89 DOWNHAM MARKET CHURCH, NORFOLK. OnS. wall of S. transept ; consecration cross. 13th cent. DOWSBY CHURCH, LINCOLNSHIRE. Traces of colour on the effigy of Dame Margaret Ashton Remains of colour and gilding found over S. nave arcade. DRAYTON CHURCH, BERKSHIRE. Painted rood-loft. Remains of alabaster reredos in the parish chest. Early 15th cent. Parker, Ecdes. and Architect Topog. of England, Berkshire, No. 4. Builder, 1873, p. 18. DRAYTON CHURCH, NORFOLK. N. wall of nave; St. Christopher, St. Thomas, St. George, Our Lord, and St. Mary Magdalene. Over chancel arch ; Our Lord in Glory. Destroyed. On chancel arch ; diaper and scroll patterns. Destroyed. Three consecration crosses. Norfolk Archceol. iii. 24. DRAYTON CHURCH, OXFORDSHIRE. " Some old painting." Parker, Ecdes. and Architect. Topog. of England, Oxford, No. 130. N. of chancel ; remains of painting on side of monu- ment of Ludovic Grevile and his Lady. Circ. 1 438. Beesley, Hist, of Banbury, p. 117. DRAYTON BEAUCHAMP CHURCH, BUCKINGHAMSHIRE. S. side of nave, on two E. arches ; scroll pattern. 13th cent. DRAYTON, WEST, CHURCH, MIDDLESEX. Vestiges of paintings and black letter texts. J. H. Sper- ling, Church Walks in Middlesex, pp. 28, 64. Not now visible. DROITWICH, WORCESTERSHIRE, ST. PETER'S CHURCH. E. compartment of nave roof; illuminated with red and gold stars on a blue ground. Circ. 1500. Associated Architect. Societies' Repts., v. 177. DUNHAM, LITTLE, CHURCH, NORFOLK. Colouring on sedile and piscina within sill of S. chancel window. Carthew' s Hundred of Launditch, ii. 676. 90 DUNSTER CHURCH, SOMERSETSHIRE. Font formerly coloured. Ecclesiologist, ii. 04. Effigy of Sir Hugh Luttrell, circ. 1428; traces of gilding. Archceol. Journ., xxxvii. 172. DUNTISBOURNE ROUSE CHURCH, GLOUCESTERSHIRE. E. wall ; four fragmentary figures under canopies, background powdered with stars, below, three crosses in circles. Wall patterns on N. wall of chancel and other places, also in the Norman crypt, loth cent. Traces of earlier work. DURHAM CATHEDRAL, DURHAM. Recess in eastern wall of the Galilee ; the folds of a curtain. Two full length figures supposed to represent Richard I. and Bishop Pudsey, about 1185, and to have formed part of a painting of the Crucifixion, now destroyed. W. B. Scott, Antiquarian Gleanings, pis. vii. and viii. Archceol. Journ.,. xxxiv. 275. British A rchceol. Assoc. Journ., xxii. 221. Perry and Henman, Illustra- tions of the Mediceval Antiq. of the County of Durham, pLL Coloured drawings in the Society of Antiquaries' Library. Above the altar of Our Lady ; the Passion of Our Lord. Date between 1406 and 1437. P. Sanderson, The Antiquities of the Abbey or Cathedral Church of Durham, p. 47. On piers of W. doorway, "pattern of tracery and flowers of vermilion upon a ground of pure white." Remains of colouring on the chevron mouldings of the nrches of the Galilee and the nave. In the choir ; the monument of Bishop Hat field has traces of colour. Murray's Handbook of Durham. Tomb of John, LordNevile, circ. 1388, traces of colour and gilding. S. transept, fragments of richly decorated screen work, now in the Galilee. 0/--:>. Jirilixh ArdwKol. Assoc. Journ., xviii. 179. W. H. H. Rogers, TJw Ancient Sepulchral Ejjiyies,