glass from the nave, which in point of date is later than the glazing, dated 1460, of the north clerestory, composed of three four-light windows with a transom. The windows in the south chapel represent the Crucifixion, Noah's Deluge, and the Creation; the serpent is represented with a human head. In the window next the transept is represented the story of St. Werstan's martyrdom. The great east window represents 'The Last Supper.' In 1850 the foundations of St. Ursula's Chapel, and of the Lady Chapel, with an Early English crypt, were discovered. Some fragments of old glazing remain in the Jesus Chapel. The organ is by Nicholson, 1850. : The principal monuments are the following: Choir, S. Aisle.-Harewell, a knight effigy of black marble. Bishops Bathurst of Norwich and Jenkinson of St. David's are buried here. In the tower once hung― Hark! speaking to themselves Were Malvern's sweet nine bells, Now they troll, troll, troll. Six remain, the rest went to St. Mary's Overye, 1690. The tenor St. Mary's bell is the most ancient and musical. The Refectory is now a barn. The Gate-house, Perpendicular, retains its oriel, and has rich panelling and a large gateway; Henry VII. is said to have resided in it. John of Malverne was the famous Piers Ploughman. Swift called monasteries "the dormitories of the living;" but Bishop Latimer wrote of the last prior of Malvern to Cromwell: "He is an old worthy man, a good housekeeper, and one that hath daily fed many poor people. He only desires that his house may stand, not in monkery, but so as to be converted to preaching, study, and prayer. Alas! my good lord, shall we not see two or three in every shire changed to such a remedy ?" Archbishop. Leighton thought the great and fatal error of the Reformation was that more of these houses, and of this course of life, free from the entanglement of vows and other mixture, was not preserved, so that the Reformed Church had neither places of education, nor retreat for men of mortified tempers." St. Nicholas, Newcastle. THE Church crowns a bold eminence rising abruptly from the Tyne, to the centre of the town. It was begun by Osmund, Bishop of Salisbury, when Prior of Tynemouth, 1091, and finished in 1359; the first structure having been destroyed in 1216. It measures 240 ft. by 75 ft. The west tower was built by Rhodes, a merchant, in the reign of Henry VI.; and is 193 ft. 6 in. high. It is of four stories. There is a large west window: above it are two large two-light windows, in every face separated by a pinnacle, and below, a rich battlement. At the four angles are lofty pinnacles: from their bases spring segmental arches, and at their intersection, 20 ft. from the parapet, is a light open lantern like an imperial crown, surmounted by a light pinnacle. It resembles but far surpasses the lanterns of St. Giles' Cathedral, Edinburgh, and the Tron Church, Glasgow. In October, 1644, the Scottish general who besieged Newcastle, threatened to blow the lantern down; when Sir J. Morley, the mayor, immediately placed his prisoners round it, saying, "Our enemies shall preserve or fall with us!" The nave is of four, the transept of three, bays; a clerestory and aisles are continued throughout the church. On the north side is St. George's Porch, of two bays. Over the vestry is a library. Before the north door is a large flagstone sculptured in waves, in honour of St. Nicholas, patron of mariners. Ottery St. Mary, Devon. OTTERY ST. MARY, which derives its name from its situation on the river bank (Otter-rie) is six miles north from Sidmouth. The ancient church of SS. Mary and Edward was given by Edward the Confessor to the cathedral of Rouen, but in 1335 Bishop Grandison converted it into a collegiate church. Walter Bronescombe, Bishop of Exeter, 1257-1280, commenced the rebuilding, and Bishop Grandison completed the structure in the latter end of the fourteenth century. The Dorset chapel, which is of the beginning of the sixteenth century, and situated on the north-west side of the nave, has the arms of Bishops Courtenay, 1478-87, and Veysey, 1519. The north tower is crowned with a spire. The exterior is bold and simple, the grouping of the towers, chapels, and porches effective. The west front presents three stories; in the lower is a deeply-recessed doorway, parted by a pillar; above it are five lancets included in a segmental arch ; in the gable is a niche, with the mutilated image of St. Mary between two trefoiled lights. The south porch was built before 1587. The aisle windows are of two lights; the clerestory has three trefoiled lights within a segmental arch. The parapet, of the sixteenth century, is battlemented. The south tower is Early English: in the upper story there are three lancets on each face, under a string-course enriched with corbel-heads: the parapet is pierced with trefoiled openings; short pinnacles flank the angles. The ritual choir extends three bays into the nave, and is laid with Minton's tiles. The chancel is of six bays, and resembles the nave; the parapet, however, is not embattled. From the fourth bay projects an Early English chapel, with a parvise above it. The Lady Chapel of three bays is Decorated. The east end has an eightlight window, with a canopied niche on either side. In the gable, which is crowned with a cross, are three niches. The Dorset, or north-west chapel, is Perpendicular, corresponding with the nave, and of six bays, which are separated by buttresses of three stages. The windows are of three lights, and the parapet battlemented. The central bay is filled by a porch and parvise. In the interior, the nave piers support two centred arches: over each, in place of a triforium, there is a niche for a statue ; the ceiling is two-centred and simple; that of the aisles four-centred. The Dorset chapel has a rich fantraceried groining and pierced pendants; the corbels represent angels. The roofs of the transepts are groined. The stilted central lancets upon the east side denote the site of an altar. In the choir the ceiling resembles, but is more elaborate than, that of the nave. The reredos of stone was restored by Blore. The high pace is elevated upon three steps; behind the altar are five canopied niches, once filled with pictures. On either side are three trefoiled niches, with brackets for images. Above a string-course are three very large canopied niches for groups of statuary, set between buttressed panels. Three other niches, which once probably contained a rood with SS. Mary and John, fill the arch above a rich and embattled cornice. : About sixty years ago the beautiful oak rood-screen was removed in the north aisle the bench ends are late 15th century work: the ancient misereres have been restored to the choir; five on each side, with a single return, àre set in the third bay eastward from the transept, which is parted off from it by a low solid screen of oak. To the eastward two stone steps lead up to a vacant bay before the sanctuary, which is fenced in by a screen formed out of a parclose of the 14th century. A rich pavement is laid down, round an altar of old woodwork, covered with a stone slab. There are three beautiful canopied sedilia of stone on the south side. The Lady Chapel is parted off from the ambulatory by a beautiful stone gallery, supported on six shafts of Purbeck marble, reconstructed by Woodyer; tiles have been laid down, and stallwork introduced. There are four stone sedilia on the south, with a water-drain. The only monuments of interest are the effigies of Sir Otho Grandison, brother of the founder (died May 23, 1360), and of Beatrix Malmaynes, his wife, reposing under rich gabled canopies; and an incised stone to Archdeacon Northwood, the brass of which is gone. The organ is in the south transept. The church of St. Mary Ottery consists of a Decorated nave of five bays, with Early English aisles; a choir of the same period, the Early English aisles of which were chantries, St. Stephen's on the north, and St. Catherine's on the south; they have been restored by Rev. R. Podmore; two Early English transept towers, as at Exeter, Narbonne, and Chalonssur-Marne; and a Lady Chapel, Decorated, which has been restored for morning prayer by Mr. Woodyer. On the south side of the chapel are two windows of stained glass by O'Connor, one of them being a memorial to the late vicar, G. Smith. On the north side, the glazing of the north-east window is by O'Connor, and that of the west lights by Warrington. In the lateral chapels the east windows are by Hardman, from designs by Pugin, on the north representing the Majesty, on the south the Crucifixion. The five small lancets in the north choir aisle are filled with glass by Warrington. The subject of the six-light west window of the north-west chapel, built by Cicely, Marchioness of Dorset, is the Transfiguration, by Wailes, who also glazed the great west window. Round the walls of the church will be observed quatrefoils representing the Blessed Virgin bearing a cross; they mark the spots which the bishop marked at the consecration with the Holy Chrism. Polychrome has been introduced along the vaulting, on the principles recommended by Ruskin and Chevreul; a rich effect of colour is produced, a harmonious but chastened brightness. But even in the places it has not touched it is remarkable how the impressive attributes of ancient architecture lie open, legible to every eye. Not one prominent feature exists in vain, or requires artificial illumination or pictorial effect. The beauty is distinct to the eye of him who understands neither the artistic merit nor the subtle lore of the builder; who only perceives the effect, but cannot follow out the science and invention, method and emotion, finish and fire, which ministered with deep-wrought foliage, twisted traceries, and burning pane, to the luxury of the gaze. The whole church possesses a charm of contrast, a mingling of richness and simplicity, which endows it with a grace to which more imposing structures can offer no pretension. Coleridge, who often in early boyhood trod these aisles, |