e contrasting, in juxtaposition with that which it is intended to
supplement. Woollen embroideries or tapestries are the most usually
selected for this purpose. The softness of fine crewels is well shown
near the more glowing tints of silk, velvet, and gold of the altar
frontal. If this is white, or light coloured, the reredos hanging
should be of dark or richly worked material; if the frontal is dark,
the contrast should be preserved by hangings of tender shades.

The pulpit and reading-desk, with their small cushions and veils, and
beautiful worked covers for the books, give opportunities for
repetition of colour which is often required for picturesque effect.

I should recommend the young ecclesiastical designer to study the
principles which guided the authors of some of the fine Gothic
examples remaining to us, such as the great Stoneyhurst cope, and the
palls of the different London companies, as well as the very few fine
altar-cloths still existing. All these have their brilliant and
effective treatment; they are intended to be glorious, and either
represent massive jewellers' work or tissues of wrought gold.

Anciently, the ornaments for the different church services, which we
timidly reduce to floral decorations (often, however, very beautifully
planned and executed), gave the opportunity for displaying costly
embroidered hangings.

The paschal of the choir of Durham, for example, was a marvellous
construction of wood and gilding, metal-work, and (probably) hangings.
It was as wide as the "lateral" of the choir, and as high as the
building, so that the central and seventh candlestick (that from which
the new fire for the year was kindled) was so near the roof that there
was a "fine convenience through the said roof of the church for the
help of lighting it." I quote from a rare book printed by G. S. Ross
for Mrs. Waghorn, 1733.

This little book is full of interesting matter regarding Durham
Cathedral, though the author is most concerned in relating the
vandalisms committed by the dean's wife, Mrs. Whittinghame, who
evidently had "no culture," and a strong turn for appropriating odds
and ends, such as tombstones, embroidered silk, and other curiosities
which she deemed valueless except for her own purposes,--such a woman
is a real archaeological misfortune!

The corporax used in celebrating the mass by St. Cuthbert in the
seventh century (he died and was buried at Holy Isle in 657) was
supposed to be endo