ts the Minster precincts,
waiting their return, now hopelessly desolate, now raging with
fury." A verse, also, is interesting in this connection:

"The Bishop we know died long ago,
The wind still waits, nor will he go,
Till he has a chance of beating his foe.
But the devil hopped without a limp,
And at once took shape as the Lincoln Imp.
And there he sits atop of a column,
And grins at the people who gaze so solemn,
Moreover, he mocks at the wind below,
And says: 'You may wait till doomsday, O!'"

The effigies in the Round Church at the Temple in London have created
much discussion. They represent Crusaders, two dating from the
twelfth century, and seven from the thirteenth. Most of them have
their feet crossed, and the British antiquarian mind has exploited
and tormented itself for some centuries in order to prove, or to
disprove, that this signifies that the warriors were crusaders who
had actually fought. There seems now to be rather a concensus of
opinion that they do not represent Knights Templars, but "associates
of the Temple." As none of them can be certainly identified, this
controversy would appear to be of little consequence to the world
at large. The effigies are extremely interesting from an artistic
point of view, and, in repairing them, in 1840, Mr. Richardson
discovered traces of coloured enamels and gilding, which must have
rendered them most attractive.

Henry III. of England was a genuine art patron, and even evinced
some of the spirit of socialism so dear to the heart of William
Morris, for the old records relate that the Master Mason, John
of Gloucester, was in the habit of taking wine each day with the
King! This shows that Henry recognized the levelling as Well as
the raising power of the arts. In 1255 the king sent five casks of
wine to the mason, in payment for five with which John of Gloucester
had accommodated his Majesty at Oxford! This is an intimate and
agreeable departure from the despotic and grim reputation of early
Kings of England.

In 1321 the greatest mediaeval craftsman in England was Alan de
Walsingham, who built the great octagon from which Ely derives its
chief character among English cathedrals. In a fourteenth century
manuscript in the British Museum is a tribute to him, which is
thus translated by Dean Stubbs (now Bishop of Truro):

"A Sacrist good and Prior benign,
A builder he of genius fine:
The flower of craftsmen, Alan, Prior,