wo two-light windows. It is
interesting to compare the design of this clearstory with that of St.
Michael's. It has more solidity to accord with the more vigorous
arcade though the treatment of the panelling is similar. The height
from the arch to the roof is much less in proportion, but the sills of
the windows are kept lower and the heads are square. The form of the
windows is perhaps determined in part by the desire for more space for
stained glass, but it is also the logical outcome of the space
afforded by the level lines of a wooden roof just as the use of the
pointed window follows from the use of pointed vaulting. The treatment
of the angles after the manner of the thirteenth century "shouldered"
lintel in order to take off the harshness of the rectangular form and
to give a better bearing for the lintels is noteworthy and should be
compared with the more developed forms at St. John's Church.

Above the tower arch is a painting of the Last Judgement, discovered
in 1831. It is now so much darkened that very little can be made out.
The following is a description of its appearance before 1860: In the
centre is the Saviour clothed in crimson and seated on a rainbow.
Below are the Virgin Mary and St. John the Baptist with the twelve
Apostles arranged on each hand. Two angels sound the summons to
Judgement, and on the right of our Saviour, steps lead to a portico
over which three angels look down on the scene and others welcome a
pope who has just passed St. Peter. On the Saviour's left are doomed
spirits being conveyed by devils in various ways and in ludicrous
attitudes to the place of torment, represented in the usual manner by
the gaping mouth of a monster, vomiting flames of fire. A large
painting of a crucifix, with a priest kneeling beside it and angels
flying above, was discovered at the same time on the north side of the
Chancel but was too much mutilated to be thought worthy of
preservation.

The =roofs= throughout are of low pitch, and almost all resemble one
another in design. Those of the nave, chancel, archdeacon's chapel (on
the west of the north porch) and transepts are divided by their
principal timbers into large panels, which are again subdivided by
mouldings upon the boarded ceiling. At all angles and intersections
there are carved leaves, and stars in relief adorn each panel. All
these roofs are painted in accordance, it is said, with existing
indications of the original colouring. The ground is