side are buttressed, the buttresses on the west terminate, as is usual in the case of vaulted screens, with boutels and caps for the springing of the groins; upon the east side, on the contrary, the buttresses continue nearly to the top, tapering off as they approach the lintel into graceful crocketed pinnacles. The only recorded instances known to me of the occurrence of painting or gilding on Derbyshire screenwork (with the exception of the Parwich beam referred to hereafter), are those of the rood-screens at Ashover and Norbury, and of a parclose which divided the chancel from the north chapel at Mugginton, and which had fifteen coats of arms blazoned in colours upon it. The screen itself has long since vanished, but the account of it is preserved among the Harleian manuscripts in the report of Richard St. George’s Heraldic Visitation taken in the year 1611. As a rule, the sort of ornament to be found upon screenwork (except in the case of panels decorated with figures, of which Derbyshire, unless I have been mistaken, furnishes no examples) is of so essentially abstract, and, so to speak, non-committal a character, that the enemies of screens are seldom able, with any pretence of reason, to avail themselves of the pleas put forward by iconoclasts as a matter of principle. [Illustration: Elvaston Church: Detail of Rood-Screen.] A small and feathered angel is introduced in the carved work above the doorway of the rood-screen at Elvaston; and there are some exceptionally fine half-length figures of angels along the top of one of the screens at Chesterfield. The particular screen that this carving rests upon (now turned, though it is, into a parclose between the north transept and its eastern chapel) is known to have been the ancient rood-screen in Chesterfield church, and to have stood in its place until about 1843, not long subsequently to which time it was re-erected in the position it now occupies.