Doveridge.—In 1877 it was observed that three pieces of carving known to have come from hence, and suspected to have belonged to the former screen here, were affixed to the chest in Sudbury church. These pieces comprised the centrepiece on the front of the chest, and the ornaments on the two sides of it. Elvaston.—The drastic “restoration” of 1904, for all the unstinting munificence of the vicar, Rev. C. Prodgers, who entrusted the work to no less eminent an architect than Mr. Bodley, has swept away a number of landmarks, the removal of which the antiquary must record only with pain and sorrow. Beside the lengthening of the chancel by eleven feet eastwards, and the abolition of the east window, a proceeding alien to the traditions of an English parish church, the rood-screen itself has been shifted and tampered with in a manner far from conservative. Previously to the “restoration” the screen consisted of eight bays (the two midmost bays comprising the doorway), and stood in the recess of the chancel arch, into which space it exactly fitted. In the course of the “restoration” the screen (found to have been patched with common deal in many places, and the whole of it thickly coated with brown paint) was taken to Cambridge to be pickled, and to have the decayed and the deal portions replaced in oak. Thus far, good. But returning renovated and lengthened by a fresh, narrow bay of blind panelling at each end, so as to ruin its proportions, the rood-screen, now too long for its former site, was erected anew in a more westerly position against the east wall of the nave. It was, moreover, provided with elaborate metal gates, which are too high to give a satisfactory effect, inasmuch as they break the horizontal line of the wooden rail to right and left. Another flagrant offence is that the carved ornaments, integrally joined (as at Chaddesden) to the east side of the entrance jambs of the screen to form the ends of the return stalls, have been detached from their proper place and egregiously misappropriated for the ends of new sedilia. Their sides are richly panelled with Perpendicular tracery, in the top of which is a human face, with the hair and beard treated like Gothic leafage. The upper extremities of these stall-ends represent cherubim, below which are large carved crockets, models for boldness of outline and vigorous crispness of execution. The occurrence on the elbows respectively of a lion and an antelope, chained and collared, both of them seated on their haunches, confines the production of the work within determinate historical limits. The lion has been described as “chained,” but after examining it in search of the chain, I came to the conclusion that the latter is merely a wavy lock of the lion’s mane. As to whether there is a chain or not will probably always remain a moot question, like the heads of the famous lions over the gate of Mycenæ. Assuming, then, that this particular lion is chainless, it would stand either