In the same city, _St. John's Church, Micklegate_, has two representations of St. Christopher in glass. One is the window north of the altar, but it is only a portion of the figure; the other is in the window south of the altar, and of perpendicular character. In _St. Martin-le-Grand, Coney Street_, in the sixth or eastern window of the north aisle, is a figure of St. Christopher, of date about 1450. _St. Michael-le-Belfroy_, in the same city, has two figures of the saint: one, of perpendicular character, in the window north of the altar; the other, a fragment, in the fourth window from the east end on the south side, of date between 1540 and 1550. _Holy Trinity Church, Goodramgate_, possesses a very beautiful figure of the saint. It forms the fifth of a series of five large figures in the east window of the church, and seems to bear the date 1470. The second question is, "What is the real meaning of the representations of St. Christopher that are so frequently found on the north walls of churches?" I cannot agree with MR. J. EASTWOOD in thinking that the explanation he gives from _Sacred and Legendary Art is sufficiently satisfactory_. It appears to me that the figures of St. Christopher were meant to symbolise the privilege enjoyed by the faithful of receiving the body and blood of Christ, and thus becoming _Christo-feri_. The emblem may have had its origin in the earliest ages, when the _disciplina arcani_ was carried out. This opinion receives strength from the circumstance, that Christopher was a name assumed by the saint, and not his baptismal name. The extraordinary powers of cure spoken of in verses often inscribed below the figures of this saint, were understood by the faithful to allude to the efficacy of the Holy Communion, that made them _Christopher's_, i.e. persons bearing their blessed Saviour, not on their shoulders, but within their breasts. His figures in sculpture and painting are always represented as colossal, to signify that this heavenly food makes each of the faithful "as a giant to run the way" (Ps. xix. 5.) This explanation will probably satisfy E. A. H. L. that the important position occupied by St. Christopher in the iconography of the mediæval church is to be solved by its symbolical signification. In addition to the representations of this saint in painted glass mentioned above, E. A. H. L. will find mention of another specimen in the last number of the _Archæological Journal_. It is in private hands, being the property of Mr. Lucas, who purchased a collection of specimens of old glass some years since at Guildford, said to have come from an old mansion in Surrey. The specimen in question is described as "St. Christopher carrying our Saviour--an octagonal piece of glass."--P. 101. He will also find, in the same place, that a mural painting of St. Christopher has been lately discovered in the chancel of Gawsworth Church, Cheshire, of which a description is given in p. 103. CEYREP.