We now pass to the church. As the castle was a sample of transition from the feudal fortress to the baronial palace, so the church, although of the Perpendicular order, is not quite of the purest type, being of the later Perpendicular period. Begun by the Treasurer Cromwell, it was not completed at his death in 1455, but the work was carried on and finished by his executors, one of whom was William of Wykeham, Bishop of Winchester, the most famous building prelate of his time. It has been noticed, by competent judges, that there is “a remarkable resemblance in points of detail, in the churches built or enlarged by Ralph, Lord Cromwell, at Colly Weston, Northants; Lambley, Notts.; and Tattershall,” as is the case with other groups of edifices erected by the same parties. (“Archæolog. Journ.,” No. 12, 1846, pp. 291–2.) It was established as a collegiate institution, with provision for a provost, six priests, six secular clerks, and six choristers. Dedicated to the Trinity, it is a noble stone structure, in shape cruciform, with nave, aisles, and north and south transepts, chancel, north and south porches, and tower at the west end. There were formerly cloisters on the south side, but they were demolished. The tower is supported by buttresses, having six breaks reaching to the base of the embattled parapet, and angle pinnacles, with a square-headed west door; on the whole it is rather heavy. The best external feature of the church is the clerestory. Internally the nave has six lofty bays with very slender pillars and a low-pitched roof. It is very spacious. It has been recently supplied with chairs, and the old pulpit revived. But for many years the chancel was the only part used for services, and, indeed, as regards accommodation, the only part needed. The chancel is separated from the nave by a very unusual arrangement,—a massive stone rood screen, the upper part of which was, some years ago, used as the singing gallery; and a former old female verger used to refer, with keen enthusiasm, to the time when, under the late Mr. Richard Sibthorpe’s ministrations (whose perversions and reversions between Romanism and Anglicanism were, at the least, remarkable), this gallery reverberated with the inspiring strains of the fiddle, the trombone, the hautboy, the clarionet (“harp, sackbut, psaltery, and dulcimer”), and other kinds of music, to the hearty enjoyment of all. This massive screen was the gift of a member of the collegiate body, one Robert de Whalley, in 1528. Little survives of the original choir but some stalls and sedilia. In the north transept, removed, for preservation, from their original positions, are some of the finest brasses in the county; only half, however, of the once very fine brass of the Treasurer Cromwell and his wife remains, remarkable for the ape-like “wild men” on which his feet rest; and in the course of years, since Gervase Holles wrote his “Notes on Churches” (1642), no less than