Berkyngechurche” were confined in the Tower for some days and would, no doubt, on their return to their admiring families, be looked upon with a certain awe ever afterwards. In the archives of the Guildhall we find that in 1302 Allhallows Barking appears as one of the advowsons of the City of London belonging to the Abbess and Convent of Barking. But after the suppression of the convent by Henry VIII. the patronage passed to the Archbishop of Canterbury, in whose hands it remains to this day. Another interesting fact we gather from the ancient records of the City is that Allhallows was one of the three churches where the curfew was rung each night as a warning that it was time for all good citizens to be indoors, and as a precaution against fire. This ancient curfew bell, it is believed, is that hung in the small bell-turret on the tower of the church and upon which the hammer of the clock strikes the hours. Towards the end of the fifteenth century great changes took place with regard to the structure of the church. The chantry chapels had fallen into a state of disrepair, and it became necessary to rebuild the chancel to which they were attached and to strengthen the fabric of the nave. It is to this rebuilding that we owe the contrast afforded by the massive pillars of the body of the church with the graceful, deeply moulded Perpendicular pillars of the chancel. The manner in which the one style has been grafted on the other, where, as Allen says, “the pillars between the chancel and the nave are singularly composed of half a circular and half a clustered column worked together” attracts the attention of even the most casual observer. Mr. Fleming, in his admirable little pamphlet on the church, sums up the various alterations that have taken place in the structure when he says “the view of the stately interior tells at once, and more fully than the outside features, the story of the changes that have befallen the church through the centuries since its foundation. For the columns of the nave are Norman, the east window with its intricate tracery was the work of the sumptuous Decorated period, whilst the clerestory and aisles, with the slender clustered shafts of the chancel arcading, belong to the Perpendicular style.... Allhallows is a good instance of the manner in which, entirely convinced of the supreme merits of their school of building, the architects of the Perpendicular period superimposed their style on what had gone before. The contrast between the light clustered columns of the chancel, with their beautiful splayed arches, and the heavy pillars of the nave, is extremely striking, and almost remorseless in its hint of the supercilious ease with which the men of the Tudor period parted from the past and its traditions.”