The whole church was very neat and spruce; it had suffered a restoration lately. The walls were stripped of their old plaster and pointed, so that the inside is now rougher than the outside, a thing the ancient builders never intended. The altar is fairly draped with good hangings behind, and the chancel fitted with new oak stalls and seats, all as neat as a new pin. As I lingered in the church, reading the simple monuments, a rosy, burly vicar came briskly in, and seeing me there, courteously showed me all the treasures of his house, like Hezekiah. He took me into the belfry, and there, piled up against the wall, were some splendid Georgian columns and architraves, richly carved in dark brown wood. I asked what it was. "Oh, a horrible pompous thing," he said; "it was behind the altar--most pagan and unsuitable; we had it all out as soon as I came. The first moment I entered the church, I said to myself, 'THAT must go,' and I have succeeded, though it was hard enough to collect the money, and actually some of the old people here objected." I did not feel it was worth while to cast cold water on the good man's satisfaction--but the pity of it! I do not suppose that a couple of thousand pounds could have reproduced it; and it is simply heart-rending to see such a noble monument of piety and careful love sacrificed to a wave of so-called ecclesiastical taste. The vicar's chief pride was a new window, by a fashionable modern firm; quite unobjectionable in design, and with good colour, but desperately uninteresting. It represented some mild, unemphatic, attenuated saints, all exactly alike, languidly and decorously conversing together, weighed down by heavy drapery, as though wrapped in bales of carpets. In the lower compartments knelt some dignified persons, similarly habited, in face exactly like the saints above, except that they were fitted out with unaccountable beards--all pretty and correct, but with no character or force. I suppose that fifty years hence, when our taste has broadened somewhat, this window will probably be condemned as impossible too. There can be no absolute canon of beauty; the only principle ought to be to spare everything that is of careful and solid workmanship, to give it a chance, to let time and age have their perfect work. It is the utter conventionality of the whole thing that is so distressing; the same thing is going on all over the country, the attempt to put back the clock, and to try and restore things as they were; history, tradition, association, are not considered. The old builders were equally ruthless, it is true; they would sweep away a Norman choir to build a Decorated one; but at all events they were advancing and expanding, not feebly recurring to a past period of taste, and trying to obliterate the progress of the centuries.