endeavouring to be more unconventional than his neighbour, and to Poulson they appeared to be in ‘ill accord with the fastidious delicacy of the present age.’ The interior of the church is seen at its loveliest on those afternoons when that rich yellow light Mr. Dean Howells so aptly compares with the colour of the daffodil is flooding the nave and aisles, and glowing on the clustered columns. A good point of view is from the north porch, where you look into the south transept through four arcades of pillars, or from the south transept, looking towards the mellow light at the west end. In the eastern aisles of each arm of the transept there were three chantry chapels, whose piscinæ remain. The central chapel in the south transept is a most interesting and beautiful object, having a recess for the altar, with three richly ornamented niches above. In the groined roof above, the central boss is formed into a hollow pendant of considerable interest. On the three sides are carvings representing the Annunciation, St. Catherine of Alexandria, and St. John the Baptist, and on the under side is a Tudor rose. Sir Henry Dryden, in the _Archæological Journal_, states that this pendant was used for a lamp to light the altar below, but he points out, at the same time, that the sacrist would have required a ladder to reach it. An alternative suggestion made by others is that this niche contained a relic where it would have been safe even if visible. I cannot help wondering if the staircase outside the south transept, already mentioned, which makes the roof of this chapel very accessible, has any connexion with this pendant niche. Also in this transept there is a very curious staircase, zigzagging over the tower arch and giving access to the belfry and the space above the vaulting of the aisles, and, therefore, to the top of the chantry; in the centre there is a grotesque dragon-headed corbel, and others at each end of the steps. In the north transept a hoary ladder is bracketed out above the tower arch on enormous corbels. The fact that the east window belongs to a slightly later period than the rest of the church does not in any way minimize its beauty--it appears to me rather to be a crowning glory; and its glass has a medieval richness produced only with soft colours restful and satisfying to the eye. The screen is considered to be coeval with the church, and has been restored with all the care it deserves. Yet another interest is the remarkable Easter Sepulchre to the north of the sanctuary, which has only suffered the loss of the sculpture in the upper panel. The middle portion shows our Lord coming [Illustration: PATRINGTON CHURCH Known as the ‘Queen of Holderness,’ is one of the most beautiful village churches in England. It was almost entirely built in the Decorated period, and has aisles to its transepts and much beautiful carving. ]