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materially diflfering from Garter's description of them, the devices 

 on all the shields are exceedingly well preserved, and are as capable of 

 being interpi'eted as ever they were. 



The building is comjjosed of two tiers, or stages, raised on a plat- 

 form of three octagonal steps. The plan throughout is square, the 

 fo\ir buttresses at the angles of the lower stage being connected 

 by groining-ribs, ornamented with sculptured bosses, some of which 

 represent oak-leaves and acorns, to the capital, still pendent from the 

 roof, of what was once an eight-aided central shaft, a poi-tion of 

 whose pedestal still remains inserted in the floor. The arched spaces 

 on three sides of this stage are divided by a transom, the upper 

 division being completed by an elliptical arch of very graceful proportions, 

 and the lower by pairs of five-centred arches, with bold mouldings and 

 perfectly plain cuspings. The perpendiculars between these arches are 

 destroyed, but the foot of each is left projecting ft'om the sill. On the 

 south side the whole of the arched space is open, nor is there the slightest 

 trace of any division ever having been made. The outer ogee line of 

 each arch is crocketed, and terminates in a finial. The spandrU space 

 thus formed between the outer and inner mouldings is filled in by a well- 

 executed carving of oak leaves in trefoil. It is evident from the general 

 design, the outer buttresses once terminated in pinnacles. 



The second stage is formed by a square block of masonry, resting on. 

 the crown of the vault, into which is inserted a four-sided shaft, niched 

 on its facings, and crowned by elaborately-carved three-arched canopies, 

 with mouldings and finials; the pedestals to these niches, in the form of 

 brackets, project from each side of the square. Two or three circular 

 drill holes in the pillar, lead to the inference that sculptured figures were 

 formerly placed there. This basement of the second stage is ornamented 

 on its sides by eight shields, each shield being encompassed by a pair of 

 long drooping wings, which originally sprung, as may be seen in the only 

 one that is perfect, from the shoulders of a priest, attired in an alb, whose 

 hands clasp and support the shield. This symbolic representation of the 

 priesthood, wherein the priest is exalted to the divine character of a 

 "ministering .spirit," is so very unusual in this style of sculpture, that it 

 may be doubted if angels are not meant instead, especially as in some 

 old sculptures the alb is worn by them. The outline, and figure genei-aUy, 

 and particularly the remains of a tonsure, are so well mai'ked, however, 

 that I think I am correct in stating it to be that of a priest. Into the top 

 of the shaft, and finished by broaches, is inserted the base of an octagonal 

 column, which might have been some six or eight feet higher, and this 

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