iv 
most of the boarding of the clock-case, dislocated about twenty 
feet of the upper portion of the spire, finally passing out of a 
Norman window in the basement of the tower, driving out the 
glass and decently interring itself in the churchyard, first enliven- 
img possibly some of the long smouldering ashes with ‘ unwonted 
fires.’ The double arches which support the tower are interesting 
examples of the transitionary style from the Norman to Early 
English, the shafts of the columns being lighter than usual in 
proportion to the mass supported, nearer together at the base 
than at the mouldings of their capitals, as at Elkstone, and the 
arches lanceolate though ornamented with patterns of the most 
distinctive Norman character. Over the doorway, also Norman, 
which so much resembles the south entrance of Quennington 
church as to suggest the probability of both being the work 
of the same mason, is an artistic version of the same legend 
which forms the subject sculptured in the tympanum of the north 
entrance arch at the last named place, exemplifying the power of 
the patron saint of the church to deliver souls from the evil one, 
combined with the representation of the Trinity, &c. occupying a 
similar position in the south doorway. The symbolical forms 
adopted in both cases so entirely correspond as to warrant the 
conclusion above indicated. 
“ Returning through Siddington the section was met by Mr. D. 
Bowly, who ‘ prevailed on it to stop,’ not ala Turpin, but by the 
very acceptable offer of some lunch. The curious Norman font 
here is a prize for those who study such special features of eccle- 
siology, but the attention of all appeared to be for a while concen- 
trated upon the newest in the ancient church—the window in 
stained glass to the memory of its late rector, and our late associ- 
ate, the Rev. Henry John Bolland. The subjects treated are 
illustrative of the life of St. Peter, to whom the church is dedi- 
cated. 
“The memorial windows of the Langley family, which was long 
settled here, and of which Geoffrey was seneschall to Edward the 
First, have been removed to Cirencester. The brasses which were 
once inserted above the canopied altar tombs in their chantry 
have met with even a worse fate than the glass, having long since, 
doubtless by the cupidity of some ignorant curator, been consigned 
to the common limbo of old metals, though their outlines are still 
sufficiently well preserved to convey to the instructed eye their 
form and character. 
“ Portions of inscriptions still remain in the heads of the win- 
dows, though in so mutilated a state as to be unintelligible; 
monograms, also, of the family are upon the walls and the span- 
drils of one of the arches dividing the chantry from the nave, but 
our only information respecting its rank and status is to be derived 
from the almost obsolete art of the herald, whose hieroglyphical 
contributions to the history of an ancient race are still perfect, 
except that whitewash has eclipsed all the once varied tints of 
oe 
