By Mr. Edward Kite. 245 



The earliest example of this kind of decoration was a fragment 

 found on the face of a squared stone taken during some alterations 

 in 1852 from the east wall of the chancel (into which it had 

 evidently been built when the large window in the Perpendicular 

 style was inserted; probably in the sixteenth century). It con- 

 sisted simply of a flowered pattern, painted red, on a light ground ; 

 and was probably a specimen of the original decoration of the 

 church. 



Another variety of painting, of much later date, was also found 

 on the same wall underneath the whitewash : consisting of a red 

 ground covered with veins of black colour, in imitation of marble. 



The removal of the whitewash from the walls of the nave in 

 July, 1854, brought to light the remains of a series of figures, in 

 bold black outline ; the positions of which were as follows : — 



In the space immediately above the third pier from the east, on 

 the north wall, was represented the Assumption of the Blessed 

 Virgin Mary, who appeared in a flowing robe, her entire body 

 surrounded by the glory or aureola, and ascending through the air 

 attended by angels. 



This was immediately opposite the doorway of the south porch, 

 so as to meet the eye on entering the church. 1 



On the same wall, and in the corresponding space above the next 

 pier, towards the east, was represented the legend of St. Christopher. 2 

 A great portion of the figure of the saint was removed with the 

 whitewash. He was, according to the usual custom, represented 



1 In the " Calendar of the Anglican Church" (Parker, 1851) is an engraving 

 of this subject, from sculpture, in Sandford Church, Oxfordshire, treated in a 

 precisely similar manner. 



2 The legend of St. Christopher will be found at length in the "Legenda 

 Aurea" or "Golden Legend," written in the thirteenth century, by James de 

 Voragine, a celebrated Dominican friar, and afterwards Archbishop of Genoa. 

 It is, like many of the acts and representations of saints, in a great part alle- 

 gorical, and from its obvious meaning was the most popular of all subjects in 

 medieval decoration*. There was perhaps scarcely a church without a repre- 

 sentation of this saint, either on the walls or in stained glass. At Bath, Eton, 

 &<■. tin ro are inns still called "the Christopher," lingering vestiges of the great 

 popularity of tin's legend in former times. 



2 B 



