THE CHURCH SCREENS OF DORSET. 71 



the lights above have tracery of rather curious design, and in 

 two of the lights are roundels containing a man's head in 

 early 16th century garb with monsters in the spandrels formed 

 by the roundels. The door is old, but it is probable that 

 originally it formed part of the screen proper, as both door- 

 posts are modern. The base beam is modern; but the top 

 beam is original and has banded stiff foliage. The tracery has 

 considerable Renaissance detail, and the whole screen is an 

 interesting example of the beginning of the classical revival. 



GILLINGHAM. 



Between the chancel and the north chapel is a portion of a 

 Perpendicular screen of rather commonplace design. It has 

 been much restored. The wainscot is plain, and the upper 

 part consists of tracery heads with cusped arches. Both base 

 beam and top beam are almost entirely modern. The 

 standards are massive, and are the best feature of the screen. 

 In the last edition of Hutchins it is stated that it originally 

 formed part of the rood screen; but it was probably always a 

 parclose. 



HILTON. 



On the north and south walls of the tower of this church 

 are twelve painted panels of the Apostles, omitting St. 

 Bartholomew and including St. Paul. These panels were 

 apparently originally on the pulpitum of Milton Abbey, and 

 were removed to Hilton towards the end of the 18th century. 

 The figures are about four feet in height and the panels fully 

 six feet. The painting is well executed, and there is much 

 expression in the faces, especially that of St. Peter, which is 

 very fine and evidently a portrait. As usual, he has the priestly 

 tonsure. The figures have a checkered background and stand 

 on pedestals. The names are on scrolls above the figures. 

 Red, white and blue (now faded to grey) predominate. When 

 Hutchins wrote in 1774 there were six other panels with the 

 following saints, Our Lady, St. Bartholomew, St. Martin, St. 

 Benedict, St. Nicholas, St. Sampson. It is much to be 

 regretted that these have disappeared. The remaining twelve 

 are in good preservation. 



