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time to time. I am not speaking of general repairs, but 
such as apply to the restoration of a single window, a door- 
way, or other individual feature. 
Generally speaking, the matter is left to the church- 
warden, and his grand object being the attachment of his 
name to some conspicuous part of the church, denoting the 
year in which the structure was repaired and beautified 
under his superintendence — he proceeds boldly to his work. 
The ruinated Gothic window is removed, the jambs are 
repaired, and the spruce modern sash supplies its place, 
as in the clerestory of Calverley Church, near Bradford. 
The grotesque heads, serving anciently for the reception 
of the brackets to the hammer beams of the roof (long since 
destroyed), having been relieved of their weight, and ap- 
pearing to his eye somewhat ghastly and unmeaning, are 
coloured au naturel" by the village painter, and at once 
look smilingly and contented, or the reverse, as they may 
happen to have been carved by the original sculptor, out- 
rivalling in some cases the facial distortions of Tim Bobbin." 
This may be seen in Bluntisham Church, Hunts. The 
clerestory walls are painted to imitate stone, the joints 
(which the mason always endeavours to conceal) being 
clearly denoted by strong black lines, the painter receiving 
an extra allowance per yard superficial for the additional 
labour incurred, as in the recent beautifying (in 1841) of the 
Gothic church of Saint Paul's, Huddersfield. In some 
cases, however, the painter hits upon still further improve- 
ment, and by varying the colour and setting out the stones 
like a chess-board, he imitates to the life a laminated surface 
on the stone, such as would cause the rejection of the original 
on account of its unfitness for use, while the horizontal joints 
are run on continuously, no arch joints being shown, so that 
the masonry seems as though about to fall upon one's head. 
