a centre and two side-pillars, forms a background to three heads, each wearing the pilgrim's cockleshell, all that is left of a group of figures. Above them, on a label, are the words, "O stulti et tardi "corde ad credendum." [" O fools," &c., S. Luke xxiv, 25.] The word "apparuit" is also legible, probably part of "apparuit Simoni," from verse 34 of the same chapter. On portions of other labels occur "Benedictus Deus," S. Luke i, 68, "Sanctus," and "Oliveti." All that remains of a figure holding a staff are the two feet, which appear beneath a fragment of a white robe, covered by a blue mantle lined with yellow and embroidered with gold. Portions of a green and lavender robe are also discoverable. The upper portion of the sanctuary window on the north side contains fragments of labels in black-letter, large and small, among which the word "quotidianum" is discernible; probably the breviary rendering of "daily" (bread) in the Lord's Prayer.

With these are mixed up, in utter confusion, fragments of canopies, the remains of a pavement and steps, part of a white robe with a gold border, a small hand, and a gold cross. Upon some loose pieces of glass, said at one time to have formed part of an early east window, two female figures are depicted, evidently a representation of the Salutation, S. Luke i, 36, 39, 40; the emblems also of three of the Evangelists, and two circular pieces of glass, bearing the letters respectively A and м. The east window of the chancel and the three windows at the west end of the church have been filled with modern glass.

THE SCREEN, BENCH-ENDS, AND WOODWORK.

The central chancel screen is the chief object which attracts attention upon entering the church, but its history is, unfortunately, both scanty and

obscure. A writer named Rasbotham describes a screen in existence in 1774 as "a canopy of extra"ordinary beauty, now going to decay," yet still retaining some indications of its early "splendoer." The history, however, of the chancel screen may be traced back much further, if reliance can be placed on the detail given in Bridgens' plates, in which the letters I.M., carved upon the adjoining stall-end, are represented as occurring also in the carved woodwork of the doors. If these are the initials of James Molyneux, and the doors the original ones, it may be inferred that the screen was in existence, or was erected, during his rectorship, which extended from 1489 until 1509. Between the latter date and 1774 the screen seems to have sustained some injury, either from neglect or violence, but was still standing in 1818 in its original shape. It had, however, been somewhat blocked up, as a faculty was issued in that year, authorising the removal of a pew on the north side "occupied by the wardens," in order that the pulpit might be removed from the nave and placed upon this site; and also the removal of another pew allotted to Lord Sefton, in order to "make room "for a commodious staircase thereto." A clerk's desk stood on the south side of the screen, and also a pew originally intended for the wardens, and which they were to re-occupy when a Mr. Hill, who was in possession, had obtained a pew in the south aisle, where Lord Sefton's pew was also to be placed. No mention is made of a reading-desk, and the position of a book in Bridgens' view of the chancel would seem to indicate that the reader occupied a "cantor's" western stall.

A comparison of Bridgens' plates with the screen as it now stands, shows that in 1818 and the following years some extensive structural changes were effected. After that date the original doors,

The

with their traceried panels and elaborate pendants, entirely disappeared. Plain panels and framework were substituted in the lower portion of the screen, in place of carving similar to that at Lydiate, which dates from 1515; and the shapely octagonal pendants in the bays were replaced by others, the work of the turner. The tracery beneath the canopy underwent much alteration, and the original canopy itself gave place to one of modern and inferior workmanship; fortunately the elaborate cornice of the western front was allowed to remain to a great extent untouched. On its eastern face the appearance of the screen was entirely altered. According to Bridgens' representation of it, which can hardly be utterly misleading, it had above its bays an overhanging slope, panelled by ribs and bosses. This has been replaced by a canopy, similar to the one upon the western side. cornice was repaired with sham carving, formed of lead or composition, while the deception was concealed by a coat of paint. A skeleton framework, some altered tracery, the western cornice, and part of the eastern one form nearly the whole of the actually remaining original material of the preReformation screen. That structure, if it occupied the same position, may have been intended for a rood-loft, but so entirely did the "restorers" of 1818 lose sight of that possible intention, that they built up, with cumbrous timbers and abundant ironwork, a gabled roof stretching from wall to wall. In 1842-3 some further work was carried out, and the bay at the back of the pulpit was filled up with modern carved work. Some light seems to be thrown upon the subject by the churchwardens' accounts for 1819-20. The faculty cost £13, the sum of £188 Is. 4d. was laid out on timber, £124 9s. 8d. was spent on "carveing," a joiner received £120, and a blacksmith £19 3s. Much

was done, or rather undone, by this outlay, which reached the total of £451 14s. It might yet be possible to reproduce a fair representation, in honest workmanship and sound material, of the form and richness of the sixteenth century structure, but it would not be the original, and would widely differ from the present screen.

A fine screen, extending across the east end of the south aisle, separates it from what was formerly the chantry founded by Margaret Bulckley. It retains its original features nearly intact, but stands possibly in an altered position, having been evidently cut and damaged in order to adapt it to its present place. The easternmost pillar, and the south wall opposite, show traces of holes cut to receive the ends of a beam; whether of a roodbeam or of the screen itself in its first position, must remain uncertain; if of the latter, the chapel would have been of somewhat smaller dimensions than the one on the opposite side of the church.

The woodwork of Lord Sefton's pew, placed, in accordance with the faculty of 1818, in the south aisle, probably formed at an earlier date a portion of a screen standing on the north side of the church, as it corresponds in character and detail with the one which separates the Blundell Chapel from the northern aisle. In this chapel an oak panelling is now affixed to that portion of the wall which adjoins the screen, while another screen separates the Blundell from the Molyneux Chapel. Between these screens stands a curious three-sided desk-like erection, having its open side to the south and a bench along the wall and sides. Its benchends, with their rounded tops, are of a later period than those in the chancel and body of the church; on the western one the Tudor rose, and the squirrel sejant, the crest of the Blundells of Ince, are conspicuous. The screen and panelling are ornamented