. Archaeologia cantiana. it, and just under the spring of the roof. Theyundoubtedly formed a communication with the rood-loft, which was probably accomplished by the ascent ofa spiral staircase, long since removed with its turret,and a loft crossing the aisle and connecting the upperdoor with a corresponding one, which still remains open,in the north colonnade of the nave. There is anotheropening, agreeing with the last in position and shape,on the opposite side of the nave, which formed a com-munication with the chantry in the south aisle. The greater span of the two eastern arches of thenave
. Archaeologia cantiana. it, and just under the spring of the roof. Theyundoubtedly formed a communication with the rood-loft, which was probably accomplished by the ascent ofa spiral staircase, long since removed with its turret,and a loft crossing the aisle and connecting the upperdoor with a corresponding one, which still remains open,in the north colonnade of the nave. There is anotheropening, agreeing with the last in position and shape,on the opposite side of the nave, which formed a com-munication with the chantry in the south aisle. The greater span of the two eastern arches of thenave mentioned above has somewhat the effect of atransept, which is heightened by the windows in theaisles opposite these being of larger dimensions and ofthree lights, whilst those to the west are smaller andof two lights. In the heads of the former is preservedthe ancient glass illustrating this paper. I must leaveit to others more learned in such matters than myselfto decide what these curious figures are really intended. NOTES ON WAREIIORNE CHURCH. 99 to represent. But I am inclined to think that the artist,in designing the two combatant figures in the north win-dow, had in view the conflict of the Christian soldierwith his spiritual enemy, so beautifully delineated bySt. Paul in the sixth chapter of Ephesians. It will beobserved that the face of fig. 1, which I take to be theChristian soldier, bears a calm, dignified, and beautifulexpression, whilst he is standing with sword and shieldelevated, ready to ward off the blow, and to defend him-self manfully against the assaults of his adversary. Theface of the latter, fig. 2, from its singular ugliness, is thepersonification of sin, and he is represented as aiming adeadly but unsuccessful blow. It will be observed thatthese figures afford good examples of the pointed bootand of the circular buckler, and of the mode of holdingit. The colours of ruby and blue in the medallions arevery rich and lustrous, but the foliaceous grounds up
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