sacrificial knife, with Uriel near him, Uriel, the archangel of the Light of God, bearing the Roll and Book.

Passing to the western bay we find, as we look round, that the springers continue the tale of praise to God, from all the glorious company of the apostles, from the goodly fellowship of the prophets, from Martyred Saint and Holy Church.  St. Paul, the great apostle of the Gentiles, bearing the emblematic sword, is grouped with the youthful St. John, the beloved apostle, with the chalice in his hand from which the serpent issues, and at his feet the symbolic eagle.  David the King, the psalmist prophet, with sceptre and harp, is with Isaiah, the “Prophet of Faith,” the great foreteller of the Messianic deliverance and of the Coming of the Prince of Peace.  St. Stephen, the sweet proto-martyr of the Christian Church, stands in the south-west springer with St. Alban, the Christian soldier, and first of all our British saints and martyrs.  Last of all, in the north-west springer is “Holy Church” represented by St. Peter, prince of the Apostles, “The Rock upon which the Church of Christ was to be built,” and by Frederick Temple, Archbishop of Canterbury, wearing his cope, and carrying his archiepiscopal staff.  It was said, half musingly, by one who saw this last springer in the carving, that the builders had, perhaps unconsciously, elected that Holy Church should be represented by a temple.  The connection between the name and the object to be represented was, it is true, not perceived by them, but the selection was of fixed design.  To those who knew and valued the great archbishop, who passed away in 1903 in the fulness of years, his great qualities and his eminent services to the Church seemed to mark him out as specially fitted to stand beside St. Peter, both truly representative of the Church of Christ.

ORNAMENTAL CARVING.

All round the chapel on either side, above the arcading and sedilia, and in the recess in which the Holy Table is placed, runs, carved in stone, the trailing vine with leaves and grapes, emblematic of our Saviour, “The True Vine,” and of the Wine of the Holy Eucharist; and in the carving of the arcading and sedilia and of the small bosses of the quatrefoil work of the arch that carries the east window, will be found the pomegranate, the lily, and the rose, symbols of Hope and Immortality, of Purity and Love, together with the eagle of St. John and the crossed keys of St. Peter.

THE REREDOS.

At the back of the Holy Table stands the Reredos, of richly-carved Bath stone, the general idea of the sculpture being “the one great sacrifice of our Blessed Lord,” made with blood-shedding upon the Cross, represented in the Crucifixion.  Examining the reredos more in detail, it will be observed that the whole is divided into three sections of richly canopied niches by slender buttresses, upon which are angel figures holding shields carved with the emblems of the Four Evangelists.  In the central section our attention is first of all directed to the offering of the Great High Priest of the “one oblation of Himself once offered on the Cross.”  The sculptor has succeeded in combining that which it is so difficult to do, the true pathos of human suffering with the dignity of the Divine personality of the Holy Victim.  On either side of the crucified Son of God are the Blessed Virgin Mary and St. John, whilst in the two smaller niches are the figures of the two Maries, Mary the wife of Cleopas, and Mary Magdalene.

The reredos and the whole of the carved work throughout the chapel are the work of Mr. Nathaniel Hitch, the well-known sculptor of Harleyford Road, Vauxhall, who has been ably assisted throughout by Mr. Harold Whitaker.

THE ALTAR AND ITS FURNITURE.

The altar itself, which is of carved English