a payment of £200 per annum towards the stipend of the Rector. In 1874
the advowson was sold to a private person. A great deal of
restoration, justifiable and otherwise, has taken place, the decay of
the local sandstone having made large repairs necessary. In 1861 much
renewal of the external stone work was carried out. Unfortunately
shortsighted ideas of economy led to the use of the same poor stone
and much has recently had to be done over again, this time with the
harder Runcorn stone used also at St. Michael's. The interior was
restored in 1875, galleries erected in 1735 and 1838, and high pews
were removed, the floor, which had been raised three feet, lowered,
the lantern stage of the tower opened up by removing a ringing floor
and a light iron gallery above the tower arches provided for the
ringers. The original groined ceiling has thus been made visible from
below.

THE EXTERIOR

Although small in area compared with the other churches, both exterior
and interior give an impression of size and dignity which does not
belong to many much larger buildings. In the exterior this is no doubt
due to the pseudo-cruciform arrangement, the bold central tower and
the height of the main roof, which would have appeared even greater
had the roadways not been so much raised.

The =tower= is in two stages, a lofty lantern story having two
transomed two-light windows on each face and a shorter upper one
having smaller windows without transoms and a battlemented parapet.
Large skeleton clock-dials disfigure the windows of this story. Narrow
buttress strips on either side and between the windows run through and
serve to connect the stories. The north-east angle has an octagonal
stair turret carried up above the parapet. The other angles have
narrow buttresses running up to circular bartizans boldly corbelled
out from the battlements. This is an extremely unusual feature in
ecclesiastical architecture but is common on fortified structures. Of
the City gates, Gosford Gate had machicolated ones but not Spon Gate
adjacent to the church.

[Illustration: ST. JOHN BAPTIST.]

The spacing of the windows and buttresses of the south aisle and the
position of the large transept window show how the later changes were
effected. The three windows and the buttresses with niches and
canopies almost certainly belong to the part built by Walsheman after
1357. The two in the chancel aisle are recent insertions. The doorway
at the south-west corner occupies the position where indications
showed that an original door had existed. There is also a small
priest's doorway of which the jambs are ancient. The clearstory was
restored in 1861 "from sufficiently clear indications" in the remains
of the original windows. The whole of this part is worthy of careful
study and should be compared with the corresponding parts of Trinity
Church. Everywhere we see signs of individual thought and design
mainly directed to softening the rigidity of the horizontal lines of
the square-headed and transomed "Perpendicular" windows. The method of
cusping the drop-arch and the varied treatment of these in nave,
choir and transepts are noteworthy while the little quatrefoil at the
intersection of mullion and transom is a really happy innovation. The
flying buttress over the south aisle restores a feature of the old
building which had disappeared. Of the variously panelled and
battlemented parapets, of nave, chancel and aisles a view of 1864
gives no visible hint. As the report of Sir (then Mr.) G.G. Scott in
1856 specifies as desirable the "renewing all the parapets according
to the portions of the original which remain," we can only hope (but
with no sense of certainty) that these parts are faithfully
reproduced.

The limited site on which the chancel was built (only 40 feet deep)
caused the builders to omit any buttresses or other projections at the
east end. The east window was renewed in 1861 but the proportions are
not good and it is said that one light was suppressed although the old
sill remained intact.

The west end has a large six-light window with two transoms. It was
restored in 1841 and is said to be a precise reproduction of the
original design. On the gable above it is a large niched pinnacle
which appears to be an "unauthorized" addition.

While the north aisle is later than the south, the clearstory, as has
been said is earlier, being of late Decorated date with large
three-light windows of reticulated tracery. The north transept is more
consistent in style than the south. The large four-light window is
peculiar in design. It has one transom and the tracery is brought down
much below the spring of the arch. The centre mullion is very solid,
coming forward almost to the wall face both inside and out and running
up to the apex of the arch. The clearstory windows in both transepts
are similar in general design to those of the south clearstory of the
nave but with variations suggesting a rather later date. A very
effective view of the north side can be had from the quadrangle of
Bond's Hospital, though here too it loses on account of the depressed
site in which it lies.

THE INTERIOR

The interior is not less impressive for its size than the exterior,
Sir G.G. Scott even saying that he knew of no interior more beautiful
than St. John's.

[Illustration: INTERIOR, ST. JOHN BAPTIST.]

[Illustration: CLEARSTORY WINDOWS.]

All at least will agree that there is something about it striking and
dignified which is obviously not concerned with mere size, is largely
independent of elaboration of detail and may therefore be safely
attributed to its satisfactory proportions and broad effects of light
and shade. Its plan is quite simple consisting of a nave and choir
with north and south aisles, a transept not projecting beyond the
aisles at either end and a central tower. Yet, although it is more or
less oblong as a whole, there is hardly a right angle or two parallel
walls throughout the church. In most cases these discrepancies are not
apparent, nor do they appear likely to have been intended to produce a
studied effect. Thus a diminution in width towards the east (as at
Manchester) may be expected to add to the apparent length, but here
the south aisles of both nave and chancel expand instead of
contracting. By standing within either transept and looking up at the
roof the want of parallelism of the walls and other irregularities are
plainly seen. The nave has only three bays, the arches being rather
lofty and the arch mouldings of the characteristic shallowness of the
period. The south-west pier had to be rebuilt on account of settlement
and there are signs of it in the south-east arch next the tower. The
name Bablake is said to have been derived from a pond or conduit near
by and the site may have been swampy, thus affecting the foundations.
The district is even now liable to flooding from the Sherborne (or
Shireburn) stream and as late as January 1900 the waters rose over
five feet within the church as a brass plate at the west end
testifies.

The graceful treatment of the windows of the nave and choir
clearstories is shown in the illustration. Comparing these with the
clearstory of Trinity nave (p. 71) questions of priority arise. If not
designed by the same mind the influence of one on the other is easily
seen. On the whole the greater rigidity of treatment and the anxiety
to increase the area of glass in the Trinity windows suggest that the
date is rather later and that the designs did not spring from the same
brain. The roof is very simple, the curved brackets springing from the
shafts which run down to the arches below. The wall is deeply recessed
beneath the windows. The north windows, however, are continued down in
plain panels, but this only makes more apparent the fact that they are
not placed centrally over the arches.

The north aisle has a doorway and two north windows. The windows are
of good Perpendicular design, and the mullions are continued down the
wall below, forming panels. The lowered sill and recess probably
formed a convenient retable to an altar against the wall. The west
window preserves some fragments of glass dated 1532. There is an
obliterated inscription and small etched figures--among them an
acolyte carrying a cross, one of those whose services are mentioned in
the accounts after this wise: "to the crosebeirer and torchebeirer,
for Seynt George day, hollieroode day, shire thuresday and Whit
Sunday, _12d._; to 2 childern for the same dayes _6d._"

The south aisle of the nave, including the lower part of the transept,
is doubtless the aisle erected for the Gild by William Walsheman in
1357. The two windows are not central with the nave arches, and the
third is not in the centre of the transept. Their tracery is somewhat
peculiar in design and refined in detail, and has the transitional
character one would expect from its date. There are signs on the face
of each western tower pier of the altars which once stood there,
probably those of the Trinity and St. Katharine, which are known to
have existed.

The eastern piers of the tower are later than the western, and very
unlike them in plan. A bold and ingenious treatment of the vaulting
shaft of the tower groining is used on these piers; on the western
ones the shafts stop upon the ends of the hood moulding.

The choir is now closed by a screen carrying a large rood carved in
oak. Like St. Michael's, but to a smaller extent, the axis of the
choir inclines to the north. Whether symbolic, or only a part of what
may be described as the studied irregularity of the whole building it
is hard to say. The column on each side of the choir is later than the
east respond and also later than the west tower pier, but corresponds
with the east tower pier. The deep panelling beneath the windows must
have been carried out when the clearstories were constructed in the
fifteenth century.

The south aisle of the choir, the original chapel of the patron saint,
is now fitted up and used as a morning chapel. The piscina still
remains in the south wall, and there is a trace of the old altar
visible on the wall.

The east end of the north aisle is now the organ chamber, and was
originally the Lady Chapel. The base of the altar still exists, and so
does the piscina in the south wall.

In connection with these or other altars we hear of a payment of
_22d._, in 1474, for painting a cloth for the image of St. John
Baptist, and in 1462 sums of _40s._ and _7s._ were paid to a sculptor
of Burton-on-Trent for an alabaster statue of the Virgin and a base
for it.

At the foot of the south-west tower-pier are some decayed but
interesting ancient tiles. The new ones have been copied from them.

The vicissitudes in the church's fortunes have left little for us to
see that is not part and parcel of the structure.

That there were "orgaynes" as early as 1461 we know from entries in
the city records giving the cost at different times of wire, glue,
nails, thread, etc., for the reparation of them, while a payment of
_2d._ for "a string" suggests that they were a combination of wind and
string stops, similar to the 1733 organ of St. Michael's as built by
Thomas Swarbrick. In 1519 the Prior bought the "metell of ye old
orgayns in bablake" for _9s. 10d._, but doubtless the new one
disappeared in the troublous times that followed. A new one has
recently been set up.

The pulpit is of stone and quite new, and the font, erected in 1843,
is a copy of that of St. Edward's, Cambridge.

There are five bells, the inscriptions on them being as follows:

  1st. Henrycus Bagley. M.C. Fecit 1676.
  2nd. Pack & Chapman. London 1778. Richard Eaton, Church-warden.
  3rd. Henric Dodenhale, Fecit. M.C.E.I.C.R.I.
  4th. (Illegible.) Probably of the end of fifteenth century.
  5th. I ring at six to let men know
       When to and from their work to go.

Neglect and decay it has been seen had provided only too plausible
excuses for restoration. In 1858 the church had a narrow escape from a
worse fate, for it was proposed to extend it in some direction, and
the architect suggested the lengthening of the north transept and the
addition of a new north aisle. Probably lack of funds alone prevented
the carrying out of a proposal which would have completely spoilt the
proportions of this beautiful interior.

THE GREY FRIARS' CONVENT

CHRIST CHURCH

The third of the "three tall spires," albeit nothing else remains of
the church to which it belonged, deserves that some notice should be
given of it and of the men who reared it.

In 1234, eleven years after their first coming into England, the
Franciscan Friars are heard of at Coventry, Ranulph, Earl of Chester,
having granted them land for their oratory, and the Sheriff of
Warwickshire, on behalf of the King, giving them shingles from the
woods of Kenilworth wherewith to cover it. In 1359 the Black Prince,
then owner of the Manor and Park of Cheylesmore, just outside the
walls of the city and adjacent to their convent, granted them so much
stone from his quarry there, "as they should have occasion to use
about their buildings and walls," and probably at this time the
church, of which Christ Church spire is a remnant, was built.

At the same time he gave them "liberty to have a postern into the
Park to carry out any of their convent that should be diseased."

The house was surrendered to the King in 1539, the warden and ten
brethren being compelled to sign a humiliating document, in which they
professed to "profoundly consider that the perfection of Christian
living doth not consist in dumb ceremonies, wearing of a grey coat,
disguising ourself after strange fashions, ducking, nodding and
becking, in girding our selves with a girdle full of knots and other
like Papisticall ceremonies."

[Illustration: THE SPIRE OF CHRIST CHURCH.]

It is certain at least that they had no accumulated wealth. Whatever
they had received had been distributed for the advantage of the Church
or the poor. At their suppression they had neither lands, tenements,
nor other possessions, save their church and house and the land these
stood on. The site was granted to the city and the buildings thrown
down, only the spire with its supporting walls and arches being
allowed to stand until 1829, when it was incorporated with the new
nave of Christ Church from the designs of Rickman, to whom we are
indebted for the first comprehensive and systematic account of English
Mediæval architecture. The work shows how imperfectly in those days
even a genuine admirer of Mediæval Art understood its spirit.
Unfortunately the tower and spire were recased with new stone, and the
original character of the work largely disappeared. The total height
is 204 feet, exclusive of the vane. The plan of the old church was
interesting, especially in the arrangement of the crossing. The short
transepts had little real relation to choir or nave, which were almost
completely separated from one another, the nave being intended for the
use of the public.

The narrowing of the tower from east to west, and the insertion of
secondary north and south arches to carry the slender octagonal tower
is unusual and ingenious. The whole length was 250 feet, and the
transepts were 96 feet from north to south. The nave and choir
differed little in length.

[Illustration: GREY FRIARS' CHURCH (CROSSING).]

The connection of the Franciscans with the production of the
Mysteries, or sacred plays, should not pass unnoticed. Dugdale, who
had spoken with eye witnesses, thus alludes to the subject:

   Before the suppression of the Monasteries this City was very
   famous for the Pageants that were played therein upon Corpus
   Christi-day; which occasioning very great confluence of people
   thither from far and near, was of no small benefit thereto; which
   Pageants being acted with mighty State and Reverence by the
   Friars of this House, had Theatres for the several scenes, very
   large and high, placed upon wheels and drawn to all the eminent
   parts of the City for the better advantage of spectators; and
   contained the story of the Old and New Testament, composed in the
   old English Rithme, as appeareth by an ancient MS. intituled,
   _Ludus Corporis Christi_, or _Ludus Coventriæ_.

Along with a number that were performed by the city companies they are
still to be seen in the British Museum. We know that the Friars
presented them as late as 1492, when Henry VII was present with his
Queen to see the plays "acted by the Grey Friars."

No remains exist of the domestic buildings of the Friary. The
well-known Ford's Hospital hard by is often called Grey Friars'
Hospital, but this arises merely from the situation. It was founded in
1529 by Mr. William Ford of Coventry, Merchant of the Staple, for five
men and one woman, but is now inhabited by women only. It is an
exceptionally beautiful example of Tudor timber construction in
perfect condition.

THE WHITE FRIARS

The Carmelite or White Friars were, says Dugdale, fixed in Coventry in
1343 by Sir John Poultney who had been four times Lord Mayor of
London. Although their buildings were ornate and extensive, their
revenue apart from oblations amounted to only _£3 6s. 8d._ per annum
and the whole came to less than £8. At the Dissolution the house and
its revenues came eventually to John Hales, Clerk of the Hanaper to
Henry VIII. Having amassed a great estate in monastery and chantry
lands, Hales founded the Free School in Coventry, the Church of the
White Friars being at first used for the purpose. Later, he made of
the Friary a dwelling and removed the school to St. John's Hospital,
granted to him by the king in 1545. Part of the church of the Hospital
still exists at the foot of Bishop Street, but the school has been
removed to new buildings in the Warwick Road.

Of the buildings of the White Friars there are considerable remains
incorporated with the Union Workhouse at the top of Much Park Street.
The east walk of the cloister, 150 feet in length, has a fine groined
roof of the fifteenth century. A range of vaulted apartments runs
alongside the cloister on the east side, divided midway by the
vestibule to the Chapter House now destroyed. The upper story above
the cloister and the range of rooms was, we may assume, the friars'
Dormitory. A huge fireplace and a bay window are part of John Hales'
reconstruction. The gateway to the south-west corner of the cloister
remains, and the outer gate of the precincts may still be seen in Much
Park Street.

[Illustration: ST. MARY HALL.]

ST. MARY HALL

The Gilds were so important a part of the religious and social life of
the city that it is imperative that some notice of their hall, which
stands in suggestive proximity to the churches, should be given. St.
Mary Hall, opposite the south side of St. Michael's is one of the most
complete and beautiful examples of a fifteenth-century town dwelling
now remaining in England. It originally belonged to the Gilds of Holy
Trinity and Our Lady to which were united at a later time those of St.
Katharine and St. John Baptist, the oldest to be founded. By the fine
groined gateway we enter the courtyard, on the south side of which is
the kitchen, probably the hall of an older structure of the first half
of the fourteenth century, the present hall and its undercroft on the
west side having been built between 1394 and 1414. On the east side is
the entrance to the staircase leading to a gallery from which the hall
is entered. At this end is the Minstrels' Gallery and beneath it are
three doorways, the centre one leading to the kitchens below, that on
the right to the old Council Chamber, that on the left to a smaller
room known as the Princes' Chamber. From the Council Chamber is
reached the stone-groined Treasury, now used for the safe keeping of
muniments and records. It forms the first floor of a low tower.

The hall, 70 feet by 30 feet, is of five bays, with the usual dais and
oriel window at the far end from the entrance.

[Illustration: ST. MARY HALL.]

The nine-light window over the dais has its original glass, made, it
is believed, by the John Thornton of Coventry who is known as the
maker of the east window of York Minster. The upper part has numerous
coats of arms of kings, cities, and princes, while the nine lights are
filled with "portraitures of several kings in their surcotes," William
I, Richard I, Henry III, IV, V, VI, King Arthur, the Emperor
Constantine, and another unnamed. The windows on either side of the
hall have suffered grievously. Those on the west (left) were deprived
of their heraldry and portraits in 1785. In those on the east new
glass with poor imitations of the ancient series of figures and
coats-of-arms was placed in 1824. At the same time the wainscotting
painted in 1580 with inscriptions and heraldry was cleared away and
replaced with cement. The inscriptions were copied with care, but "the
ornamentation was followed without any very fastidious copying of the
uncouth ancient style"![8] The timber roof is of low pitch, with
traceried spandrels above the tie-beams. Angels playing on a variety
of instruments are placed at the centre of each tie-beam and there is
much good carving of foliage and animals at the intersections of the
timbers. The most famous adornment of the hall is the tapestry behind
the dais. The following views as to its origin and subject are those
of George Scharf the antiquary. It is of Flemish design but probably
of English manufacture, is woven, not embroidered, and was made in the
early sixteenth century for the place it occupies, its compartments
corresponding with those of the window. It is in six compartments in
two rows. The upper central has a figure of Justice, an insertion
probably in the place of Christ, angels with the instruments of the
Passion being on either side. The lower central represents the
Assumption of the Virgin in presence of the apostles. The upper left
in order from the centre has eleven saints, SS. John Baptist, Matthias
(?), Paul, Adrian, Peter, George, Andrew, No. 8(?), Bartholomew,
Simon, Thaddeus. The corresponding female saints on the right are SS.
Katherine, Barbara, Dorothy, Mary Magdalen, No. 5 (?), Margaret,
Agnes, Gertrude of Nivelle, Anne, Apollonia.

The lower left has a king kneeling at a prie-dieu on which is his
crown and an open book. A cardinal kneels behind him but there is no
other ecclesiastic among the seventeen courtiers standing behind. In
the opposite compartment is a queen kneeling with a number of ladies,
among whom are two in monastic dress. Although the work belongs to the
reign of Henry VII, the king and queen are almost certainly Henry VI
and Margaret of Anjou.

On the walls are portraits of later sovereigns from William III to
George IV, that of George III being by Lawrence. The Mayoress' Parlour
opening from the dais has been drastically restored. It contains
portraits of Queen Mary, Queen Elizabeth, James I, and Charles I, and
four benefactors to the city, John Hales, founder of the Free School,
Sir Thomas White, Thomas Jesson and Christopher Davenport.

FOOTNOTES:

[Footnote 8: "Coventry: its History and Antiquities," B. Poole, 1870.]

THE CARTHUSIAN MONASTERY

Little remains of this monastery which stood on the south side and not
far from the city. The Order settled in Coventry in 1381 only ten
years after the foundation of the London Charter-house. At the
Dissolution the Prior and brethren, ten in all, did not emulate the
heroism of the London monks and were fortunate enough to obtain
pensions instead of martyrdom. Some trifling remains exist
incorporated in a modern mansion, and a wall of the garden shows the
position of doors which led to the isolated cells of the monks. The
Botoners had given freely to the building of the church and cloisters
of which Richard II laid the first stone in 1385 and afterwards
largely endowed "on condition that they should find and maintain
within the precinct of their house, twelve poor scholars from seven
years old till they accomplished the age of seventeen years, there to
pray for the good estate of him the said King and of his Consort,
during this life, and for the health of their souls after death."

INDEX

Abbots of Coventry, 4.

Alms-boxes, 56, 77.

Apse, 36.

Bells, 56, 91.

Benefactors of Coventry, 99.

Botoner, William and Adam, 22.

Carthusian Monastery, 99.

Chantries, Foundation of, 9.

Christ Church, 91.

City, History of, 1-15.

Cross, 15.

Dissolution of Monasteries, 13.

Duel, Hereford and Norfolk, 11.

Evens or Wakes, 83.

Fonts, 51, 76.

Ford's Hospital, 94.

Friars, Coming of, 8.

Grey Friars Convent (Christ Church):
  History, 94.
  Plan of Crossing, 93.
  Suppression, 92.

Gilds, 6, 10.

Glass, Ancient, 56, 75, 89.

Godiva and Leofric, 4, 75.

Hales, John, 14, 94.

Hermitage. 83.

Hospital, Ford's, 94.

Hospital, St. John's, 94.

Lollards, 11.

Martyrs, 14.

Midsummer Eve, 82.

Misereres, 48.

Monastery, History, 1-15.

Monastery Ruins, 16-18.

Orders of Angels, 47.

Organ, 55, 77, 90.

Pageants and Plays, 13, 14, 93.

Parliamentum Indoctorum, 11.

Parliamentum Diabolicum, 12.

Persecution, 14.

Pilgrims' Rest or Guest House, 15.

Priory, Ruins, 16-18.

Royal visits:
  Henry VI, 11, 12.
  Margaret, 23.
  Edward IV, 12.
  Richard III, 13.
  Henry VII, 13.
  Henry VIII, 13.
  Elizabeth, 14.
  Mary Queen of Scots, 14.
  Charles I, 14.

St. John Baptist Church:
  History, 81.
  Exterior, 84.
  Interior, 86.
  Bells, 91.
  Clearstory windows, 85.
  Collegiate foundation, 81.
  Glass, ancient, 89.
  Organ, 90.

St. Mary Hall:
  Glass, ancient, 97.
  Plan, 98.
  Portraits, 99.
  Tapestry, 98.

St. Michael's Church:
  History, 21-26.
  Exterior, 29.
  Interior, 41.
  Apse, 36.
  Bells, 56.
  Brasses, 51, 55.
  Chapels:
    Cappers', 53.
    Drapers' or Lady, 36, 47.
    Dyers', 52.
    Mercers, 54.
  Chapter, Constitution of, 25.
  Chest, 50.
  Crypt, 36.
  Font, 51.
  Glass, ancient, 56.
  Old church, position of, 42.
  Organ, 55.
  Porch, south, 34.
  Proportions of Steeple, 30.
  Pulpit, 56.
  Spire, 32.
  Tombs:
    Berkeley, 49.
    Bond, 49.
    Nethermyl, 50.
    Skeffington, 55.
    Swillington, 54.
    Wade's, 55.

Trinity Church:
  History, 61.
  Exterior, 65.
  Interior, 69.
  Chapels:
    Archdeacon's, 75.
    Butchers', 76.
    Corpus Christi, 76.
    Marler's, 73.
    St. Thomas's, 74.
  Clearstory, 69.
  Font, 76.
  Glass, ancient, 75.
  Lectern, Eagle, 73.
  Organ, 77.
  Plan, 66.
  Pulpit, 72.
  Spire, 66.
  Tombs:
    Philemon Holland, 75.
    Whithead (Brass), 75.

White Friars' Convent, 94.

[Illustration: ST. MICHAEL'S CHURCH]

  CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.
  TOOKS COURT, CHANCERY LANE, LONDON.

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  LINCOLN. By A.F. KENDRICK, B.A. 3rd Edition, revised.

  LLANDAFF. By E.C. MORGAN-WILLMOTT.

  MANCHESTER. By the Rev. T. PERKINS, M.A., F.R.A.S.

  NORWICH. By C.H.B. QUENNELL. 2nd Edition.

  OXFORD. By Rev. PERCY DEARMER, M.A. 2nd Edition, revised.

  PETERBOROUGH. By Rev. W.D. SWEETING, M.A. 2nd Edition.

  RIPON. By CECIL HALLET, B.A.

  ROCHESTER. By G.H. PALMER, B.A. 2nd Edition.

  ST. ALBANS. By Rev. T. PERKINS, M.A.

  ST. ASAPH. By P.B. IRONSIDE-BAX.

  ST. DAVID'S. By PHILIP ROBSON, A.R.I.B.A.

  ST. PATRICK'S, DUBLIN. By the Very Rev. Dean BERNARD. 2nd Edition.

  ST. PAUL'S. By Rev. ARTHUR DIMOCK, M.A. 2nd Edition.

  SALISBURY. By GLEESON WHITE, 2nd Edition, revised.

  SOUTHWARK, ST. SAVIOUR'S. By GEORGE WORLEY.

  SOUTHWELL. By Rev. ARTHUR DIMOCK, M.A. 2nd Edition.

  WELLS. By Rev. PERCY DEARMER, M.A. 2nd Edition, revised.

  WINCHESTER. By P.W. SERGEANT. 3rd Edition, revised.

  WORCESTER. By EDWARD F. STRANGE.

  YORK. By A. CLUTTON BROCK. 3rd Edition.

_Others to follow_.

Bell's Cathedral Series

UNIFORM VOLUMES

_Profusely Illustrated. Cloth, crown 8vo, 1s. 6d. net._

  BATH ABBEY, MALMESBURY ABBEY, AND BRADFORD-ON-AVON CHURCH. By
    Rev. T. PERKINS, M.A.

  BEVERLEY MINSTER. By CHARLES HIATT. 47 Illustrations.

  ST. MARTIN'S CHURCH, CANTERBURY. By Rev. CANON ROUTLEDGE, M.A.,
    F.S.A. 24 Illustrations.

  THE CHURCHES OF COVENTRY. By FREDERIC W. WOODHOUSE.

  ROMSEY ABBEY. By Rev. T. PERKINS, M.A.

  STRATFORD-ON-AVON. By HAROLD BAKER.

  THE TEMPLE CHURCH. By GEORGE WORLEY.

  ST. BARTHOLOMEW'S, SMITHFIELD. By GEORGE WORLEY.

  TEWKESBURY ABBEY AND DEERHURST PRIORY. By H.J.L.J. MASSÉ, M.A. 44
    Illustrations.

  WESTMINSTER ABBEY. By CHARLES HIATT.

  WIMBORNE MINSTER AND CHRISTCHURCH PRIORY. By Rev. T. PERKINS,
    M.A., F.R.A.S. 65 Illustrations.

  MALVERN PRIORY. By the REV. ANTHONY C. DEANE.

Bell's Handbooks to Continental Churches

_Profusely Illustrated. Crown 8vo, cloth, 2s. 6d. net each._

  CHARTRES: The Cathedral and Other Churches. By H.J.L.J. MASSÉ,
    M.A.

  ROUEN: The Cathedral and Other Churches. By the Rev. T. PERKINS,
    M.A.

  AMIENS. By the Rev. T. PERKINS, M.A., F.R.A.S.

  PARIS (NOTRE-DAME). By CHARLES HIATT.

  MONT ST. MICHEL. By H.J.L.J. MASSÉ, M.A.

  BAYEUX. By the Rev. R.S. MYLNE, M.A.

Opinions of the Press.

"For the purpose at which they aim they are admirably done, and there
are few visitants to any of our noble shrines who will not enjoy their
visit the better for being furnished with one of these delightful
books, which can be slipped into the pocket and carried with ease, and
is yet distinct and legible.... A volume such as that on Canterbury is
exactly what we want, and on our next visit we hope to have it with
us. It is thoroughly helpful, and the views of the fair city and its
noble cathedral are beautiful. Both volumes, moreover, will serve more
than a temporary purpose, and are trustworthy as well as
delightful."--_Notes and Queries_.

"We have so frequently in these columns urged the want of cheap,
well-illustrated, and well-written handbooks to our cathedrals, to
take the place of the out-of-date publications of local booksellers,
that we are glad to hear that they have been taken in hand by Messrs.
George Bell & Sons."--_James's Gazette_.

"The volumes are handy in size, moderate in price, well illustrated,
and written in a scholarly spirit. The history of cathedral and city
is intelligently set forth and accompanied by a descriptive survey of
the building in all its detail. The illustrations are copious and well
selected, and the series bids fair to become an indispensable
companion to the cathedral tourist in England."--_Times_.

"They are nicely produced in good type, on good paper, and contain
numerous illustrations, are well written, and very cheap. We should
imagine architects and students of architecture will be sure to buy
the series as they appear, for they contain in brief much valuable
information."--_British Architect_.

"Each of them contains exactly that amount of information which the
intelligent visitor, who is not a specialist, will wish to have. The
disposition of the various parts is judiciously proportioned, and the
style is very read-able. The illustrations supply a further important
feature; they are both numerous and good. A series which cannot fail
to be welcomed by all who are interested in the ecclesiastical
buildings of England."--_Glasgow Herald_.

"Those who, either for purposes of professional study or for a
cultured recreation, find it expedient to 'do' the English cathedrals
will welcome the beginning of Bell's 'Cathedral Series.' This set of
books is an attempt to consult, more closely, and in greater detail
than the usual guide-books do, the needs of visitors to the cathedral
towns. The series cannot but prove markedly successful. In each book a
business-like description is given of the fabric of the church to
which the volume relates, and an interesting history of the relative
diocese. The books are plentifully illustrated, and are thus made
attractive as well as instructive. They cannot but prove welcome to
all classes of readers interested either in English Church history or
in ecclesiastical architecture."--_Scotsman_.

"They have nothing in common with the almost invariably wretched local
guides save portability, and their only competitors in the quality and
quantity of their contents are very expensive and mostly rare works,
each of a size that suggests a packing-case rather than a coat-pocket.
The 'Cathedral Series' are important compilations concerning history,
architecture, and biography, and quite popular enough for such as take
any sincere interest in their subjects."--_Sketch_.

LONDON: GEORGE BELL AND SONS YORK HOUSE, PORTUGAL STREET, W.C.