year after his death, his father belonged to Bucks, was twice married, and had twenty-five children.

Abraham entered the Bank of England as clerk, and rose to the position of Chief Cashier. For 25 years he never once slept out of the building. He died two months after retiring from his post, bequeathing £60,000 in the Stocks to his landlady, whose gratitude is represented by the mean tablet before us. Although he had many friends, he was not so vain as to imagine they would dissolve in tears at the news of his death, and he wrote this epitaph (which, I need hardly say, is not on the monument), for himself shortly before his death :— "Beneath this stone old Abraham lies: Nobody laughs, and nobody cries,

Where he is gone, and how he fares,

No one knows, and no one cares."

Moved by the memory of so faithful a servant, perhaps the Governors of the Bank of England will one day come over and help us.

A bank-note was styled an "Abraham Newland," none being genuine without his signature. This explains the saying of Upton:

"I have heard people say Sham Abram you may,

But must not sham Abraham Newland."

To Sham Abram signified to feign illness in order to avoid work.

George Gwilt.

HE next window is altogether eccentric and kaleidoscopic, and hurts the eye, as a discordant note the ear, and is altogether out of harmony with the sound reputation of the Southwark Architect who loved the place and this House so well, and who, during the restoration of the Ladye Chapel (1832), gave his services gratuitously. He lies entombed in the churchyard outside this window, and there is a tablet of polished granite, heart-shaped, behind the screen which records his self-denying work.

Turning the back on Gwilt's window, we have a striking view of the Screen, with Altar-Tomb, part of Triforium, and Clerestory.

From here we pass into

The Ladye Chapel.

THIS

HIS portion of our Church has a three-fold claim upon our attention.

First, because of its unique architectural beauty. All the chief writers on St. Saviour's, whether architects, artists, or

7

LADYE CHAPEL (SOUTH-WEST). Tomb of Bishop Andrewes. Blank Windows, once open, with Decorated Tracery temp. Ed. III. Carved Oak Bosses (removed to another part).

antiquaries, experience much difficulty in giving adequate expression to their admiration of it. They declare that whatever excellencies may have been noticed in the other parts of the building, it would appear that an attempt has been here made to concentrate them in the elegant simplicity of its harmonized design, and the admirable principles of its scientific construction, its slender pillars with their shafts, detached at the four cardinal points, and the beautiful groinings of the vaulted roof, its single and triple lancet windows of the most perfect symmetry, the correctness of its proportions, and the accuracy of its details combine to render it such a pure, chaste specimen of the Early English style as to make it difficult to find its equal anywhere.

One distinguished antiquary speaks of it as "One of the most chaste and elegant examples of the early pointed architecture of the 13th century in the country; for soon after the simplicity of design became florid and overlaid." Another (Gent. Mag. 1832) says: "In the solid pillars and acute arches, in the lancet windows, and simple groined roof, may be viewed an unaltered building of the 13th century. The groins of the Chapel are perfect, and extremely beautiful. Corresponding to the four gables without, are four aisles within, the outer ones continuous with the north and south aisles of the choir and nave, and from east to west three aisles." Nor will Mr. Dollman come behind any in his admiration, for he writes: "They who designed this beautiful retro-choirt were artists in the truest sense of the word, for viewed from whatever point, its picturesque charm, gracefulness of design, and merits of detail, alike bear witness to the superior intelligence of the minds that conceived and the hands that executed it."

This Chapel affords an interesting illustration, which may be taken in at a glance, of the progress of the pointed style. We have first the simple lancet-like window with the tooth

* In early English work the shafts are often detached, but in Decorated attached.

† Southwark folk, and many others, will find it extremely difficult to abandon the charming name by which it is generally known, and which it has borne from time immemorial, in favour of the cold technical designation above.-Vide p. 29.

ornament,* standing alone, and the triple lancet, grouped and bound together by an enclosing arch (Early English): then the two three-light windows with mullions and tracery (Transitional), that on the south geometrical, with its circles, quatrefoils, etc., that on the north reticulated, slightly more elaborate, and later: after this, the blank windows at the back of the Screen, with their more graceful lines, sometimes called "flowing tracery," and by the French "flamboyant " (flamelike), belonging to the Decorated Period of Edward III.

It is remarkable, in the second place, as having been the scene of the trial and condemnation of the

Anglican Martyrs

in 1555, a memorable date in the history of our Church, and in the annals of our country. Beneath that three-light window in the north-east bay of this Chapel, sat in that year, Stephen Gardiner, Bishop of Winchester, and his fellow commissioners, Dr. Bonner, Bishop of London, and others, acting under authority from the See of Rome, and of Mary and her obsequious Parliament, to try certain Prelates, Dignitaries and Priests of the Church of England, whose only crime, apparently, consisted in a stout resistance to the usurpations of the Papal Schism. It was here they witnessed a brave confession, and from here they went forth to receive their baptism of fire. We are bound to honour these men, notwithstanding the occasional extravagancy of language and opinion to which they gave vent under examination, remembering the terrible crisis they had to face, which was nothing less than the deliberate and powerful attempt to re-impose the Vatican yoke upon our Apostolic Church.

*

Resembling a row of teeth, sometimes called Dog's Tooth, and Shark's Tooth, and the Diagonal Flower. By French antiquaries it is named Violette, as it often bears considerable likeness to that flower when half expanded.

+ Mullion, the vertical bar dividing the light of a window.

The work executed when one style was merging into the next is known as Transitional.

They are sometimes, but erroneously, styled "Protestant" Martyrs. This was a struggle maintained by Churchmen from beginning to end. Protestantism, in the sense of Separatism, had no existence in this country before the time of Elizabeth.