enty-five feet in height, in four stages, gradually
diminishing in area upwards, the lower part supported by buttresses, and
the summit crowned by battlements, with a small bell-turret and vane.
More interesting than the tower itself--which is, in fact, an
incongruous addition to the church--are the #Bells# which it contains, a
precious inheritance from the Augustinian Canons, and in some respects
the most remarkable in London. The foundry stamp shows them to have been
cast by Thomas Bullisdon, who died about 1510. They are the smaller five
of a ring of twelve, six of which were sold at the Dissolution to the
Church of St. Sepulchre, Holborn, where they have since been re-cast,
and one has disappeared from history.

The measurements and inscriptions are as follows:

1. #SANCTE BARTHOLEMEO: ORA PRO NOBIS.# Diameter 22 in.
2. #SANCTA KATERINA: ORA PRO NOBIS.# Diameter 24 in.
3. #SANCTA ANNA: ORA PRO NOBIS.# Diameter 263/4 in.
4. #SANCTE JOHANNES BAPTISTE: ORA PRO NOBIS.# Diameter 291/4 in.
5. #SANCTE PETRE: ORA PRO NOBIS.# Diameter 31 in.

The clock-bell, in the cage on the top, is inscribed, "<sc>T. Mears of
London Fecit</sc> 1814." Diameter about 25 inches.

The churchyard is overlooked on its northern side by the back windows
of some rickety old wooden houses, suggestive of an easy conflagration,
and dangerously near the church. They date from the time of Queen
Elizabeth, and stand on a piece of the ground formerly devoted to
Bartholomew Fair, the memory of which is perpetuated in the adjoining
street (Cloth Fair), where the humble shops in front of the same houses
are said to be a survival of the ancient booths. They run close up to
the #North Porch#, which projects into the street from the transept. It
was erected in 1893, at the same time that the transept was restored.
The porch is similar in material and character to that on the west, with
some differences in detail, the chief of which are that the figure over
the door represents St. Bartholomew, with only one window on each side
of it--in this case square-headed, with a label-moulding--and the
chequered diaper covers the whole wall-surface of the upper storey. The
Saint is raising his right hand in the act of blessing, and holds in the
left a knife, which has become his emblem, as the instrument of his
passion. A scroll entwined about the effigy bears the appropriate words
(in English) from Rahere's vision: _Almighty God this spiritual hous