wer; around are the stalls set in
a screen of woodwork intricately carved. All is mellowed by the
"storied windows," which break the light into many coloured rays.
Looking westward, over the blank wall, we should see in vision the
tall rood screen and gallery, and, stretching far beyond, the long
vista of Norman arches and painted roof: and through the screen
glimpses would reach us of the many-coloured west window. Let us turn
round, and in place of sunlit trees and river conjure up the broad
flight of stone steps, the stately sanctuary above, with its glorious
reredos enriched with tabernacle work and carving, gold, silver, and
colours; and the clerestory lights shedding that sweet lustre we have
seen somewhere never to forget!

The bell tower rising in solitary state beside us cannot wait for its
true chronological order. It is one of the few existing examples of
many separate belfries built to hold the bells either for convenience,
or in cases where the towers of the church were of insufficient
strength. As a rule these buildings were much broader and less
graceful in design. This tower has been critcised as "squat," but
considering its use it will be seen that a broad base is essential to
its character. In reality, it is remarkable how much delicacy and
grace have been given by form and proportion, without lessening the
strength or utility. The tower was built by Clement Lichfield in the
last years of his abbacy, and hardly finished at his resignation in
1539. That the builder and his local contemporaries were proud of this
last ornament to the town, is proved by the inscription on Lichfield's
grave, which concludes with the line "in whose time the new tower of
Evesham was built."

The bell tower is indeed Evesham's chief glory, from some standpoints
her principal cause for pride. Unique in its character, it strikes
every beholder with surprise and pleasure in proportion to his
capacity for the appreciation of stately form and exquisite
workmanship. Built by the accomplished and learned Lichfield in the
pure perpendicular style, at a time when Gothic architecture was fast
sinking in its decline, it would seem to be, not only one of the
triumphs of mediaeval art, but one of the very last efforts of a dying
tradition; in it we see embodied the lofty thought of one of our
noblest abbots. Though it has not witnessed the beginnings of the
conventual life, the early struggles, nor the palmy days of
monasticism, it for