lack-letter inscriptions read "Edmund Prync and martyr."

"Heven blys to hes mede
Hem sall have for hys gud ded"

Above this picture is the painting already mentioned of St Thomas a Becket
being approached by the four knights who are about to murder him.

On the south side of the nave the chief part of the wall is given up to
the legend of St Katherine of Alexandria. She was said to be the daughter
of Costus, King of Alexandria, and was married to a son of Constantine
Chlorius, the Roman Governor of York.

The upper panel shows the temple of Serapis, and St Katherine endeavouring
to convert the Emperor Maximin to Christianity. Further to the right she
is shown entering the prison into which she was cast. The emperor,
impressed both by her beauty and her arguments, endeavours with the help
of several philosophers to persuade her to give up her belief in
Christianity; they are, however, all converted by her, and soon after they
are executed at the emperor's command. St Katherine is then stripped to
the waist and beaten in the presence of the emperor, who is shown on the
extreme right as well as the left of the second panel. After further
imprisonment the saint is joined by the Empress Faustina, a new convert,
who comforts the prisoner, and is shown joining with her in prayer.

Further on, the emperor is shown testing the saint's faith by the wheel,
but two angels appear, and having broken the wheels the attendants are
overthrown. The last scene, in which St Katherine is kneeling, is so much
"restored" that its interest is very much impaired.

[Illustration: SOME OF THE WALL PAINTINGS ON THE NORTH WALL OF THE NAVE OF
PICKERING CHURCH.

THE MARTYRDOM OF ST THOMAS A BECKET.

The Four Knights are seen approaching the "Turbulent Priest."]

HEROD'S FEAST.

It is composed of three pictures. On the right, Salome is performing a
"Tumble" dance before Herod, his queen, and two guests, while St John the
Baptist is holding up a warning hand: In the centre, Salome has the head
of St John in a charger, and on the left the execution is shown.

[_The Copyright is reserved by Dr John L. Kirk._]
]

The long and narrow series of pictures over the arches represents the
seven corporal acts of mercy, namely, feeding the hungry, giving drink to
the thirsty, compelling a stranger to come in, clothing the naked,
visiting those in prison, visiting the sick, and burying the dead.
Continuing in the same line appear representations