In the porch we noted a holy-water stoup supported on four small clustered pillars; the interior of the building we did not see, for the door was locked and we felt too lazy to go and hunt for the key. The top of the cross is adorned with a carving of the Crucifixion on one side, and of the Virgin Mary holding the infant Saviour on the other. The shaft for about half its extent upwards is manifestly ancient, the rest, including of course the sculpturings, is as manifestly modern, though not of yesterday, for the latter portion already shows slight signs of weathering, and has become time-mellowed and lichen-clad. The figures at the top are effectively but roughly carved in faithful imitation of medieval work of the same class. So faithful in fact and spirit indeed is the copy that there is no small danger of antiquaries in the years to come being deceived, and pronouncing the cross to be a rare and well-preserved specimen of fifteenth-century work. Apropos of this carefully studied copying of ancient work it may not be uninteresting to quote here from a letter of Lord Grimthorpe upon the restoration of St. Albans Abbey which he carried out. "It took no small trouble to get them (new stones inserted in the work) worked as roughly as the old ones, so as to make the work homogeneous, and to bewilder antiquaries who pretend to be able to distinguish new work from old; which indeed architects generally make very easy for them."
As we were about leaving we observed an intelligent-looking man leisurely walking on the road, the only living person we had seen in the village by
