manners, easy and refined speech, and scholarly address, an active man, and above all a good man. His loss, though a gain to himself, is one to the nation and to the Church. And to his friends-but we best honour the dead by cultivating their happy memory.

S. MARY, ABERDEEN.

WE make the following extracts from an interesting description of this remarkable church, in the "Aberdeen Free Press."

"The general plan and design of S. Mary's is by the incumbent, the Rev. F. G. Lee, F.S.A.; but at the same time he, as we understand, willingly allows that with the exception of what the French call the motif of the building, and a general careful superintendence of the plan and details, the greatest and most discriminating assistance has been afforded by Mr. Alexander Ellis.

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The style of the architecture of the church of S. Mary is Gothic, or Pointed,' as the technical phrase runs, and is in many important particulars of a decidedly Scottish character. Eclecticism is somewhat manifest both in plan and detail of the new church. It is peculiarly Scottish in the length and character of its long nave-altogether lacking aisles. This was the almost universal type of the ancient parish church. As regards the west-end, it appears to be somewhat in the style of the town churches of north Italy, reminding one a little of— though it is inferior to the west front of S. Pantaleone's of Pavia. In some respects too it is like the west front of S. Francis' church in the same city. The ancient cathedral of Cremona, likewise, in the upper portion of its west end, is so exceedingly similar to the church of S. Mary, that we cannot but imagine that the idea of the latter was directly taken from the former. The alternation of circular windows, with lancet-lights, either in couplets or triplets, is another feature which appears to have been borrowed from North Italy; and, perhaps, for the severe character of the efficient buttresses the designers are indebted to the same existing authorities. The simple arrangement by which quasi-transepts have been obtained at the east end of the nave, is, we believe, purely original, and for this the church is indebted to its incumbent. The general plan of the chancel reminds one forcibly of many of the Rhenish churches, while the apsidal termination of the east end, with its three gables, is an external feature which is not uncommonly observed in France. On a large scale, the same plan is to be found in the magnificent church of S. Ouen at Rouen; and, indeed, in many continental ecclesiastical buildings. Many of the details of S. Mary's are unmistakeably national and local, and are to be found-as ancient examples-at Elgin cathedral, Fortrose, and Kirkwall; and the entire building is so careful an exemplification of ancient examples, that no wonder its general grouping and effect should so signally remind us of some of the best parish churches of the fourteenth century.

"We now proceed to give as accurate a description as possible of the building. It consists of a nave 95 ft. long by 40 ft. wide, measuring outside the walls; a chancel, 35 ft. long by 25 ft. wide; with an organ-chamber to the south, and a vestry to the north, of the chancel, each 15 ft. by 14. Under the chancel is a mortuary chapel, the roof groined in brick and supported on freestone pillars, of exactly the same area as the chancel itself, with vaults, furnace-room, and lavatory flanking it. The side walls of the nave are exactly 30 ft. in height, and the apex of the roof exactly 60 ft. from the floor-higher, by some feet, than the nave of Lichfield cathedral. The side walls of the chancel are of the same height as those of the nave, and the apex of the roof stands 53 ft. from the floor. The chancel is divided from the nave by a lofty well-proportioned arch, 50 ft. in height by 20 in width-one of the most effective features of the interior.

"Externally, the building is remarkable for its general height, for its severity of design, and for the noble pitch of its roof. It is also novel here from its constructional polychromatic decorations. The masonry is of rough rubble granite from Rubislaw-the dressed basecourse being of pale red Tyrebagger granite. A dark blue bastard granite, exceedingly hard, from Kemnay, together with red Turriff sandstone, and cream-coloured freestone from the Kenmuir quarries at Glasgow, are likewise used in the building. The western gable is a very effective composition, indicating at once the character of the church. Two broad flat buttresses, rising to the gable-which is stepped-indicate externally the horizontal tripartite division of the nave, which does not however appear in the interior; and a small circular window, with simple flat tracery, outside each of them, strengthens this indication. The west door is a lofty, pointed opening, with triangular tympanum of Glasgow freestone, in a circle of which in the centre is an ornament of polished red Derbyshire marble. On the apex of the door is a plain Maltese cross, and then, over a band of red sandstone, between two narrow bands of black granite, appears the great western rose window, fourteen feet in diameter. This is likewise of plain tracery-the chamfers of the various circles being ornamented with rich sculptured details. This, as all the other windows, is formed of alternate spaces of white and red freestone and hard dark-blue granite. The tympanum of the door is supported on pillars and brackets of polished red Peterhead granite, the bases and capitals being of white freestone. The former have been most elaborately and effectively carved by Mr. Brodie, sculptor, of Aberdeen. They consist of a well arranged mass of various sorts of lilies-the water lily, the lilium candidum, the Lent lily, and the lily of the valley. The door itself is of teak, designed by the architect, with very rich iron hinges, which gives it a most complete and admirable appearance. This part of the building is extremely satisfactory. The walls of the nave are strengthened by flat buttresses dying into the wall, immediately below the circular windows. These windows, of which there are three on each side, are alternated with plain lancets in couplets. They are placed high up in the side walls, as we are informed, for three reasons--firstly, because the purest light comes from above;

secondly, because the sound of vehicles in the adjoining streets will thus be more efficiently shut out; and thirdly, because, when windows are placed low, the draughts in the building are exceedingly great. All these windows are of black, red, and white stones. At the east end of the nave rises the quasi-transept, by which means great dignity is imparted to the church, both internally and externally. At the four angles of this part, there are severe plain buttresses, very well-proportioned, and capped with heavy square pinnacles, the corners being ornamented with a carved ball-flower, on which are placed four tall iron crestings, having the monograms of the four Evangelists at their corners. In each side of the transepts is placed well up a large circular window, twelve feet in diameter, similar in design to that at the west end, over four tall lancet lights. At the central junction of the ridge-roof of the transept, rises a large graceful and well-proportioned fléche or spirelet, octagonal in construction. The lower part is of oak, with carved gurgoyles at the angles, and sunk quatrefoils in the panelled sides. These sides again are capped with sharply-pointed angular gables-in each of which appears a sunk trefoil-finished with a gilded ornament in wrought iron. The roof of the fléche is covered with alternate bands of lead and copper, and the whole is surmounted with an ornamental iron cross of good design. The chancel, externally, is a pleasing feature, and the organ-chamber and vestry serve to help the general effect. The apsidal termination, with three stepped gables, containing a circular window, gives a very national appearance to this part of the building; and the four lancets on either side, with the freestone parapet above, relieved by sunk circles, are commendable features in the design. The efficient manner too, in which the roof of both nave and chancel have been treated by the use of purple, blue and green slates, in horizontal and zig-zag patterns, adds to the general effect of these portions of the building. In the roof are several small dormer-sort of ventilators, capped with iron ornaments. At the external east end, two crosses mark the position of the altar of the chancel, and of that for the mortuary chapel, while a sunk arcading of freestone points out the position of the former, and the high level of the floor. Over this arcade is a carved lily pot, similar to that in the cathedral at Old Aberdeen, emblematical of the Virgin Mary. The side door to the crypt, and that which leads to the vestry, are plain in character, but effective, and quite in accordance with the general design. The circular window of the vestry too is good, though the hood-moulding over it is far too coarse and rude in its size and character.

"The interior of the church now demands our notice. One of its most striking features is its singular reality. All things are what they appear to be. The roof, of varnished pine, is of very simple construction, and is of such an angle as to allow the principals to be connected by a sweeping semicircle. It is supported on plain chamfered stone corbels, the hammer-beams being designed to correspond. The windows of the nave are well recessed, especially the lancets, the splays of which are bold and effective. Between the two lancets there stands an independent pillar of Turriff stone, on a base, and with a capital

(as yet uncarved) of white freestone. Below the circular windows, separated by pilasters of red and yellow brick from the rough ashlar work, which is simply pointed, and is allowed to remain in its ruggedness, are six panels, three on either side, which are intended eventually for frescoes, representing, as we are informed, the Mysteries of the Incarnation. The walls of the nave are lined to the height of seven feet with varnished pine, along the top of which runs a cornice, on which a very effective and appropriate pattern has been painted. On entering from the west door, there is a small inner porch, likewise of varnished pine, on the south side of which is the baptistery, where the font is placed, enclosed with a light screen of ironwork; and, on the left, a vestry for the choristers. These will be curtained off. The seats, which are placed on either side the nave, are of the simplest possible character, and in no degree attract attention, nor draw off notice from the building in general. The central aisle, fourteen feet and a half in width, is paved with Peek's patent metallic Staffordshire tiles, in buff, chocolate, and black, colours which harmonise very effectively with the roof. This latter is painted in chocolate, white, and vermilion, from a very simple design, by the incumbent. All the chamfers are coloured vermilion, with round dots of white, at small and regular intervals. The panelling between the double couples, connecting the nave and the transept, is likewise very effectively painted, from Mr. Lee's design, in monograms of an ecclesiastical character. These latter are likewise placed on the face of the hammer-beams of the nave, the lily and fleur-de-lys predominating. The floor of the transept immediately outside the chancel-arch, to the west, is raised two feet above the floor of the nave, forming what is technically known as a chorus cantorum. This is approached by four steps in the centre, at the west end, where two oaken gates, of simple but effective design, separate the choir from the nave. The choir is enclosed by a dwarf screen of polished Peterhead granite pillars, resting on a freestone base, and likewise coped with freestone. On each side of the choir the stalls and subsellæ, of varnished pine, for the clergy, precentors, and choristers, are placed laterally. This part of the building is paved with Minton's mosaic tiles, laid in a most effective pattern. As we are informed, it took above nine thousand tiles to fill up this space alone. At the western side of this choir-elevation are two places appointed for the reading of the Epistle, Gospel, and Lessons, as well as for preaching. Two handsome brass desks, with double sides enamelled in brass, are placed, one on either side. There is another rise of four steps at the chancel arch, by which the platform between the organ-chamber and the vestry is reached. These latter are separated from the chancel itself by coupled arches, deeply moulded, and pillars. A second arch spans the side, in the stones of which are inlaid some admirable specimens of Minton's most effective encaustic tiles and mosaics. The cross, the fleur-de-lys, the rose, the Agnus Dei, and other devices are here made use of, while below appears a symbolical device, in mosaic, representing the Trinity. Above this arch are the lancet windows already referred to. The floor of this portion of the chancel is laid with the richest mosaic tiles from Minton's, with an elaborate and effective

border. In a space of twenty-two feet by eighteen, more than seventeen thousand tiles have been laid down to produce the existing design, which certainly is remarkably rich, and harmonizes well with the rest of the building. The sanctuary, properly so-called, is raised by two more steps, beyond which are the ordinary steps for the altar. The apsidal termination of the east end is very effective, and the arrangement of the three circular east windows, as well as of the groined roof, is admirably managed. The intersections of the groins are marked by carved bosses, coloured in gold, vermilion, and blue. The chancel roof is of very simple construction. The tie-beams, mouldings, and chamfers are partially coloured and gilded. It is, we believe, intended eventually to colour the whole chancel roof. The interior side walls of the chancel are of dressed freestone and coloured bricks. The latter, of red and yellow, are arranged at the east end in perpendicular parallel bands. The altar, ten feet in length, stands exactly seven feet above the level of the floor of the nave. It is of simple design in freestone. Four polished Aberdeen granite pillars, with capitals and bases, support a magnificent slab of polished Peterhead granite, ten feet in length, six inches deep, and more than three feet in width, the gift of G. J. R. Gordon, Esq., yr. of Ellon. Immediately behind the altar, the east wall is decorated with Majolica tiles, executed by Messrs. Minton, Hollis, and Co., from a design by G. E. Street, Esq., F.S.A. Above this, will be placed a picture of the Crucifixion, with SS. Mary and John on either side; while flanking this are two angels in attitudes of worship, with censers in their hands. This work of art, which was executed by the celebrated painter, N. J. H. Westlake, Esq., a pupil of the late W. Dyce, Esq., R.A., a careful follower of the best school of religious artists, and in many particulars, Præ-Raffaellite in character, has been exhibited in London, and pronounced by competent judges to be a very signal success. There is great dignity and character in the figures, with a perfect repose in the whole design, severe and calm to a very high degree. The mosaic tiles round about the floor of the sanctuary are specially rich, both in colour and design -blue and buff predominating. On the south side of the apse, are two recessed seats of stone, known as sedilia, for the clergy. The credence and piscina are placed immediately east of these; while, on the opposite side of the apse is the aumbrey, or receptacle for the sacred vessels. This latter is poor in design, and rather too prominent in appearance. The upper portion of the chancel arch contains a roodbeam of varnished pine, on which is fixed a splendidly carved and lifelike group, representing the death of the world's Redeemer. These figures are the gift of a member of the Scottish Episcopal Church, On either side stands a three-light branched candlestick in brass, the gift of Charles A. W. Dundas, Esq., which fills up and completes the design of this part of the building. On the front of the beam runs the following legend:

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"Effigiem Christi dum transis pronus honora.

Sed non Effigiem sed Quem designat adora."

Behind the beam is a row of gas jets, by which the chancel is to be