The parchemin panels are enriched with shields, on which appear the emblems of the Passion, the five bleeding wounds, and other devices. They furthermore exhibit such allegories as the fox preaching to the geese, or devouring the faithful, and the features of our Blessed Saviour's countenance impressed on Saint Veronica's handkerchief, which is supported on either side by an angel equipped in a complete outfit of feathers. The angels are canopied with large decorative mitres. In many of the panels appears the figure of a monkey, or monkey-headed man, who in one compartment is represented as nursing a baby in swaddling-clothes, while an irate-looking female in the five-cornered head-dress beats him with her distaff. The frieze panels are equally curious and remarkable, and the subjects are so diversified that one can only attempt to give a short account of them.

In one compartment a regal banquet is represented - a page offering the loving-cup on one knee, while without the slaughter of the fatted calf is depicted. Another compartment displays the diverting tricks of jugglers and acrobats to the tune of the pipe and tabor, which are played by one of their company. Sowing, tilling, and reaping are also represented, while a gentleman up to his waist in a vat in a tiled cellar treads grapes for the vintage. A smartly-attired youth wearing the lamboys, or pleated skirt, knocks down acorns from a tree for the hogs to feed upon; while, again, a shaven monk energetically reproves a flute-playing youngster for shooting a bird with bow and arrow.

Those who ponder over medieval legends can attribute what significance they please to these subjects; suffice it to say that, apart from the allegorical interest, the humour displayed is wonderful. Finally, we may mention one of the quaintest of the series, an alchemist mixing his elixirs, while outside a yokel in smock and tabard gazes at the stars. The artist's attempt to place the fireplace and hake in perspective are truly comical. Above the fireplace is a large panel bearing a lozenge on which appears a shield of arms, a knight's helmet with a tasselled lambrequin, and the initials 'M. I. B.'The date of this remarkable wall decoration is evidently early in the reign of Henry VIII., for though its main features are purely Gothic, there are certain details in the style of the early Renaissance appearing upon the parchetmin. The costume of the figures upon the frieze panels also leaves little doubt that it was executed in the eighth Henry's reign, the puffed and slashed costumes of the men, with their characteristic knee-breeches, as well as the five-cornered head-dress of the women, being typical of the period.

At the same time, an investigation of the allegorical aspects of the carving reveals the work of a craftsman who, while he has not broken wholly away from monkish traditions, has yet, nevertheless, imbibed that spirit of free criticism of ecclesiastical affairs born of the degeneration of the Church.

There is no sign of the dolphin among the decorative details, which would seem to support the theory that this panelling was executed at the commencement of Henry's reign, and before the alliance with Francis I. took place. It should be mentioned that at the time of writing the whole of this precious panelling is thickly coated with paint, the removal of which has, however, been contemplated.

Not much is known of the early history of Abington Hall, but there is a glamour of shadowy romance attaching to its occupation in the seventeenth century. It is thought in the locality that some of the Shakespeare MSS. may be concealed behind this panelling, as the daughter of Susanna Hall (Shakespeare's favourite daughter), wife of John Hall, gent., married a Thursby, who owned and occupied this house. To demolish this fallacy, it is only necessary to mention that the panelling has been removed from its original position in the house since Thursby's time, probably when certain alterations were made during the Georgian times.

Panelling of Henry VIII.'s time presents some curious features. On presses, chests, and even wains-cotting it will often be found that, whereas two or even three sides of the frame are edged with a moulding, the fourth side retains the old Gothic stop champfer. The corners of the mouldings are likewise mitred, whereas in early examples the upright beads or mouldings would be carried into the return of the transom above. The difficulty of joining mouldings under this condition with any nicety probably originated the custom of tapering off the bead with a gash, as it were. This was found a very easy method of decorating the edges of the stiles, and as time went on it was sometimes exclusively adopted in the treatment of furniture, with a view to saving trouble on the part of the craftsman. The oblong top panel, bearing carved arabesques, such as exists in the Neptune Inn at Ipswich, was the forerunner of a stile which became generally popular in Elizabethan times, though its later ornamentation was in the form of strapwork, such as is shown on pp. 40, 45.

Fred Roe. PARCHEMIN PANEL WITH ROPED CENTRE AND BEARING THE FABLE OF THE FOX AND GEESE IN ALLUSION TO THE PREACHING FRIARS, AT ABINGTON HALL, NORTHANTS, COMMENCEMENT OF THE SIXTEENTH CENTURY.

The main differences between the wainscotting of Elizabeth's days and that of the later periods lie in the greater elaboration of the former, both as regards the shaping or quartering of the panels, and the richer detail of sculptural embellishment. This, of course, refers to the superior workmanship which would be found in the principal apartments of the houses of wealthy people.