one in the building, not even the parson, without a special effort.  The nave is broad and quadrangular, is supported by immensely strong pillars, and has a fine high roof, looking clean and spacious, but considerably spoiled by several commonplace awkwardly fashioned beams.  The roof of each aisle is similarily marred.  The seats are disposed in six parallel ranges, and the generality are quite good enough for anybody.  Along each side there is a row of free seats—­about 50 altogether—­capable of accommodating upwards of 300 persons.  There are also many free seats in the gallery.

The present incumbent has an idea that he has made some addition to this accomodation; but people who have known the church ever since it was built say that the extra “free pews” appropriated for the poor by him were never charged for.  At the end of each aisle there is a neat stained glass window; that to the right bearing this inscription—­“To the memory of W. P. Jones, M.A., ob.  January 29, 1864, aged 77 years,” and that on the left these words “To the memory of Mrs. Fanny Jones, ob.  January 27, 1864, aged 75 years.”  Mr. Jones was a former incumbent of St. Thomas’s.  He was a quiet, mild-minded man, devoid of bombast, neither cynical nor meddlesome, and was well liked by all.  His wife died just two days before him, and both were interred in one grave in St. Peter’s church yard.  The pulpit and reading desk at St. Thomas’s are good-looking and substantial, but both are rather bad to get into and out of—­the steps are narrow and angular, with a sudden descent, which might cause a stranger to miss his footing and fall, if he had not firm hold of the side rail.  Right above, perhaps 20 feet high, and surmounting the chancel arch, there is a small ornamental projection, like a balcony.  It would make a capital stand for the minister; or might be turned into a conspicuous place of Sunday resort for the wardens; but, then, they would have to be hoisted to it, for there is no road up, and that would not be seemly.  Formerly, we believe, this balcony was used by the singers, but they were subsequently transplanted to the western gallery.  The passage to the balcony front is now shut off.  A considerable effort at ornamentation has been made on the walls flanking the balcony described.  But we don’t care much for it.  Little pillars, quaint window models, and other architectural devices, are heaped upon each other in curious profusion, and it is difficult to get at their real meaning.  They relieve the walls a little, but they do the work whimsically, and you can neither get a smile nor a tear from them.  The chancel arch is strong and ornamental; within it there is another arch, the intervening roof being neatly groined and coloured; and beyond there is the chancel—­a small, somewhat cimmerian, yet pretty-looking place.  There are five windows in it; three having sacred figures painted upon them, and the remaining two being filled in with fancy designs, which don’t look over well, owing to the decay of the colours.