In mediæval times, we learn from the wills of parishioners that there were in the church images of St. Martin, St. Mary, St. Christopher, St. Nicholas and St. Erasmus; and each of them had a light burning before it. How these images were distributed we have no evidence to determine, but (perhaps) they were arranged in the following manner:—Image of St. Martin at the east end, of St. Mary and St. Nicholas in the nave on each side of the chancel arch, and the images of St. Christopher and St. Erasmus at the west end of the church.
The high altar, according to custom, was evidently dedicated to St. Martin, the altar on the north-east side of the nave to the Blessed Virgin, and that on the south-east side to St. Nicholas. We read that William Harry left money for a waxlight burning before the image of St. Nicholas, "where the priest was to sing the testator's daily mass"; and there was a "Brotherhood of St. Nicholas," at whose cost fifteen masses were to be said for the soul of Thomas Fayrhand (A.D. 1505).
Some astonishment may be caused, at first sight, by the mention of St. Erasmus, but we learn from other sources that he was a popular saint in England. Some glass, for instance, in the church of St. Botolph, Lullingstone, represents a legend of his martyrdom, his prostrate body lying beneath a windlass, by the winding of which the saint is being disembowelled. He is reported to have suffered death in the Diocletian persecution at Formiæ, where Gregory the Great testifies that his body was
still remaining, though it was afterwards translated to Cajeta. Under the appellation of St. Elmo, he is still invoked by Mediterranean sailors.
Photochrom Co. Ltd., Photo.]