The distinguishing feature of this sanctuary was a sort of reredos in oils, in memory of a dead and gone Farringdon, which depicted a gigantic urn, surrounded by a forest of cypress, through the shades whereof flitted "young-eyed cherubims" with dirty wings and bilious complexions, these last mentioned blemishes being, it is but fair to add, the fault of the atmosphere and not of the artist.

For years Elisabeth firmly believed that this altar-piece was a trustworthy representation of heaven; and she felt, therefore, a pleasant, proprietary interest in it, as the view of an estate to which she would one day succeed.
There was also a stained-glass window in East Lane Chapel, given by the widow of a leading official.

The baptismal name of the deceased had been Jacob; and the window showed forth Jacob's Dream, as a delicate compliment to the departed.

Elisabeth delighted in this window, it was so realistic.

The patriarch lay asleep, with his head on a little white tombstone at the foot of a solid oak staircase, which was covered with a red carpet neatly fastened down by brass rods; while up and down this staircase strolled fair-haired angels in long white nightgowns and purple wings.
Not of course then, but in after years, Elisabeth learned to understand that this window was a type and an explanation of the power of early Methodism, the strength whereof lay in its marvellous capacity of adapting religion to the needs and use of everyday life, and of bringing the infinite into the region of the homely and commonplace.