Mr. Roach Smith, an eminent authority in such matters, says that this inscription is to be ascribed to the century of Ocratius Maximus, of the first Cohort of the 20th Legion; it has evidently been a facing stone, probably in the city wall; it resembles in character the centurial commemorations on the stones in the great northern wall, and like them, apparently refers to the completion of a certain quantity of building. There is also the head part of a stone coffin, found by persons employed in digging in the Chapter House in 1723. The scull and bones were entire, and lay in their proper position, enveloped in an ox-hide. On the breast was a piece of cloth, the texture of which could not be ascertained. It has been supposed by Pennant and others, that these remains were those of Hugh Lupus, which were removed hither from the churchyard, by his nephew Randle, Earl of Chester. Ormerod seems to be of opinion that this relic designated the place of sepulchre of Abbot Simon Ripley. It is now generally admitted by those most competent to form a judgment on the subject, that Ormerod has given a true interpretation of this interesting relic. The initials, he says, are clearly S. R., and the wolf’s head corresponds in style of carving with a similar one introduced by Simon Ripley on the tower of Saighton Manor House. There are also two shot-torn banners of the 22nd Cheshire regiment of Infantry, which were received from India, after that gallant corps had been presented with new colours, and were presented by the government to the then Dean of Chester (Dr. Davys) for preservation in the Cathedral. The appearance of this noble room would certainly be much improved by the removal of the unsightly bookcases, which are not in the slightest unison with the beautiful architecture they so much obstruct. Mr. Ashpitel says, “he considers the Chapter House, with its singularly tasteful vestibule, to be the finest in the kingdom of its form;” and has animadverted, with deserving severity, upon the tastelessness of a professed architectural critic, who could pass over the building with the disparaging criticism, “poor enough?” He (Mr. Ashpitel) had been told the same story, but he found beauties which grew upon him more and more at every visit. The Norman remains, he says, are extremely fine—there is work of all kinds of great beauty; and there are the most curious and instructive transitions from style to style that perhaps were ever contained in one building.