A variety of foliage and flowers has been worked in thin plates of copper and hammered iron, in imitation of natural specimens, and throughout the screen the passion flower is prominent in the decoration. It is composed of 11,200 lbs. of iron, 5000 lbs. of copper and brass, 50,000 pieces of vitreous and other mineral substances in the mosaic panels, and about 300 cut and polished stones. There are also seven bronze figures, three single figures, and two groups. Of these the _Times_, May 29, 1862, well said: "These figures are perfect studies in themselves. Every one can understand them at a glance, and from the centre figure of Our Saviour to those of the praying Angels, the fulness of their meaning may be felt without the aid of any inscriptions beneath the feet to set forth who or what they are." [Illustration: SECTION THROUGH TOWER AND TRANSEPTS.] SECTION THROUGH TOWER AND TRANSEPTS. The eastern side of the screen, though without statuary, is no less worthy of inspection. Over the gates the large oval space is filled with the sacred monogram I.H.C. The base consists of polished Devonshire marble. The diversity of tint of the metals used is in itself a source of colour, but the whole of the hammered iron-work of the foliage has been painted with oxides of iron and copper, while the colour scheme is further carried out in the mosaics. The whole effect is certainly beautiful, and the screen is perhaps the best example of this kind of work produced in modern times. The cost of the screen was £3000, though the sum paid by the Chapter in accordance with their agreement was only £1500. The same firm, the Skidmore Art Company, who made it, also supplied the large corona and gasfittings. A brass eagle presented by the Misses Rushort to the Cathedral, is placed near the south-west corner of the screen; it was designed by Cottingham. *The Central Tower.*—Immediately above the four great arches of the central tower, the interior walls are, says Professor Willis in his report on the Cathedral, "Of a very singular construction; twelve piers of compact masonry on each side, beside angle piers, are carried up to the height of 26 ft., and connected half-way up by a horizontal course of stone, in long pieces, and by an iron bar, which runs all round immediately under this bonding course. Upon these gigantic stone gratings, if I may be allowed the expression, the interior wall of the tower rests, and they also carry the entire weight of the bell-chamber and bells. The whole space is now completely open from the floor of the Cathedral to the wooden floor of the bell-chamber, which is painted underneath in blue and gold. From this floor hangs, the handsome corona of wrought iron.