=The Choir=, with the presbytery and retro-choir--that is to say, the whole extent of that part of the cathedral between the central tower and the entrance to the Lady Chapel--has eight bays. The most noticeable difference between it and the nave, is the absence of a triforium. Professor Willis says: "The entire height of the severey (or bay) is divided into two nearly equal parts, of which the lower is given to the pier arches, the upper to the clerestory. The window-sills of the latter are high, and there is a passage in front of them immediately above the tablement or string course over the pier arches. This passage, the veritable triforium, pierces the great piers of masonry which sustain the vault. The high sills receive the sloping roof of the side aisles, and have three plain open arches in each severey to air the roof." These sills are panelled with a foliated arcading, and in front of the passage there is an open trefoil work parapet. The effect of the windows inside is much enhanced by the lovely quatrefoil ornamentation with which their splays are decorated. In the single window--the east on the south side--where the original tracery remains, it is very beautiful and graceful, and is a good example of the Decorated period; but into the other windows Perpendicular tracery has been introduced. The vaulting is very much the same as in the nave, but the vaulting shafts divide into seven instead of five ribs. The bosses, as everywhere else in the cathedral, are very deeply and richly carved. On the four eastern sets of piers long slender shafts run up from the base of the piers in the same way as in the nave, and similarly the spandrels are ornamented with foliated circles, of which nearly all trace had disappeared before the recent restoration. This, however, is not the arrangement on the three western pairs. It was found here that these shafts did not reach the ground; and so Sir Gilbert Scott, having discovered a portion of the sculptured wing of an angel just above the dean's present stall, decided upon finishing the shafts with corbels in the form of angels occupied in minstrelsy. Above each of these angels--which were innovations--he placed, under richly crocketted canopies and standing on very finely-carved brackets, the figures of six saints. These were not innovations, though no signs of them appear in the engraving in Britton's "Cathedrals," where, indeed, the incomplete shafts just mentioned are to all appearance complete. But in Pennant's "Journey from Chester to London," 1782, the six statues are mentioned, and he tells us not only their names, but also that they were richly painted. The new statues represent the same original characters: St. Mary, St. Mary Magdalene, and St. Peter on the north side; St. James, St. Philip, and St. Christopher on the south: these with their niches have been executed partly from the old description of them and partly by reference to the niches remaining in the Lady Chapel.