Taking the CHOIR next, we will at once dismiss as untrustworthy the view taken in 1610 in Speed, as reproduced in "St. Paul's Cathedral and Old City Life." Here the windows are represented as Norman; but this is not the first time I have found Speed at fault. We have records of the consecration of the western part in 1240, and of the pulling down of St. Faith's and of the completion of the eastern part by the end of the century, or, counting certain additions, a little later. The western and earlier part extended to the fourth window, which is broader than the rest; and the mouldings were somewhat different in this part; but still the matter is not without difficulty. The engravings represent the whole of the tracery of the twelve windows on either side as Geometrical. We should have expected the four western windows to be lancets; and there is no explanation for the uniformity. The East End contained a great window some thirty-seven feet in height, of seven lights and trefoiled at the head; and above this the circular rose window, the four angles of the square stage filled in with an arrangement of smaller circles. There were eastern aisle windows on either side of the main window, and four crypt lights below. When we add that the buttresses were crowned with pinnacles to strengthen them in their resistance to the flying-buttresses of the clerestory and to the aisle walls beneath, and that these pinnacles contained niches for statues and were terminated with crockets and finials, so far as we can judge the exterior of the choir was in every respect a fitting completion of the exterior of Old St. Paul's. We have already said sufficient of Inigo Jones, how he flagged [_i.e._ cased] the outside of the nave and transept, says Wren, "with new stone of larger size than before."[42] Owing to this, the plates are silent as to the window mouldings and other details. Let us pass on to the INTERIOR.