Part of the chapel dates from the foundation of the nunnery, but a great deal of it is Early English, and the whole building was remodelled by Alcock on the collegiate principle. He seems to have cut away the aisles of the convent church, leaving only the north choir aisle; he left the transepts unchanged, save for a set of Perpendicular windows with scanty tracery, which are repeated in the nave and choir. His east window has been taken away and the Early English triplet restored. He thus made an ordinary monastic building into an aisleless cruciform church, differing from a college chapel only in that it retains a nave, in which respect it is unique. He also added the Perpendicular upper storey to the central tower, the lower half of which is Early English, and corresponds in its interior arcading with the arches in the cloister. The upper storey of this earlier tower had fallen in 1297. On the whole, one can hardly give unqualified praise to Alcock for his treatment of the building, but he made it answer his purposes very well. Moreover, he gave it some beautiful stalls and a screen. Unfortunately, these ornaments offended Georgian taste. The restoration of the chapel in the last century was a wonderful proceeding. The walls were daubed with yellow relieved by a low black dado, the ceiling was plastered, the best part of the woodwork was removed to Landbeach Church, five miles on the way to Ely, and the central lantern was closed up, so that the fine arcade was completely hidden. To-day, however, we are able to see the chapel without these encumbrances, for the restoration, begun in 1845 and continued to our own day, has made it the most historical interior in Cambridge. The south transept with its eastern gallery is for the most part Norman of a very simple order, coeval with the foundation of the monastery. The central tower, the choir and chancel are Early English, save for Alcock’s additions on the south side, and the remaining aisle, which contains Decorated work. The arcaded lancets on the north side of the chancel should be noticed: this singularly graceful arrangement is almost unique. There is, however, an example, completer and perhaps finer, at Cherry Hinton, within an hour’s walk of Cambridge. Another specimen of local work is the double piscina, whose splendid mouldings, crossing each other in the head of the arch, and reminding one of well-folded linen, are only to be found in three or four churches in, or immediately round the town. I have spoken of Alcock’s Perpendicular work, which is of a kind more domestic than ecclesiastical. The stalls and screen are rather more than forty years old, but they show a taste of a kind unusual at that time, and are much improved by the dim light of the whole building. This dimness is due to the stained glass, which is all modern. The glass in the lancets is by Hardman; it is not very good, but it is unobtrusive. That in Alcock’s two choir windows was put in rather earlier by the