When the white and yellow-wash was cleared away from the woodwork of the Octagon and Lantern in 1850, some remnants of ancient colouring were discovered. In the archives of the Cathedral are preserved the accounts of the materials used in this painting, the prices of the colours, and the wages paid to the workmen. The name of the principal artist was Walter; he is dignified by the name of "Pictor," but he only received Eightpence per week, "_praeter mensam et robam_" the "_roba_" being the painter's dress of the period, which was very like a modern gentleman's dressing gown. The colouring of this "Walter" between the years 1335 and 1351 seems to have been of a very simple character. The only evidence of designs that remained in 1850 were on the flat panels of the vaulting, which was covered with an imitation of ordinary gothic flowing tracery. The pattern was a series of quatrefoils painted in stone-colour on the wood, outlined black, and filled with green. The bosses of the Lantern, which are not carved, had been evidently painted and gilt, but the patterns of foliage were rough and too much injured to afford any distinct composition. The small amount of colouring which remained on some of the mouldings of the Octagon was principally of a bright red, but only in small patches, the ground-work having peeled off and the colour with it. In attempting to describe briefly the recent decoration of the Octagon and Lantern we cannot do better than quote the substance of a paper read during the Conference in June, 1875, explaining the history and nature of the ornamentation which has been carried out with such loving care and artistic skill under Gambier Parry, Esq., who designed the whole and painted the chief figures. "The internal repair of the Lantern and Octagon was begun in February, 1874, and required a year for its completion. The ornamentation is in the style of the fourteenth century. The central boss of the lantern groining is a half-length figure of Christ in glory, considerably above life size, and with the conventual clouding around it; it is boldly carved in oak. The right hand is raised in the attitude of blessing, and with the left the inner garment is drawn open to exhibit the wound in the right side. Around this figure is painted a group of Seraphim on a grey blue ground. The panels of the window hoods are painted red, marking the distinction already made by the architectural construction, and on them are painted Cherubim and golden stars. The windows of the lantern were filled, some years ago, with coloured glass, the colouring of which is harsh, and in strong contrast with the mellow and rich painting of the woodwork, and injurious to the general effect.