the wall, which is reached by a staircase between the choir and the tower-chapel apses. The windows are of three lights, and have good geometrical tracery, and the apse is well groined with boldly moulded ribs, the boss in the centre being four ivy leaves. In the sanctuary stand four oak sedilia of the thirteenth century, with open arcaded backs and carved ends, the carving peculiar, but the whole a very remarkable work and very perfect. The chapels in the towers on either side of the choir are not in the old state, one being used for rubbish, and the other as a vestry: above the former a room in the tower is used as a receptacle for hardware! Perhaps the _Prediger_ deals in it! The crypt under the choir is very perfect and fine. We had an illumination of it, and consequently a careful examination. The capitals are all carved, and the arches all semicircular. It is divided by shafts, some of which are clustered, into three spaces in width, and in the length there are two bays under the choir, then a solid wall with a doorway, and then five bays, and an apse of three bays. The old altar still remains. In the transepts there is little to notice, save that there is an old altar in each. The well-like effect of these German transepts, in which the choir is continued across with heavy stone parcloses of great height, is most unpleasant. In this case the parcloses are no less than 16 feet high from the floor of the transept; and, owing to the great elevation of the choir, the floor of the crypt is only 4 ft. 6 in. lower than the transept floor. No one, going into the nave of the church as now arranged, would believe that he was in a church of more than very mediocre interest. Between all the columns are small tenements, painted white, carefully roofed in and glazed, and papered with whatever paper the fancy and good taste of their several proprietors suggest. In front of these are rows of pews, arranged longitudinally, and all painted white; and as the aisles are by this arrangement practically lost to the church, galleries are built in them, to supply the created want.[78] A white wooden screen behind the Lutheran altar conceals the eastern rood-screen; whilst another white wooden partition, out of the centre of which projects the pulpit, serves also to conceal the rood-screen of the western choir. The whole arrangement is, in short, just the most judicious that could possibly be imagined for the entire annihilation of the architectural effect of the interior.