The Choir stalls date from Henry the Eighth, but the elaborate coats of arms carved over each were not added till 1633, and the canopies not till 1675. The magnificent brass lectern was given by Provost Hacombleyn, at the opening of the chapel; but the present altar is a very modern addition, having been only put up in the twentieth century. It stands, as directed by the Founder, no fewer than 16 feet from the eastern wall. The wood-work of the sanctuary walls is not even yet (1910) fully completed. It is of Renaissance character, as is also the altar. The lighting of the Chapel, it should be said, is still, happily, done only with candles; and, on a winter afternoon, their twinkling points of fire, in endless range, amid the vasty gloom, give an impression of mysterious solemnity to be obtained nowhere else. Beautiful as the Chapel is, it would, had the designs of the Founder been carried out, have been yet more beautiful. His Will expressly deprecates that "superfluitie of too gret curious werkes of entaille and besy moulding" which the ante-chapel now exhibits in the elaborate series of Royal coats of arms beneath every window. They are beautifully carved, it is true, and we may note that the attitudes of the supporters (the Tudor dragon and greyhound) are in no two cases identical. But the whole effect is somewhat to weary the eye. So also do the perpetual roses and portcullises with which the walls are bestudded. One of the former, however, deserves special notice, as in it is framed one of the very few mediaeval images of Our Lady which has weathered the storm of the Reformation. It is to be found at the southern corner of the west wall, and is what is known as a _Rosa Solis_. The inner petals are sun-rays, and in the midst is the "Woman clothed with the sun." (The White Rose of York is also sometimes represented in the windows as a sun-rose, the sun being also a Yorkist badge, but in this the rays are external to the flower.)