“Fan-tracery is a peculiarly English feature, and was invented, according to Fergusson, in order to get rid of the endless repetition of inverted pyramids which earlier vaulting produced. He therefore considers it an improvement on the vaulting of the early English and Decorated periods; and, as he thinks the ceiling of Christ Church Cathedral to be the best example of fan-tracery, he comes near to pronouncing it the finest in the world.”--(P. D.) The East End is Scott’s restoration in the style of the Twelfth Century. The large wheel-window (an imitation from Canterbury) and the two round-headed windows below produce a fine effect. On the left of the Choir we come to the most curious part of the Cathedral. Columns and arches mark the divisions of the north-choir-aisle, the =Lady-Chapel= further north and the =Latin Chapel= beyond--practically three aisles. The east end of each aisle contains a beautiful Burne-Jones window. The north transept forms the western boundary of these three aisles, which are in reality only an extension of this transept. “Here the eye wanders among pillars and arches which branch away in so many directions that the grandest churches can scarcely give more thoroughly the idea of infinity. And here one stands on the site of St. Frideswide’s first little church, with the very arches that she had built for her, still standing in all their primitive simplicity. “At the end of the north-choir-aisle is the St. Cecilia window, presented in honour of the patroness of music by Dr. Corfe, a former organist, in 1873. In the centre light the saint is represented playing her regal or small hand-organ; two angels holding other musical instruments, with palms in their hands, stand by her. The drapery is wrought in white glass, the angels have pale-blue wings, and the flesh tints matted over with red tell warm against the drapery. In the lower panels are three scenes from her life: ‘Here St. Cecilia teaches her husband,’ ‘Here an angel of the Lord teaches St. Cecilia,’ ‘Here St. Cecilia wins a heavenly crown;’ the saint’s figure in the last panel is most touchingly drawn. These lower panels are richer in colour than the rest, and a greater variety of tints is introduced; but the colours are so delicate, and so skilfully blended, that they fall in most harmoniously with the main parts of the window.”--(P. D.) In the most eastern arch between the north-choir-aisle and the Lady-Chapel we stop to examine the =Shrine of St. Frideswide=.