“A prominent feature in the Latin-Chapel is the old oak stalling, which a second inspection proves to be patchwork. The returned stalls at the west end probably belonged to the choir of the conventual church, and in that case would have been fitted in here when Dean Duppa ‘adorned’ the choir by destroying the old wood-work. Near to these is some of the work prepared for Cardinal Wolsey’s new chapel. The poppy-heads are good specimens of wood-carving, and contain a monogram I.H.S., a heart in a crown of thorns, a cardinal’s hat, and other devices. The pulpit, with its delicate canopy, an excellent specimen of Seventeenth Century wood-work, was formerly the Vice-Chancellor’s seat in another part of the church, occupied by him during university sermons. It was then used by the Regius Professor of Divinity for his lectures, but since the altar was restored six years ago, the chapel has been no longer used as a lecture-room.”--(P. D.) Here we find some of the best glass in the Cathedral. At the east end is the famous =St. Frideswide window= by Burne-Jones; and the three windows on the north are beautiful specimens of the Fourteenth Century, replaced here by Dean Liddell. In the middle of each light is a figure and the rest of the space is covered with the diamond-shaped pieces of glass bearing leaves and flowers, technically called “quarries.” Medallions and borders with various beasts--even monkeys--decorate the spaces in the tracery. The first window depicts St. Catherine, a Virgin and Child, and next a figure, probably St. Frideswide; the second window represents an archbishop and angels; and the third, St. Frideswide with St. Margaret on one side and St. Catherine on the other. It is very interesting to compare these with the Burne-Jones’s St. Frideswide at the east end: “Though this is one of the first windows that Burne-Jones ever designed it is one of his best. Better suited (as many think) to the purpose of a window, at all events in this enclosed chapel, than the freer method of the other glass, it carries on the best traditions of the craft, in its infinite variety of gem-like colour and complexity of detail; while it attains a degree of perfection in pictorial effect and figure-drawing which was impossible during the great era of mediæval glass-painting. The death of the saint, with its lovely effect of light through the latticed window, for instance, and the picture of her in the pig-sty, would be perfect as finished pictures, and yet do not for an instant outstep the convention which is necessary for their function as part of a window.