Above the anti-choir was the rood loft, in which were kept the reliques, and on which was erected the principal rood or cross, with the figure of the Saviour carved on it. The rood loft was always placed between the nave and choir, signifying that those who would go from the church militant, which the nave then represented, into the church triumphant, must go under the cross, and suffer affliction. The festival of the cross was and is called Holy Rood Day, and was instituted first on account of the recovery of a large piece of the cross by the Emperor Heraclius, after it had been taken away, on the plundering of Jerusalem by Chosroes, king of Persia, A.D. 615. Rood and cross are synonymous. The rood, when perfectly made, had not only the figure of Christ on it, but those of the Virgin and St. John, one on each side, in allusion to their presence at the Crucifixion. Besides the rood, this loft also once contained a representation of the Trinity, superbly gilt; the Father blasphemously figured as an old man, with the Saviour Christ on the cross, between his knees, and the Holy Spirit, in the form of a dove, on his breast. This image was ornamented with a gold chain, weighing nearly eight ounces, a large jewel, with a red rose enamelled in gold, hanging on it, and four smaller jewels. A silver collar was also presented to it in 1443, that had been bestowed upon some knight as a mark of honour. Among the relics was a portion of the blood of the Virgin, to which numbers came in pilgrimage, and made offerings. Whether or no it liquefied at stated seasons, like that of St. Genaro, is not recorded. It is not pleasant to watch the growth of such gross materialisms over the sacred truths and symbols of Christian worship; nor can we wonder at the re-actionary enthusiasm that came and swept them all away, however much good taste may deplore the loss of many beauties and solid treasures, that disappeared amid the tumult of the “dissolution.” Passing beneath the rood loft, now the gallery for one of the finest organs and choirs our country can boast, we enter the choir, which, as it extends westward considerably beyond the tower, is of unusual length, and imposing in its effect; the lantern, or lower part of the tower, rising in the centre, supported by four noble arches, that bear the weight of the whole tower and spire, is impressively beautiful, albeit modern decorators have been at work to spoil the harmony that should prevail, by medallions and wreaths that should have no place there, however pretty in themselves.