We let pulpits and thrones of the present day speak for themselves, and leaving the choir, take a brief look at the fine old chapels of St. Luke and Jesus, on the north and south side of the apse. The former still remains in good preservation, and is used as the parish church of St. Mary in the Marsh, destroyed by Herbert, the founder of both these chapels, as well as the Cathedral. The only font within the precincts is here; it is an ancient affair, brought hither from the demolished church, and is decorated with carvings, representing the seven sacraments, the four evangelists, and divers figures of popes, saints, confessors, &c. Over this chapel is the treasury of the dean and chapter, from amongst whose stores, hid up where moth and rust do corrupt, a beautiful and curious painting of scenes in the life of Christ, has been of late years rescued, and promoted to the honour of a place in the vestry room (the ancient prison of the monastery), where it has been placed under a glass case. It appears to have served originally as some part of the decoration of an altar, and was set in a frame, the mouldings of which are richly diapered and ornamented with gilding, with impressed work and fragments of coloured glass inserted at intervals, a mode of enrichment of which specimens are very rare in this country. The corners of the frame had been removed to adapt it to the purpose of a table, at the period of the great “dissolution,” where it had remained with its back serving for the top of the required table, until accident revealed it to the eyes of archæological research. The painting is divided into five compartments, each on a separate panel, the subjects being the Flagellation of Christ, Christ bearing the Cross, the Crucifixion, and the Ascension. The entire back-grounds of the paintings are gilded and diapered in curious patterns, and the ornaments, such as the bosses of the harness on the horses of the soldiers, the goldsmith’s work on the cingulum or belt, are in slight relief. This mode of painting is described as being executed upon a thin coating of composition, made of whiting and white of egg, laid on the oaken panel; upon this the outline of the design was traced with a red line, and the spaces designed to receive gilding were then marked out with fresh whitening and egg; the stems marked with a modelling tool, and leaves added by filling moulds with the paste, and fixing them by pressure on the surface of the picture; the puncture work and little toolings were then produced, and the modelling finished. The gilded portions were next covered with gold leaf, and the artist proceeded with his pictures, using transparent colours liquefied by white of egg.