the next and to the altar pace, all of which stretch the full length of the chancel, as well as the three steps to the altar daïs, are in carefully selected Pavonazzo. The design of the fourth bay is a system of interlacing bands, forming alternately large and small octagons, between which are squares and oblongs. The small octagons are rich plaques of marble, while the large ones are divided radially into eight panels. All these parts are filled with mosaic of varying patterns and colours. At each end of this bay is a long panel of overlapping circles, filled in with rich mosaic. The panel on the altar pace and the three panels on the altar daïs are in the same mosaic, each of a different design; the long plaques of marble in the upper panel are red and green of rich dark marbles. The two panels at the side of the daïs are in opus sectile, a design of hexagons of Pavonazzo, with diamonds of Vert des Alpes between them. The broad band of red, the whole length of the chancel on the outsides of the pavement, is of Levanto marble, forming a finish to the work." =The Screens=, enclosing the four eastern bays of the choir, were given as a public memorial to Dean Argles. They are of very admirable wrought-iron. The same may be said of the choir gates. The former are the work of White & Son, of London; the latter of Singer & Son, of Frome. The short pillars that support the choir gates, and the unrelieved backs of the returned stalls, have at present the unsatisfactory appearance of all unfinished work. A drawing of the complete design is exhibited in a frame on an adjacent pillar. The single ancient object among the fittings in the choir is the brass eagle Lectern. This was given to the monastery by William Ramsey, Abbot, and John Malden, Prior; it is consequently of late fifteenth century date. An inscription recording the names of the donors, in two Latin lines, was engraved round a projection in the middle of the stem. Centuries of hard scouring have obliterated this; but the upper and lower ends of most of the letters can just be traced. An expert can satisfy himself that the inscription as preserved by Gunton is practically correct. It seems to have been this, though it is not possible to vouch for every letter. _Hæc tibi lectrina dant Petre metallica bina Iohes Malden prior et Wills de Ramiseya_.