most curious are: a pelican feeding her young; St. Werburgh and the stolen goose; a wife beating her husband; the strategy of the fox; stag hunt; Richard I. pulling out the heart of a lion; a fox in the garb of a monk presenting a gift to a nun; various wild men; wrestlers; unicorn resting its head on a virgin's knee, and numerous grotesques. The _Throne_ is a handsome modern work, and also the _Pulpit_, presented by the Freemasons of Cheshire, who restored also the ancient sedilia, which, tradition states, came from the old Church of St. John without the city walls. The altar is made of wood grown in Palestine. The oak of Bashan, olive wood from the Mount of Olives, and the cedar of Lebanon, are all used, and the carvings represent palm, vine, wheat, olive, thorn, bulrush, hyssop, myrrh and flax, all of which are included in the _flora_ of Palestine. The reredos is a mosaic of the Last Supper. The magnificent candelabra of Italian _cinque cento_ work are the gift of the late Duke of Westminster. Over the altar is an arch, through which the window of the Early English Lady Chapel can be seen, and above is a window with Decorated tracery. The _North Aisle_ of the choir is interesting. Traces of Norman work are seen in the base of a massive round pillar at the west entrance, in the inverted capital of a Norman pier, with an Early Decorated pier constructed on it, and the Norman apse is marked on the pavement by a line of dark marble. The canons' vestry is architecturally a very important building, as it contains work of the eleventh, twelfth, thirteenth and fourteenth centuries. The arch in east wall of the transept is Early Norman; the Norman apsidal termination can be traced. It was rebuilt in the Early English period, and made to terminate in a square form, and the doorway from the north aisle is fourteenth-century work. There is an old chest or reliquary here with very good iron-work and lock of the thirteenth century. Re-entering the aisle we can trace the abandonment of the apse and the extension eastward in the Early English period, as shown in the character of the vaulting and in the piscina, which belongs to this period. In Perpendicular times a further extension took place, in order to gain an entrance to the Lady Chapel. The gates of both aisles are old Spanish work of 1558, presented by the late Duke of Westminster. The _South Aisle_ has passed through somewhat similar vicissitudes, but "restoration" has removed some of their traces, and it is now terminated by the apse, the erection of which we recorded when examining the exterior, and which is conjectured to be an exact reproduction of the appearance of this end of the Cathedral in the time of Edward I. The apse has been fitted up as a memorial to Thomas Brassey, the great contractor.