The curiously-shaped _Chapels_--the _Jesus_ and _St. Luke's_--with their Norman arcading are next seen. In the former there is some mural painting much restored--a facsimile of the ancient picture--and over the chapel is a museum. The latter is a parish church for the precincts. The windows are sham Norman, having been inserted in the last century. There is a mutilated font of fifteenth century, carved with Crucifixion and Seven Sacraments. Above it is the treasury. Here is a curious oil painting accidentally discovered by Professor Willis, which was part of a reredos, converted into a table after the Puritan outbreak. It is sometimes attributed to an Italian artist of 1370, but there is no reason to suppose that it was not the production of genuine English art of that period. Even Dean Stanley attributes the Eleanor bronze to an Italian, Torel, and Professor Freeman calls De Noyer of Lincoln a "crazy Frenchman," and others ascribe the Exeter chancel-screen to French workmen. This error of attributing pure English work to foreign artists has caused a very unjust depreciation of the skill and genius of our native craftsmen. The subjects of these paintings are the last scenes of our Lord's life. Other mural paintings are:--On ceiling of sacrist's room of late thirteenth century--subjects: Virgin, SS. Catherine, Margaret, Andrew, Peter, Paul, and Richard of Chichester. On south wall of south aisle--SS. Wulstan, Edward the Confessor, and others. The Lady Chapel has been destroyed, as we have said, by Dean Gardiner in Elizabeth's reign, but happily the doorway remains, the only part of the Cathedral of Early English workmanship. The profusion of the dog-tooth ornament is evident. The doorway is formed of a double arch, with clustered shafts, and was built, together with the Lady Chapel, about the middle of the thirteenth century by Bishop Walter de Suffield. Stone was brought from Caen and Barnack for the purpose. The destruction of these Lady Chapels was a sign of the decay in the worship of the Virgin, which was so extensively followed in mediæval times. There is another chapel on the south; that of St. Mary-the-Less, now used as the consistory court, built by one Bauchun in the fourteenth century. An ecclesiastical lawyer, Seckington, added the groined roof in the fifteenth century. The altar has been displaced by a doorway. The sculptured bosses represent the legendary history of the Virgin. We enter the _South Transept_ by a Tudor doorway, over which is some rich open screen work of fifteenth-century design, under the original Norman arch. This transept, built by Herbert, is fine Norman work, with good arcading, the vault being added by Bishop Nykke. This transept has the oldest coloured glass in the Cathedral, a copy of Raphael's Ascension, erected by Dean Lloyd in 1790. Here we see the following _Monuments_:-- Bishop Bathurst (d. 1837), by Chantrey; and memorial tablets to East Anglian heroes who fell in China and Afghanistan.