om
the soul borne up by the angel. On the right the wicked are being
carried off by fiends; on the left the righteous are being led away by
angels bearing crosses.

In the left-hand bottom corner are angels and inscriptions. "Before man
lyfe and death. In all thy workes remebre thy last, and never wilt thou
offend." In the top corner on the left is represented the New Jerusalem.
The architecture is classic in character.

[Illustration: SOUTH-EAST VIEW OF CATHEDRAL SHOWING WHISPERING GALLERY.
_S. B. Bolas & Co., Photo]_

St. Peter and an angel are standing close to a gate into which the
righteous are entering. A choir of angels with musical instruments are
above.

In the bottom corner on the right the mouth of hell is represented, into
which the lost are being thrust by attendant demons. There is a grim
figure inside a globe, possibly intended for the Prince of this world,
seizing a soul by the hair. At the bottom are other fiends helping to
torture the unhappy lost.

[Illustration: TRIFORIUM OF THE CHOIR, LOOKING EAST.
_Photochrom Co. Ltd., Photo.]_ ]

Sir G. Scharf, in _Archaeologia_, vol. xxxvi., says that the picture is
English, and is of great importance. He thinks it was painted during the
latter years of the reign of Henry VIII. or during that of Edward VI.,
and points out that it is an epitome of the famous altar-piece at
Dantzig, painted in 1467. It is remarkable that in this picture the
Virgin and St. John the Baptist, who are usually associated in pictures
with the Saviour, are altogether omitted.

The second, or south-eastern chapel, contains many interesting remains
of coloured tiles, old carving, some being linenfold panels. There are
also some finely-carved pilasters, which once formed part of the Queen
Anne reredos, put up by Dean Chetwood about 1710. This reredos was taken
down in 1807, and was for many years in the old church at Cheltenham.
When, however, the church at Cheltenham fell into the hands of the
restorer, parts of the carved work were brought back to Gloucester.

Passing towards the Whispering Gallery, the flying buttresses inserted
to support the walls of the clerestory, which were weakened by the
insertion of the great east window of the choir, 1347-1350, should be
noticed.

The #Whispering Gallery#, to which the ordinary visitor pays more
attention than anything else in the building, has remarkable acoustic
properties. A whisper (the lower in tone