hief figures.

"The internal repair of the Lantern and Octagon was begun in February,
1874, and required a year for its completion. The ornamentation is in
the style of the fourteenth century. The central boss of the lantern
groining is a half-length figure of Christ in glory, considerably
above life size, and with the conventual clouding around it; it is
boldly carved in oak. The right hand is raised in the attitude of
blessing, and with the left the inner garment is drawn open to exhibit
the wound in the right side. Around this figure is painted a group of
Seraphim on a grey blue ground. The panels of the window hoods are
painted red, marking the distinction already made by the architectural
construction, and on them are painted Cherubim and golden stars. The
windows of the lantern were filled, some years ago, with coloured
glass, the colouring of which is harsh, and in strong contrast with
the mellow and rich painting of the woodwork, and injurious to the
general effect.

"Below the windows are thirty-two openings surmounted with rich
tracery. They are filled by panels on which is painted the angel
choir. The figures are composed in groups of four, under each window,
and are represented playing mediaeval instruments. The two eastern and
two western bays are intended to be severally grouped together,
forming distinct series of eight figures. The instruments in the hands
of the figures over the transepts are the psaltery and cithern, the
regale, tabret, lute, violin, bagpipe and trumpet, (illustrating the
150th Psalm.) Below this range of figures are smaller panels, simply
ornamented with the sacred monogram, the cross and the crown, resting
on a fine and richly carved cornice, which forms the base of the
lantern. The groining of the Octagon forms eight hoods, four above the
windows, and four above the great arches of the Choir, Nave and
Transepts. Beneath these last are remarkable statues of the four
evangelists, about life size, seated in the attitude of writing, with
a pen in one hand and a long scroll in the other; a writing table by
the side of each figure with the ink horn attached to it by a strap,
and a loop to hold the pen, is very complete. The space between the
great arch and the groining of the Choir is filled with rich tracery,
on the central panel of which is painted the Crucifixion, with angels
holding the chalice and palm branch on the right and left. The long
spandrils of the groining are painted wit