rine mosaic, is the grave of Bishop Allen (1836-1845), to whose
memory a monument in white marble has been erected in the south aisle
of the Choir. A little further southward is a monument erected over
the grave of Dr. Mill, Canon of Ely, and Regius Professor of Hebrew in
the University of Cambridge, who died in 1853. It is an altar tomb of
serpentine and alabaster, ornamented with marble mosaic and polished
stones, bearing a recumbent effigy of Dr. Mill in his robes; at the
feet are two kneeling figures, one an oriental character, and the
other a student; the figure is in copper and was formed by the
electrotype process. It was designed by Sir G.G. Scott, and executed
by Mr. Philip.

In the eastern bay on the south side is a monument of Cardinal de
Luxemburg, Archbishop of Rouen, and Bishop of Ely (1438-1443). This
monument was for many years hidden by a screen, but on the removal of
the Choir the screen was taken away and the monument partially
restored, the figure remains but the head is gone. The Cardinal-bishop
died at Hatfield, and his body was buried at Ely, but his heart was
conveyed to his Cathedral at Rouen. The niches and canopies with their
finials in the tympanum of the arch above this monument will attract
attention, being chaste and elegant; they are similar to those in the
interior of Bishop West's chapel, but are in a more perfect state.

+South Aisle of the Choir.+

The eastern portion of this aisle is occupied by the elegant mortuary
+Chapel of Bishop West+, (1515-1534), filling the space of one bay in
a similar way to that of Bishop Alcock in the north aisle. It is a
rich specimen of that gorgeous style by some called the "Florid
English," by others the "Perpendicular," but when that style was
verging into "Renaissance." The niches and canopies are very numerous,
and almost endless in variety of size, shape, and decoration. There
are places for upwards of two hundred statues, large and small; and
some of the carved heads were of medallion size, and well executed. It
is impossible to contemplate this beautiful oratory, even in its
mutilated state, but with feelings of admiration; the taste of the
designer, no less than the execution of the sculptor, are wonderful,
and although every part is covered with niches, pedestals, and
canopies, interspersed with relievos, grotesque designs and ornaments,
the whole appears light and airy. The ceilings of the canopies are
covered with tracery that can only