t of the
late Dean and Miss Argles. The following description of it is from the
pen of Mr Davison.

"Passing into the choir from the west, the pavement between the stalls
is of tesselated Roman mosaic, in an effective geometrical pattern of
squares, and oblongs of red, green and white marbles. The first bay of
the chancel is also in Roman mosaic, but of more elaborate design, the
central portion being a framework of interlacing cream bands, forming
diamond shaped panels alternating with circles, the centres of these
panels being varied reds and greens; the framework surrounds four large
panels of Pavonazzo d'Italie, each in six slabs. This is a beautiful
marble of feathery purple grey veinings on a creamy white ground. This
central part is flanked on each side by a broad band of the same
Pavonazzo, which separates it from the large side panels of a bold
design of squares of red, green and cream placed diagonally, interlaced
by white bands; upon these panels stand the pulpit on the north side,
and the bishop's throne on the south. This bay is approached from the
choir by the first marble step which is in Frosterley, a marble with
beautiful madrepores of light colour on a dark ground. The next bay is
of similar design to the first, but is approached by two steps of
Levanto marble of reddish brown tint with small veinings of white. The
third and fourth bays are in a marble mosaic called _Opus Alexandrinum_,
composed of various rich marbles of brilliant reds, greens, greys,
yellows, and creams, divided into the main design by bands of
Pavonazzo. The design of the third bay is divided into three equal
panels, in the centre of which are four large slabs of Cipolino, a
charming marble of a light green tint in broad wavy lines on a lighter
ground, which are framed in by a combination of small panels of mosaic
of varied rich patterns of triangles and squares, which are again
enclosed by a broad border of mosaic of white squares on a ground of
light green Vert de Suede. The step up to this bay, and also the step to
the next and to the altar pace, all of which stretch the full length of
the chancel, as well as the three steps to the altar dais, are in
carefully selected Pavonazzo. The design of the fourth bay is a system
of interlacing bands, forming alternately large and small octagons,
between which are squares and oblongs. The small octagons are rich
plaques of marble, while the large ones are divided radially into eight
panel