olumns of Brescia marble,
supporting the entablature above, are twisted. This is flanked with a
colonnade; the figure on the north being the Angel Gabriel, and to the
south the Virgin. Above the pediment is a canopy with the Virgin and
Child, and St. Peter and St. Paul to the north and south; and above
all, and nearly seventy feet from the ground, the Risen Christ
completes this most reverent design.

The altar cross is adorned with precious stones and lapis lazuli; and
the massive copper candlesticks are imitations of those, four in
number, sold during the Protectorate, and now, with the arms of
England, in Ghent Cathedral.

=The Apse.=--Although the side aisles require no particular mention,
unless it be of certain relics from Jerusalem in the south aisle, the
iron gates leading to the reredos are well worthy of attention. When
the choir was opened out, the ironwork was brought here; but there was
not sufficient. Recourse was had in vain to modern coal-smelted metal:
it split, and proved useless for the finer work. Searching the
records, it was discovered that Tijou used only charcoal-smelted iron;
and a supply was procured from Norway. Comment is needless. The
vaulting comes down to the upper tier of windows. The windows in the
lower tier, by Mr. C.E. Kempe, in harmony with the mosaics, have for
their general subject the Last Judgment.

Isolated by the great Reredos behind from the rest of the church, the
apse now forms a separate chapel, and is called the Jesus Chapel. Why
borrow the name from the east end of the crypt below? The Liddon
Chapel would be a suitable name. Here, against the south wall is his
monument; and the altar-piece, in its marble framework, forms part of
his memorial. It is a copy of a painting by Giovanni Battista da
Conegliano, otherwise Cima. The original, now in the National Gallery,
was painted for the Fraternity of the Battuti at Portogruaro. The
subject is the incredulity of St. Thomas.

[Illustration: THE CHOIR, ALTAR AND REREDOS.]

=The Mosaics.=--Excepting, perhaps, certain minor alterations which
time and experience may suggest, the decoration and adornment of the
Choir may now be reckoned as finished. The scheme was begun from the
east, and continued westward; but there is no good reason for altering
our plan, and we will continue to work from the west eastward. Of the
five divisions of the main aisle, the chancel arch may be dismissed;
the subject being a continuation of the