ly the central arch, while the western
bay is blank.

The base is decorated with a low parapet pierced with quatrefoils, four
in the centre, and two in each side opening. On the south, however, the
quatrefoil decoration is slightly different. There are only three
quatrefoils in the centre and two smaller ones on each side. This
parapet is in great part a restoration, the original having been almost
entirely removed, in the vain hope of admitting more light to the lower
part of the choir.

In the other plane the windows are in triplets, three lights in the
central and single lights on either side, decorated with flamboyant
tracery.

The eastern bay has no side lights.

Although the windows seem to be all different, there are but six
varieties, distributed as follows:

On the north side beginning at the east the design of the first window
is not repeated. That of the next window occurs in the second window on
the south side. The third and fifth are alike. The sixth and the last
are like the fourth. The design of the seventh window does not occur
again.

On the south side one new pattern appears in three windows--the first,
fourth, and sixth from the east. The second is like the window opposite,
and the third, fifth, and seventh are like the third on the north side.

Of all the windows the second from the east is the most beautiful.

Before 1764 they were filled with stained glass of which some remains
are still to be seen. The trefoil heads above the mullions have a brown
border with the insertion in some cases of a yellow diamond ornament,
and in others of a crown.

The #Roof#--This unique specimen of a waggon-headed ceiling,
semi-circular in all its parts, is of oak. Bishop Welton began its
construction about 1350. A plaster ceiling, put up in the year 1764, hid
this fine timber roof until its removal in 1856. It was then found that
enough remained of the original to allow a faithful restoration to be
made. But the scheme of colouring--red and green upon white--was not
copied. In its stead Owen Jones suggested another--a background of blue
plentifully ornamented with golden stars.

The _Saturday Review_ is responsible for the statement--for the truth of
which, however, it does not vouch--"that on the first occasion when Dean
Close found himself beneath the roof, then glowing in all the brilliancy
of modern painting and gilding, in semblance of 'the spangled firmament
on high,' he solemnly ejaculated, 'Oh my