ntained a figure aglow with gold and
colour. There were originally 107 of these statues, the centre one
representing Our Lady, supported on either side by S. Cuthbert and S.
Oswald. Unfortunately none of the figures remain _in situ_.

Immediately in front of the steps of the high altar will be seen the
matrix of a large brass. It covers the grave of Ludovick de Bellomonte,
Bishop of Durham from 1318 to 1333. The slab, which is in two pieces,
measures fifteen feet ten inches by nine feet seven inches, and an
examination will show the brass to have been an elaborate and sumptuous
composition. Unfortunately all the metal work has disappeared.

The #Stalls,# as they originally existed, were destroyed in 1650 by
the Scottish prisoners, who were kept in the cathedral after the battle
of Dunbar. The present stalls we owe to Bishop Cosin (1660 to 1672), and
they are remarkable pieces of carving for that date. In general
character they imitate Perpendicular work, though the details do not
adhere altogether to that style.

Before leaving this part of the church a note may be devoted to the
alterations and additions made during the years 1870 to 1876. A new
screen between the nave and choir was then erected; the choir floor
relaid with marble mosaic; the stalls replaced in their old positions,
and new portions made to replace those destroyed in 1846. A new organ,
pulpit, and lectern were also added.

The new #Choir Screen# is very much open to criticism. Though no
doubt beautiful in detail, and of excellent workmanship, its effect, as
a whole, is not pleasant, when seen from the west end silhouetted
against the light of the choir. A screen previously existed in this
position erected by Bishop Cosin. This was removed in 1846, with the
idea of improving the appearance of the church from the west end by
obtaining a "vista" through to the Neville screen and rose window of the
eastern transept. The effect seems, however, to have been disappointing,
hence the erection of the present screen, which may or may not have
improved matters. In the two western piers of the choir holes may be
seen cut in the stonework. These received the rood-beam from which,
during Lent, the Lenten curtain was suspended.

[Illustration: The Choir, looking West.]

The #North Aisle of the Choir,# again, shows the joining and
harmonising of the "new work" of the eastern transept with the earlier
Norman work. Inside the church the most easterly bay appears to