triforium, which opens into a gallery or passage, and the clerestory. Sometimes the choir occupies two bays of the nave, but usually begins with the screen placed on the east side of the central tower. This screen was formerly the rood-screen, and a large crucifix stood on it; but at the Reformation all roods were destroyed, and sometimes the organ stands in its place.

Entering the choir we see before us the high altar with a fine reredos behind it, so called from the French L'arrière-dos, meaning "embroidered hangings." On the south of this is the piscina, consisting of a hollow basin with a stone-drain, wherein the priest cleansed the sacred vessels after using them in the Holy Eucharist. On the same side are the sedilia, or stone seats for the clergy, frequently with richly-carved canopies. Then there are the beautifully-carved stalls with fine tabernacle work, and the sub-sellæ or misereres (French, miséricorde) with their quaint carvings. It is a popular error, gravely perpetrated by some cathedral vergers and others, to suppose these misereres were a kind of ingenious trap for sleepy monks, who, when the heavy seat fell down with a loud bang, were detected in slumber and forced to do penance. They were so placed as a concession to human weakness in order that the monks or canons might lean against them during the long mediæval services, when sitting was not allowed. The eastern portion of the choir is called the presbytery.

We pass to the north aisle of the choir and proceed to the ambulatory, processional path, or retro-choir. Here, at the back of the altar, was the chief shrine, where the relics of some great saint were preserved under a gorgeous cover decorated with gold and silver and precious jewels, to which crowds of pilgrims flocked, and there prayed and gazed upon the wondrous shrine, and made their offerings. The steps and pavement leading to the shrine often still show by their worn condition the evidence of the tread of countless numbers of pilgrims. Near the shrine was a watching chamber, where a monk stayed to guard the shrine and its treasures.

Eastward of the ambulatory is usually the Lady Chapel, where the altar of the Virgin stood; and here, and in other parts of the church, are numerous chantry chapels, sometimes built on to the church, or in the church itself, containing effigies of the founders and altar tombs, where masses were said by specially-endowed chantry priests for the repose of the souls of the deceased and their families. Some effigies of knights and warriors have their legs crossed. It is another popular error to suppose that this fashion of representing the deceased had anything to do with the Crusades. Beneath some portion of the church we find a crypt with the remains of numerous altars, where masses were said for the souls of those who lie buried here.

A door on the south side of the church leads to the cloister court; immediately on the left as we traverse the east walk we see the slype or passage leading to the monks' cemetery. Another door from this walk leads to the chapter-house, where the monks assembled daily to arrange the affairs of the monastery, enforce its discipline, assign the duties of the day and transact other business. On the same side of the cloister was the dormitory; the refectory was on the south; the uses of the buildings on the west side varied in different houses.

As we see our cathedrals now, the view that meets us differs much from that which would have greeted us in mediæval times. Then all was ablaze with colours. Through the beautiful ancient glass the light gleamed on tints of gorgeous hues, on rich tapestries and hangings, on walls bedight with paintings, and every monument, pier and capital were aglow with coloured decorations. We have lost much, but still much remains. At the Reformation the avaricious courtiers of Henry VIII. plundered our sacred shrines, and carried off under the plea of banishing superstition vast stores of costly plate and jewels, tapestry and hangings. In the Civil War time riotous fanatical soldiery wrought havoc everywhere, hacking beautifully-carved tombs and canopies, destroying brasses, and mutilating all that they could find. Ages of neglect have also left their marks upon our churches; and above all, the hand of the ignorant and injudicious "restorer" has fallen heavily on these legacies of Gothic art, destroying much that was of singular beauty, and replacing it by the miserable productions of early nineteenth-century fabrication.

But in spite of all the evils that have been wrought, in spite of Puritan iconoclasm and Reformation violence, in spite of natural decay, eighteenth-century lethargy, and the intemperate zeal of unwise and tasteless modern restorers, our cathedrals still preserve much of their ancient beauty and attractiveness. They are standing witnesses to the greatness of the masons and builders who fashioned and perfected our English Gothic art, "an art that was created here in this land according to our native instincts, and in accord with the sober dress of our skies and the simple pleasantness of our scenery."[1] A man cannot fail to love that English art, whether he has been born amongst it like ourselves, or has come wonderingly on its simplicity from all the grandeur over seas.

ST. PAUL'S CATHEDRAL

The great Cathedral of St. Paul has abundant claims to the love and veneration of every Englishman. Situated in the heart of the city of London, it has ever been associated with the religious, social and civic life of the people; and as the great national Cathedral of England all the principal events in our country's annals have been connected with St. Paul's. Without doubt it is the finest and grandest building in London, if not in the world. Comparing it with St. Peter's at Rome, we find that its dimensions are, of course, much smaller, though its grace and beauty are in no way inferior to the magnificent conception of Michael Angelo. It is the shrine of our national heroes, the chef d'œuvre of a great genius; its massive dome surmounted by a golden cross greets the traveller returning from beyond seas; its walls have echoed with the strains of high thanksgiving on the occasion of national victories and blessings, when kings and queens have come in solemn state to render thanks to Him who is the King of kings and Lord of lords. Just as Westminster was ever the church of the king and the government, so St. Paul's was the church of the citizens.

The prominent place which St. Paul's takes in the national and social life of England, in the great functions of Church and State, and in promoting the religious life of the people, is worthy of its best traditions, and at no time during its long history has it taken a higher place in the affections of the nation.

The Older Cathedrals of St. Paul's

The present Cathedral, erected by the skill and genius of Sir Christopher Wren, is the third sacred edifice built upon this site. Indeed, Camden and certain early fanciful historians tell us of a Roman temple dedicated to Diana which they assert once stood here, erected during the time of the Diocletian persecution upon the site of an early Christian church. It is, however, certain that when Sir Christopher sank his foundations for the present building, he found beneath the interred bodies of mediæval times several Saxon stone coffins, and at a still lower depth Celtic and Roman remains, showing that the site had been set apart as a cemetery from very early times.