oak, and made by Messrs. Dart & Francis of Crediton to Mr. Caröe’s design has a front divided by carved work into three recessed compartments, into which will fit frontal panels of plain oak, or of beautifully embroidered work, as occasion demands.  There are four separate sets of these embroidered panels (white, red, green and purple) the material of which is in all cases a rich brocade, upon which very beautiful designs specially made by Mr. Caröe, have been embroidered by Miss Hilda C. Morris (with the assistance of Miss Parson and Miss Butler) at her studio, 10, Victoria Grove, S.W.  It would take too long to describe the designs in detail, as, though small, they are very full of thought and work, and have taken a long time to carry out, but to those who are interested in church embroidery they will doubtless prove of very special interest.

It may be of interest to mention here the eucharistic vessels and the candlesticks and flower vases, all of which are of silver, and have been made from Mr. Caröe’s designs by Miss Woodward at her studio, 5 and 7, Johnson Street, Notting-hill Gate.  The chalice, which is of the late Gothic type, is about 7 inches high, having a circular bowl, round the rim of which are engraved in appropriate lettering the words: “Calicem Salutaris accipiam et nomen Domini invocabo.”  The stem and foot are hexagonal, and with the knop are richly decorated with Gothic ornament.  The paten fits on to the top of the chalice, forming a cover thereto.  Round its edge runs the inscription, “Hoc est corpus meum quod pro vobis datur,” whilst across its entire surface is embossed a cross, in the centre of which is the sacred monogram in low relief, as are also the squares of Gothic leaf ornament at the end of the arms.

The flower vases are some 6 inches high, oval in section with slight angular ribs, and narrowed below the neck and above the foot.  Each has a marguerite engraved upon it, emblem of the donor’s name, and an ornamental initial letter M.

The candlesticks are oblong in section, with one broad side forming the front, the shafts being decorated with emblematic marguerites and tracery work upon a background of blue enamel.  An Ornamental initial letter M and the date are engraved upon the fronts of the feet, which, like the bowls, are of simple form in hammered silver, the decoration being confined to the shafts.

THE PAVEMENT OF THE CHAPEL.

With the exception of those portions upon which the chairs will stand and which are laid in oak blocks, the whole flooring of the chapel is laid in marble or marble mosaic, after the fashion of the old Cosmati work of the 12th [10] and 13th century.  This work has been carried out to a special design prepared by Mr. Caröe, by Messrs. Arthur Lee & Bros., Ltd., Marble Workers, of Hayes, Middlesex.

There is a good deal that may possibly be of interest in this pavement, both because of the class of work and the variety of marbles used therein, and because of the symbolic nature of certain portions.  We will deal, first, with the actual steps in the chapel.  The two steps (Nos. 1 and 2) at the western end are laid in Lunel, the next step as you walk east (No. 3) being of an Austrian marble, “St. Just,” whilst the three easternmost steps (Nos. 4, 5 and 6) leading to and nearest the altar, are of white statuary, grand antique, and Rosso Antico, respectively.  To Dante lovers, and there are doubtless many such in St. Peter’s congregation, these easternmost steps will recall the splendid symbolism of the passage from the Purgatorio (Canto IX. 94–102), which tells how Dante came to the Gate of Purgatory, carried thither