houlders, turns round
from the desk at which she is kneeling, and throws out her arms with a
quaint gesture of surprise; her crown and nimbus are both of enormous
size. A very small Gabriel dashes down from the top corner, bearing a
scroll which takes up the whole of the panel; he is preceded by a Dove
with very long rays. The next three panels (passing over these with
shields) contain three figures of clergy, two of which hold books, and
all their short staves. They wear the cassock, long surplice, and a
long, graceful choral cope, somewhat like the modern academic gown in
shape, the rounded ends of the hooded almuce reach to the knee and are
held at the chest by a cord with tassels. There is no better
representation of medieval choir vestments in existence than these
three figures. The last panel is a curious representation of the
Eternal Father holding the crucifix; this remarkable figure has a
_very_ long face, great masses of curly hair, a huge crown, and _very_
long hands.

The two chapels of the north transept can only be reached through the
choir aisle, no doubt because the way to the chapter-house was through
them. The first was probably ST DAVID'S chapel. Here should be noticed
the capital of the easternmost shaft of the second transept pier--a
head with curly hair and handsome smiling face. This shaft is
corbelled off, and the corbel through carved in the shape of a lizard
eating the leaves of a plant with berries thereon; it is a charming
study. The tomb of Bishop _Still_ (1543-1607) in this chapel is under
a handsome canopy of warm-coloured marbles, with black columns and
red, blue, and gold decoration. The effigy is dressed in rochet and
chimere, over which is a red robe lined with white fur; a ruff is
round the neck, a close-fitting black cap covers the head and part of
the ears, and the rochet is finished at the wrists with a plain black
band.

In the chapel of the HOLY CROSS the monument of the intruding Bishop
_Kidder_, Ken's successor (p. 158, _ob._ 1703), stands on the site of
the altar, whither it has been removed from its original position on
the south side of the choir. Standing in all its chilly
pretentiousness so near to Still's tomb, it well illustrates the
immense decline in monumental art which took place during the
seventeenth century. The bishop's daughter, who erected the monument,
is represented reclining, as, with one arm outstretched, she looks at
two urns which are supposed to conta