with quatrefoil panels and crosses and centred on a pietra dura representation of the Cardinal's armorial bearings. An elaborate pulpit was constructed at the south west pier of the crossing. Composed of statuary marble inlaid with rare coloured marbles, its plan was octagonal, with angle niches containing statues of the Evangelists, St. Patrick and St. Brigid, the canopies above the statues being groined and carved. The panels between the statues were filled with inlaid traceries. The canopy of the pulpit, rising to a height of nearly 36 ft. was carved in Austrian oak painted white and inlaid with coloured enamels and gold leaf. Behind the rood screen, McCarthy's reredos was retained intact but its lower portions were enriched with marble inlays in a diaper pattern with fleur de lis in a vibrant variety of coloured Italian marbles. A new Lady Altar and tabernacle was constructed before the reredos from statuary marble. The antependium contained three bas-relief groups, the work of the eminent Roman sculptor Michele Trepisciano (1860–1913) showing "The Presentation of the Blessed Virgin in the Temple", "The Assumption" and "The Coronation of the Virgin" recessed in separate panels with cusped heads, and columns of Breccia di Seravezza antica and Breccia Corallina marbles. The tabernacle, inlaid with Corsican Jasper, was in the form of a cube topped with a roof of fish scale carvings and finished with two large statuary marble standing angels. To the North and South of the Lady Chapel, Side Chapels were erected to St Joseph (North) and St Brigid (South), closing the aisles at the East. In the South transept, a sumptuous altar was erected to the Sacred Heart. Finally, to the West end, McCarthy's wooden gallery was replaced with a three-bay marble screen of white marble supported on quatrefoil pillars of Portasanta marble and inlaid with Brocatello marble. The organ itself was rebuilt to suit the newly enlarged space and a new Austrian oak organ case was designed and built. The most striking and lasting of Cardinal Logue's legacies to the cathedral were, however, the scheme of mosaics he commissioned to adorn every inch of blank wall in the cathedral. Significant thought was given to how best to deal with the decoration of the walls of the building. Archbishop McGettigan had completed a scheme of painted murals and stencilling of the walls but, as a result of Armagh's damp climate, these had perished within a