From Wiki:

The tapestry depicts a seated Risen Christ, within an oval mandorla on a green background, surrounded by the four living creatures mentioned in Chapter 4 of the Book of Revelation, which are also symbols of the Four Evangelists. The tetramorph (four shapes) of the title are the lion for St Mark, eagle for St John, calf for St Luke, and angel for St Matthew.

For the four living creatures, Sutherland sketched eagles and lions at Maidstone Zoo. The composition also draws influences from Egyptian sculpture, Italian mosaic, and images of Christ Pantocrator in Greek and Romanesque churches.^[5]

The face of Christ is bearded, and is deliberately made more human than divine: it is based on several sources, including photographs of cyclists in Paris Match magazine.^[6] The Christ figure wears a white robe, and is sitting on a throne, face on, with both hands raised towards his face. Loops around the head suggest a halo.

Between his feet is a life sized figure of a man, made diminutive by the colossal scale of the Christ-figure. At the base of the tapestry is a small Crucifixion scene.^[4]

For 1300 years people have gathered around and altar here to break bread together in the Holy Eucharist. Still we come to hear the teaching of Jesus, to pray, to share the bread of life and the cup of salvation as did Worcester’s two great saints, Oswald (925-992) and Wulstan (c. 1008-1095), whose remains were interred in this sanctuary after their shrines were removed in 1538.

William Hamilton, the Royalist commander who died of wounds received at the battle of Worcester in 1651, also rests here. The screen behind the altar is Victorian and shows Christ in majesty seated between the four Evangelists. This screen replaced an earlier one which now stands across the entrance to the chapel of St George visible from here. The hanging in front of the altar made by local artists in 1969 shows the colours of the liturgical year and represents the Cathedral’s pinnacles reflected in the waters of the river Severn flowing nearby.

“Do this in remembrance of me”

“As often as you eat this bread and drink this cup you proclaim the Lord’s death until he comes”*

*From a sign in the quire facing the altar

Altar of St Margaret of Scotland:

(c.1045-1093). Descendant of Alfred King of Wessex and ancestor of Queen Elizabeth II Canonised 1250.

Wife of King Malcolm III of Scotland. The 17th century frontal is thought to be Spanish but may be Italian, and shows scenes from the life of St. Teresa of Avila (1515-1582).

It is one of the treasures of the Cathedral.

This altar serves as a focus of prayer for the Mothers’ union of the Diocese.*

Altar of St Laurence:

Martyred 258, traditionally by roasting on a grid-iron.

The mensa (altar top) is one of the two oldest altar stones in the Cathedral.*

*Information taken from the sign boards situated in the Cathedral.

The striking Jeruzalemkerk was built between 1428 and 1465 and is a curious combination of Byzantine and Gothic styles. It was built by the Adornes family, originally merchants from Genoa, who had travelled on a pilgrimage to Jerusalem and were so impressed by the Church of the Holy Sepulchre that they built a copy of it in Bruges. There is even a copy of Christ’s memorial tomb in the crypt. Spared pillage or destruction throughout the centuries thanks to its private chapel status – the church is still owned by the family’s descendants – it is remarkably well preserved.

The alter is carved in a rather macabre fashion, with skulls and bones, and the cave-like atmosphere of the church is emphasised by the space behind the altar and above the crypt, which rises almost to the full height of the tower to create a rather eerie cavern.

Atop the tower outside sit the Jerusalem cross, and the wheel and palm leaf of St Catherine, to commemorate the journey of Anselm and his son to Jerusalem and Mt Sinai in 1470. *

More information on the church can be found here.

*Information from Insight Guides – Bruges Smart Guide.