its present site, which is the same as that reported by Leland
two hundred years ago, and until attention was drawn to this fact was
generally accepted as its original position. From the rood screen the
sequence of the figures of the patriarchs and prophets leads up to the
climax of "Our Lord in Glory." At this point the capitals of the
Purbeck shafts surrounding the pillars supporting the arch on which
this figure is painted, are carved in foliage, unlike the others
throughout the building, which are invariably moulded only. The whole
subject is discussed at length in a paper printed in the "Wilts
Archaeological Magazine," vol. xvii., in a way that supports the
hypothesis advanced. A somewhat important piece of circumstantial
evidence came to light during the late restoration, namely a windlass
close to the pier on the north side of the supposed original site of
the altar, which was possibly intended to raise and lower a
baldichino, or ciborium that hung originally over the altar, or still
more probably the pyx, which as many instances show was usually
suspended above it.

Possibly the altar was moved when, owing to the early settlement of
some of the piers, it was found necessary to wall up the space between
the arches opening into the choir transepts, and insert the
perpendicular arches as a counter thrust to the strain of the central
tower. It is hardly conceivable that the evidence offered by the roof
paintings, and the solitary instance of carved capitals, can be
misleading on this point.

=The East= (or =Choir=) =Transept=, which on the north side, screened
as it is from the aisle, is used and known also as the Morning Chapel,
has on its west wall a portion of a very beautiful screen of Early
English work. Of this John Carter, from whose pages the accompanying
sketch of a portion is reproduced, says that it was moved during
Wyatt's restoration, as he naively puts it, "during the late
dilapidatious innovations, and modern fanciful introductions so fatal
to our study of antiquities." Other authorities consider its original
position uncertain. Yet since its architecture is obviously coeval
with that of the building, and the arches inserted by Bishop
Beauchamp show proof of having been planned to rest on something at
the base of the tower piers, there can be little doubt that when Wyatt
removed the screen to re-erect a medley of his own composing made of
fragments of the demolished chantries, he disturbed one more