ourdon 16ft.
37. Ophicleide++ 16ft.
38. Octave++ 8ft.

COUPLERS.

39. Choir to Pedals.
40. Great to Pedals.
41. Swell to Pedals.
42. Solo to Pedals.++
43. Choir to Great.
44. Swell to Great.
45. Solo to Great.++

* Stops so marked are by Harris, 1660. + The swell organ was added
by Willis in 1847.
++ Stops so marked were added in 1898.
$ The whole of the solo organ was added by Willis in 1898.
@ Up to within the last fifteen years there was but one stop on the
pedal organ.

The #Choir#, of the beauty of which but little idea can be obtained from
the nave, is entered by visitors, as a rule, from the north aisle of the
choir. Its dimensions are--Length, 140 feet; breadth, 33 feet 7 inches;
height, 86 feet; east window, 38 feet wide and 72 feet in height.

It dates back to the years 1337-1377--that is, the abbacies of Adam de
Staunton and Thomas Horton, in whose time so much was done to alter the
character of the building.

Looking upwards the visitor will note the beauty of the vaulting and the
bosses placed at the intersection of the ribs. These bosses at the east
end of the choir chiefly represent a choir of angels playing on various
kinds of musical instruments, and a figure of Our Lord in the attitude
of blessing. All the roof was originally probably painted and decorated,
but the existing colour and gilding is recent work, having been done by
Clayton & Bell. At first sight the groining of the roof looks most
complicated, but, if analysed and dotted down on paper, it will be seen
to be in reality a simple geometrical pattern. The bosses will repay
careful examination with a glass.

Viewed from the door in the screen, the choir looks in very truth a
piece of Perpendicular work, as the Norman substructure is then for the
most part concealed. A closer examination, however, will prove that the
Norman work is all there--that it has been veiled over with tracery from
the floor level to the vaulting with open screen-work, fixed on to the
Norman masonry, which was pared down to receive it. (_Vide_ page 52.)

Professor Willis points out that "in all cathedrals ... a screen, about
the height of the present altar-screen, separated the choir from the
side-aisles and transepts; but in this cathedral the screen is carried
to the roof, and the result is a beautiful, if not unique choir. This