's_ tomb till the restoration of 1850, when it was, by an
inexcusable act of vandalism, taken down and fixed up in this place
(p. 125). This canopy did not cover the tomb, but stood at its foot so
as to form the eastern part of a chantry chapel, the tomb being on its
south side and the iron screen enclosing it where it jutted into the
choir on the north side. It will be noticed that its northern angle
was sloped off so as not to present an awkward corner on the side of
the choir. The reredos, for such it really is, is a most elaborate and
charming piece of work; "pretty" is perhaps the word that describes it
best, if "pretty" be taken in its very best sense. Here there is
nothing of the suave grace of de Marchia's tomb, nothing of the vigour
and truth of the transept capitals, nothing of the noble delicacy of
the north porch, which was a delicacy of intellect, while this is a
delicacy of execution. It is certainly decadent; even by the side of
Sugar's chapel it is over-refined and a thought effeminate, but, with
the colour that still covers it fresh and bright, it must have had all
the fascination of a splendid piece of jewellery, where profusion of
ornament is more desired than structural grace. The cornice is
particularly rich with a finely-carved vine ornament, and with two
angels, their long outstretched wings minutely feathered, who bear
shields having representations of the sacred wounds. The tabernacle
work behind the altar is gone, like the altar itself, with the
exception of the small niches which formed the sides of the central
composition, but the little canopy of the central niche remains to
give us a slight idea of its workmanship. The short wings of the
reredos have panels and traceried openings, and, on the south, a
piscina which looks almost too tiny to be real. The top has a toy-like
vault of fan-tracery with little pendants.

On the south side of St. Calixtus' chapel is _Dean Husse's_ alabaster
tomb (_ob._ 1305), which bears some of the best carved work in the
cathedral. The effigy itself is good: it represents the Dean clad in
the same choir vestments as the figures on the panels below. These
panels should on no account be missed. The first on the left
represents the Annunciation with a grace that is not less delightful
for the strain of exaggeration which pervades it. The Blessed Virgin
(see illustration on p. 101), a lovely figure in long, close-fitting
kirtle and mantle thrown gracefully over her s