for there is now an effect
of harshness, especially farther east in the so-called Lady Chapel,
that is not at all pleasing. The screen of brass leading to the choir,
the greater part of the stalls, and the high altar and reredos, are
seen to be modern. The altar occupies its old position and was
restored as a memorial to Bishop Beauchamp (1482). The Bishop's
chantry was destroyed by Wyatt, who had shifted the altar to the
extreme end of the Lady Chapel, if we may use the name usually given
to the eastern extension of the Cathedral, but as the dedication of
the whole building is to the Virgin, that part may have been called
originally the Jesus, or Trinity Chapel. On the north side of the
choir is the late Gothic chantry of Bishop Audley and opposite is that
of the Hungerfords, the upper part of iron-work. On the north side of
the altar is the effigy of Bishop Poore, founder of the Cathedral; the
modern one under a canopy is that of one of his late successors,
Bishop Hamilton.

[Illustration: GATE, SOUTH CHOIR AISLE.]

The choir transepts are now reached. That on the north side, with its
inverted arch, contains, among others, the tomb of Bishop Jewel (died
1571) who despoiled the nave windows of their colour. He was the first
post-Reformation Bishop of Salisbury. Just within the entrance is the
interesting brass of Bishop Wyville, builder of the spire. It records
the recovery, through trial by combat, of Sherborne Castle for the
church. The slab of the Saint-Bishop Osmund's tomb (1099), one of
those wantonly interfered with by Wyatt and a relic of the Cathedral
of Old Sarum, has been brought from the nave to its present position
near the end of the north choir aisle and not far from its former
magnificent shrine. The chief beauty of the Lady Chapel consists in
the slender shafts of Purbeck marble that support the roof. The
tryptych altarpiece is modern, also the east window in memory of Dean
Lear. Opinion will be divided as to the merit of the roof decoration,
but time will lend its aid in the colour scheme. In this connexion may
be mentioned the means taken here as elsewhere to remove the curious
"bloom," that comes in the course of a generation or two, upon the
Purbeck marble columns. They are oiled!

Attention is again called to the sketch plan for the tombs hereabouts,
and in the south choir aisle, where especial notice should be taken of
the canopied tomb of Bishop Giles de Bridport. The muniment room,
reached