In the present restoration this organ was removed, and, to the very great discredit of all concerned, the splendid case with carvings if not actually by, certainly worthy of, Grinling Gibbons, was allowed to be broken up. A few of the best pieces were recently put together and a neat organ-screen constructed for the Church of St. Martin, Haverfordwest. A brief list of organists will be found on p. 95. [Illustration: THE PRESBYTERY IN 1856. _Drawn by J. H. Le Keux_ (_from Jones & Freeman_).] THE CHOIR AND TRANSEPTS. On passing through the rood-screen up five steps from the daïs the choir is reached, which affords one of the most [Illustration: _Photo: F. Frith & Co._ THE CHOIR AND PRESBYTERY IN 1895.] pleasing prospects in the cathedral. This view gains by comparison with the nave because of the latter’s over-intricacy, which complication is avoided in the choir by the absence of a triforium. There are four Transitional bays of very good proportions, if we except perhaps a tendency to heaviness in the alternately round and octagonal piers. Here we have--what the nave-bay design so much wants--strong vertical lines in the clustered shafts. The Transitional vaulting-shafts stop a little above the string over the arcade, and continuing them are slender Decorated ones with elaborate capitals. The clerestory lights (also Transitional) are beautifully detailed with a bold kind of chevron. The east end is one of the finest pieces of Norman blending with Early English in the cathedral, or, for the matter of that, in the kingdom. It is composed of three lancets below and four above, Sir G. G. Scott having restored it to the state in which it was after the rebuilding of 1220, consequent upon the fall of the tower, except that Bishop Vaughan’s Chapel has made it desirable that the three lower lights should not be open as they originally were. They are now filled with mosaics. In the fifteenth century, when the Perpendicular window was inserted, the stonework of the previous wall and upper tier of lights was used for heightening the side walls. Finding these walls to be a mine of the _débris_ of the earlier windows, and the Perpendicular window in a bad state of decay, Scott determined to replace the old work. After the fall of the tower the rebuilders were astonishingly conservative in their avoidance of novelty. It cannot have been from any want of ability, and we incline to the belief that it was the result of a genuine desire to make the new work harmonise with that in the nave and, by re-using a certain amount of old material, to relieve a possibly not overflowing exchequer of a larger disbursement. In the fifteenth century the steep-pitched roof of cradle-pattern, marks of which remain on the tower, was removed, the gable lowered, and the walls at each side raised about six feet. A roof of very flat pitch (as now) and the Perpendicular east window were added.