As for the organ, the cathedral will always be defaced while it remains as a whole in the midst of the screen. Musical experts could no doubt distribute it so that it would no longer be an offence to the eye, and yet would sound more effectively than at present. Perhaps galleries for the swell, pedal, and great organs might be built above the pier-arches in the western bay of the choir on either side, and the consol, with the choir organ, might remain on the screen. Some fragments of tabernacle work on the triforium level would thus be hidden, but it is unremarkable work, exactly similar to that of the adjoining bays, and, moreover, it was so blocked and patched when the tower was strengthened that it would not be a disadvantage to hide it. As it is, the organ, unsightly in shape, and garishly painted, blocks up the view of the splendid east window, and makes the nave a mere vestibule to the choir. The inverted arches are generally thought to block up the church, but were the organ removed it would be found that they do not. THE ORGAN is a modern instrument by Willis. Dean Creyghton, a musician whose services are still sung in the cathedral, built the old organ in 1664, and S. Green of London repaired it in 1786, but only one diapason remains of the old stops. The case also disappeared, the present one being among the ugliest in England. There are three manuals; thirteen speaking stops on the great organ, ten on the swell, nine on the choir, and eight on the pedal organ. The swell organ is rather small, but has been recently improved; the pedal organ is the best feature of the instrument. The wind is supplied by hydraulic machinery. There are four pneumatic pistons, six couplers, and seven composition pedals. The organist now sits on the south side, so that he can see his choristers, whether they sing in the choir or the nave. THE CHOIR.--The western part of the choir should be particularly noticed. For, while the three eastern bays which form the presbytery are Late Decorated, the three western bays of the choir are twelfth-century work of Bishop Reginald's time, being, in fact, the oldest part of the interior. That they were finished before Reginald's other work in the transepts and nave is not only likely from the general custom of medieval architects, but is made probable by the carving of the capitals, which is less advanced than that in any other part of the church.