The #Choir# is entirely Perpendicular in character, and it seems to have been begun in the time of Henry VI. but not to have been completed until the time of Henry VII., and some of the carving of the stalls is of still later date. Leland says of it, "Baldwin, Earl of Devon, was the first founder, and his successors to the time of Isabella de Fortibus,[5] and at present the Earls of Salisbury are regarded as founders." Four large clerestory windows on either side light the choir. The wall beneath these is continued downwards to the floor, but under each window a low obtusely-pointed depressed archway is cut leading into the aisles. Between the bottom of each clerestory window and the heads of these arches the wall is panelled as with window mullions and tracery, so that the appearance from the inner side may be best understood by imagining that each window extended from floor to roof, but that the upper part alone is glazed, the lower cut away for the arch leading into the aisle, and the lower lights beneath the transom blocked up with masonry. These lower arches are more or less blocked up. The Salisbury chapel blocks up the north-eastern one completely; the sedilia, no doubt, occupied the opposite one, where now a modern altar tomb may be seen. The next on each side to the west is open, and flights of steps under them lead down to the aisles; the woodwork at the back of the choir stalls close the remaining two on the inside, and on the outside chantry chapels, opening one into the north one into the south aisle, stand under the second arch on each side counting from the rood screen. The upper stalls number in all thirty-six, fifteen on either side, and six with their backs to the rood screen. There is, also, a lower range of stalls on the north and south. The prior's and sub-prior's stalls on either side the doorway in the screen looking east are canopied, as also is the precentor's at the east end of the south side. The arms of the stalls are quaintly carved with various grotesque figures, as are also the misereres; the upper parts of the panels behind the upper stalls are also carved in low relief; above these is a projecting cornice decorated with pinnacles. The stalls are late Perpendicular work, the wainscoting behind the stalls being later still, as we can see from the subjects carved on the upper part of each panel. Some of the misereres are, however, very old--one dates back to about 1200, another to 1300, others are of later date, and most of them belong to the same period as the stalls. The older ones were found lying about in the lumber of the church, and have been placed in recent years in some of the stalls the seats of which had been lost or stolen. The older seats may have belonged to the original Norman choir. As the term "miserere" may not be understood by all our readers, it may be well to quote from Parker's "Glossary of Architecture" the following description:--"Miserere, Misericorde, Patience, or Pretella, is the