In the Countess of Salisbury's chantry at Christchurch it is much easier to imagine the Italian carver following the English mason, and adding his ornament to the other's work, for nearly all of it lies in sunk panels, the highest parts of the carving being on the same face as the surrounding margin: that is to say, the Italian found plain surfaces between the moulded members left for him to carve, and one set of these plain surfaces, on the side next to the choir, he did not carve--they still remain bare. Take away the ornament, and the chantry in general design and treatment is Late English-Gothic (Fig. 14), such as no Italian would have produced, if we except the topmost stage on the choir side, where there are two domed pinnacles of rather clumsy and unintelligible design (Plate V.). One of these has a curious feature--the somewhat vulgar product of the later Italian carvers--namely, the lower drapery and the feet of a figure ascending into clouds, all executed in complete relief. On the north side, next to the aisle, are some shields in the spandrils between the niches (Plate VI.), carved in the Italian spirit, and these can hardly have been added afterwards, but must have been an integral part of the design. The arabesques on the vertical shafts and in the horizontal bands might very well have been carved by a man put on for that purpose only (Fig. 15). Altogether, it is difficult to adjust with any accuracy the claims of the English and Italian workmen; it would almost seem as though they worked together, or at any rate with a cordial understanding between them. The same may be said of the screen to Prior Draper's chantry (dated 1529) in the same church. The general design is Gothic, and while the arabesque enrichments may have been added afterwards, and the spandrils of the flat-pointed door, the same can hardly be said of the corbels to the niches over it (Fig. 16). The cresting along the top of this screen exactly resembles that over the screens at the sides of the choir at Winchester Cathedral, except that the latter has not a battlemented finish (Fig. 20). [Illustration: PLATE VI. THE SALISBURY CHANTRY, CHRISTCHURCH. DETAIL OF NICHES ON NORTH SIDE.] Although it is not difficult to imagine an Italian carving this stonework at Christchurch, it is not quite so easy to attribute the interesting choir-stalls to him or a compatriot, for the Gothic feeling is too pronounced, and the angel and cherubs are not lissom and graceful enough to have descended from an Italian sky.