But apart from its architecture the church is full of interest. Where can we find anything to match the exquisite iron screen of the eleventh century which used to guard St Swithin's shrine but which, now that is gone, covers the north-west doorway of the nave? Is there another font in England more wonderful than that square black marble basin sculptured in the twelfth century with the story of St Nicholas? Is there any series of chantries in England more complete or more lovely than these at Winchester, or anywhere a finer fourteenth century monument than that of Bishop Wykeham? Nowhere in England certainly can the glorious choir stalls be matched, nor shall we easily find a pulpit to surpass that in the choir here dating from 1520. If the restored retablo over the high altar is disappointing in its sophistication, we have only to pass into the Feretory to discover certain marvellous fragments of the original reredos which are so beautiful that they take away our breath--that broken statue of the Madonna and Child, for instance, perhaps the loveliest piece of fourteenth century sculpture to be found in England. No, however we consider the great church of Winchester, it stands alone. As a mere building it is more tremendous and more venerable than anything now left to us upon English soil; as a burial place it possesses the dust not only of the Apostle of the heart of England but of the greatest of the Saxon kings, while beneath its mighty vault William Rufus sleeps, the only Norman king that lies in England. And as a shrine of art it still possesses incomparable things. It stands there as the Pyramids stand in the desert, a relic of a lost civilisation; but by it we may measure the modern world.