rather the approach to some parish church of the second rank. All the more, perhaps, is one struck with the glorious interior. The arrangement of the cathedral should be compared with that of St. Alban’s. It consists of (1) nave, (2) choir, (3) presbytery or sanctuary, (4) feretory or saints’ chapel, (5) retro-choir, (6) Lady chapel. In the NORTH TRANSEPT we are in presence of the earliest work in the cathedral. Much of it is the work of Bishop Walkelin (1070 to 1097); and, with the exception of some traceried windows inserted early in the fourteenth century to give more light to the eastern altars, it remains much as he left it. As his work is in the transepts, so once was the whole cathedral. As finished before the close of the eleventh century, Winchester, in vastness of scale and stern power, must have been one of the most impressive cathedrals of England: more overwhelming than Ely or Peterborough; not inferior even to Durham. I am not sure that every change and transformation that took place at Winchester between the eleventh and the sixteenth century was not a change for the worse. For of the earliest temples of our race, torn as it were out of the solid rock, Walkelin’s cathedral was the most awful and the most religious. As it is one of the earliest, so it was, artistically, the grandest of our Romanesque cathedrals. The south transept of Hereford and the north transept of Chester are, in comparison, humble indeed. In colossal scale it finds one rival only—the mighty church of St. Alban. Artistically, they are miles apart: as far apart as two designs can be, one conditioned by the use of stone, the other of brick. [Illustration: NORTH TRANSEPT.]