Hereford boasts a cathedral which, though one of the smallest, is, both externally and internally, one of the most picturesque in the country. To the archæologist and the architectural student, its _mélange_ of styles makes it a perfect treasure-house of mediæval design: early and late Norman, Transitional, Lancet, early, middle, and late Geometrical, Curvilinear, Perpendicular and Tudor work are all well represented in the structure, to say nothing of the Gothic of Wyatt, Cottingham and Scott. Hereford is one of the oldest of all the sees, going back, at any rate, to the year 601, when St. Augustine had a conference with the Welsh bishops. It owed its riches and reputation mainly to two saints, King Ethelbert and Bishop Thomas Cantilupe. In the year 792 the great King of Mercia, Offa, inveigled Ethelbert, King of East Anglia, to the west of England, where he was treacherously murdered. “On the night of his burial, a column of light, brighter than the sun, rose to heaven;” three days later his ghost appeared and gave directions for the removal of his body. He was interred at Hereford; and in 825 “a noble church of stone” was erected over his remains. Of this or any subsequent Anglo-Saxon cathedral nothing survives. I. EARLY NORMAN.—In 1079 the present cathedral was commenced by Robert de Losinga. Like the founder of Norwich cathedral, he was probably from Lorraine. He held the see till 1091. It is asserted by Sir Gilbert Scott that none of his work remains. It seems certain that the east wall of the south transept, the pier-arcade of the choir, and perhaps the triforium also, are eleventh-century work. The design of the transept is curiously artless and archaic. The tall arches of its wall arcade are reminiscences of many a church in Lombardy; the squat little balustraded triforium is just what one finds in the eleventh-century transepts of St. Albans and Chester and Pershore. Proceeding into the choir aisles, probability rises into certainty. The masonry is of the roughest, and coursed in the most casual way; the strings and the bases have the rudest caricatures of mouldings. The piers, too, are just the heavy masses of wall which one finds at St. Albans and Chichester: it is impossible that these piers and the light cylinders of the nave can both have been erected in the twelfth century. What has deceived archæologists is that, though the skeleton of the choir is of the eleventh century, it was smartened up immensely in the following century. In fact, it has gone through a similar process to that which took place in Romsey choir, where the early Norman caps have been recarved by a late Norman sculptor; only at Hereford the renovation has been much more drastic. Looking at the east wall of the south transept, it is impossible to believe that the noble bay of the triforium above the arch of the aisle is of the same date as the balustraded triforium to the right. The Norman choir and its aisles originally ended