to Bishop Poore and nine others were destroyed, portions being neatly arranged as in a kind of museum “along the plinth between the series of pillars on each side of the nave.” Two small porches, one at the north end of the great transept, and the other on the south side, near the Lady Chapel, “were considered as neither adding to the beauty, nor to the convenience of the building. They were accordingly taken down.” The “accordingly” is another happy expression. We might be reading a report of Sir G. Scott, or Mr. Pearson, or Mr. Butterfield. Yet this was written close on a hundred years ago. A very interesting series of paintings, representing the months or the Zodiac, were on some of the eastern bays of vaulting. They were highly admired, we are told, by those “regard the mere antiquity of an object as a sufficient title to admiration.” These are precisely the words used lately by an architect about the north transept of Westminster Abbey. Wyatt promptly wiped off the traces of these decorations, and “judiciously coloured the arches and ribs of the choir like the original stone. As the Campanile intercepted the most striking view of the structure it was taken down.” When we enter by the west door the first view is hardly so striking as the first view of the exterior. A closer examination and a comparison with other cathedrals shows how far Salisbury is in advance of everything else of its kind. The exquisite lightness and delicate proportions of the steeple are equally apparent in the nave and its aisles, the slender columns, the pointed arches, the light triforium, the lancets of the clerestory, and the soaring vault. The same “order,” as the classical architect would say, is practically carried round the church. As we advance eastward, and reach the crossing of the transepts, we observe the curious four centred buttressing arches erected by Bishop Wayte, 1415, to increase the supports of the tower. Similar precautions are seen in Canterbury, Hereford and Wells Cathedrals. Under the tower is a brass plate in the pavement which was placed here in 1737, and marks the fact that the spire inclines twenty-two and a half inches to the south-west. This inclination, which is perfectly visible on the outside, was first calculated by Sir Christopher Wren, who put iron “bandages” round the masonry, and made other repairs. No increase of the deflection has been observed since his time, although the spire was struck by lightning in 1741. The choir screen is by Skidmore. The organ is divided. Some ancient glass may be seen in the triplet windows at the ends of the transepts. The altar stood to the eastward of the second or choir transept, and some parts of the old stalls are still to be seen, but almost everything in this part of the church is new. The Audley chantry (1524), in the latest style of Gothic, is on the north side. There are some remains of the very curious and interesting if not unique iron chantry of Lord