“The east window of the choir is filled with Perpendicular glass, a little earlier than 1525, the work of Bishop Fox, whose arms impaled with those of the sees he held (Exeter, Bath and Wells, Durham and Winchester) and his motto _Est Deo Gratia_ are introduced in it.”--(R. J. K.) Winston thinks that the only part of the glass in its original position consists of the two figures occupying the two southernmost of the lower lights and all the tracery lights except the top central one and the three immediately below it. “The top central light is filled principally with some glass of Wykeham’s time and all the rest of the window with glass of Fox’s time, removed from other windows. In point of execution it is as nearly as perfect as painted glass can be. In it the shadows have attained their proper limit. It was at this period that glass painting attained its highest perfection as an art.”--(C. W.) Beyond the tower-piers in the presbytery a plain tomb of Purbeck marble was once the resting-place of =William Rufus=, killed in the New Forest in 1100 and first buried, as we have seen, under the Tower. His bones were removed in the Twelfth Century by his nephew Bishop Henry de Blois and are now mingled with those of Canute, Queen Emma and two Saxon bishops in one of the mortuary chests on the screen of the Presbytery. The piers and arches of the Presbytery are Decorated, dating from 1320 and 1350. At the High Altar of the Choir Queen Mary was married to Philip of Spain in July, 1554, by Bishop Gardiner. In Philip’s train were Alva, the future scourge of the Low Countries, and Egmont, his famous victim. The chair in which the bride sat is preserved in the Chapel of the Guardian Angels. At the back of the altar rises the magnificent =Reredos=, dating from the latter end of the Fifteenth Century. In 1899 the final restoration of the screen was completed by filling a niche that had been vacant for three centuries. The altar-rails are of the time of Charles I. A representation of the _Incarnation_ hangs over the altar placed there in 1899, when Benjamin West’s _Raising of Lazarus_ was removed to the South Transept.