[Illustration: MISERERES IN THE CHOIR.] a monk of the house. In 1460 Tully became Bishop of St. David’s, and died in 1481. The _light arches_ which, cross the main arches of the tower, north and south, and which look like “pieces of carpentry in stone,” do not in reality support the vault, which rests securely on the wall behind. They were not, however, intended to deceive. “Unless some resting-place was provided, the builders must have allowed the capital to hang down to a level with the others without anything to support it, or altered the arch above, and thus have disturbed the curvature of the vault. The flying-arch was contrived to get rid of these defects. All this appears to be characteristic of a school of masons who were extremely skilful, and glad of an opportunity of shewing their skill; as a modern engineer likes to carry his railway through a chain of mountains when he has a plain valley before him[17].” The stalls ranged below the tower are Perpendicular, (those north the work of Abbot Staunton, those south of Abbot Horton,) with, rich projecting canopies. The misereres [Plate V.] below are of the usual character, but are so fixed that they can only be seen with difficulty. Behind the first stall on the north side is a fragment of Early English work, probably of the date of Elias de Lideford, who erected stalls in the choir, which were removed by Abbots Staunton and Horton. The open screen-work which covers the Norman arches of the presbytery, is carried upwards into the lofty clerestory windows, so as to cover the entire bay with a uniform panelling. Light vaulting-shafts run up between, and carry the lierne roof. The termination of the Norman choir was originally circular, as at Norwich; but in order to insert the great east window, the two last bays, eastward, were entirely removed, and the walls, from this point, now slope outwards north and south. This part of the work is, in Froucester’s Chronicle, assigned to Abbot HORTON, (1351-1377). The _tiling_ of the sacrarium, which displays the arms and devices of Abbot PARKER, (1515-1534,) is no doubt of his time; as are the _sedilia_ on the south side, which indicate the coming change in their arabesque ornaments. The frieze, a knotted stick passed through a riband, should be noticed. On the canopy above are three figures,--one with a drum or tambourine, the others with trumpets.