The work of transformation from Norman to Perpendicular was continued through the choir and presbytery aisles by Beaufort and others, and later bishops extended the building eastward beyond the limits of Godfrey de Lucy’s work. The three chapels at the east end, Orleton’s Chapel, commonly spoken of as the Chapel of the Guardian Angels, Langton’s Chapel, and the Lady Chapel, contain much interesting and varied work. In one sense the retro-choir is, architecturally speaking, the most interesting part of the Cathedral. It presents wonderful variety, and contains specimens of practically every stage of architectural development since de Lucy’s day. But it must be confessed that the general effect is rather a confused medley of seemingly haphazard or tentative reconstructions, and the piecemeal character of the separate parts deprives it to a large extent of the dignity and completeness of a harmonious whole. Nowhere is this exemplified better than in the three east windows of the south transept--all altered from the original Norman windows, and each entirely different in character from its neighbours. Yet this very want of harmony is strangely eloquent. Winchester Cathedral, and its east end more particularly, is not an architect’s cathedral, so to speak--one complete harmonious design like Salisbury; rather is it a document in stone--a deed to which many participants have affixed their sign-manual, each in his characteristic writing, and bearing the direct impress of his personality. Yet fascinating as its architectural features are, they are dwarfed and unimportant beside the wealth of historical association that lies locked up within these walls as in a treasure-chest.