St. Osmund, whose tomb was removed hence to the nave, and has now been brought back and placed at the entrance.

The floor of both Lady-chapel and Retrochoir is laid with rich tiling, the patterns of which have been imitated from old tiles remaining at the east end of the north choir-aisle.

On the north side of the altar of the Lady-chapel, but without any memorial or inscription, are interred six Earls and four Countesses of Pembroke, the first laid here having been Earl Henry, died 1601; his countess (died 1621),

"The glory of all verse,

Sidney's sister, Pembroke's mother,"

also lies here, unrecorded like the rest. Her epitaph is written on pages more enduring than brass or marble, in the 'Arcadia,' and in Ben Jonson's verses. Her son, Earl William, died 1630, whose character, as drawn by Clarendon in the first volume of his history, has all the life-like vigour of a portrait by Vandyke; and Earl Philip, died 1669-the unworthy original of the wonderful picture at Wilton-also repose here.

XXVIII. At the east end of the north choir-aisle is the monument of Sir Thomas Gorges, of Longford Castle, and of his widow, Helena Snachenberg, a fine example of "the very worst taste of design." Four twisted pillars support the entablature with its ornaments, obelisks, globes, spheres, and the cardinal virtues. The effigies of the beneath this "heavy load."

VOL. I.-PT. I.

knight and his lady lie The latter accompanied

K

the Princess Cecilia of Sweden to England, where she became one of Queen Elizabeth's maids of honour, and married, first the Marquis of Northampton, and afterwards Sir Thomas Gorges. The monument was erected in the year of her death by her son, Edward Lord Gorges, Baron of Dundalk. Under an arch in the north wall of this aisle is a tomb with a cross fleury in relief, assigned to Bishop ROGER DE MORTIVAL, died 1330. The stone slab on which it is now set is said to have covered the remains of Bishop LONGESPÉE, died 1396, son of the second Earl William Longespée. In the same aisle, at the back of the choir, in the bay below the Audley Chapel, is the tomb assigned-but questionably-to Bishop BINGHAM, died 1246. The existing structure seems of later date. The crockets of the arch are enriched with figures of angels; and from the centre rises a lofty pinnacle in three stories. The slab was inlaid with a brass, which has disappeared. This was apparently a cross fleury with a demi-figure; and if really of the age of Bishop Bingham, it is one of the earliest instances of the use of brass plate in England.

XXIX. In the north-east transept, now called the Morning Chapel, the chief objects of interest are the monument of Bishop Poore and the brass of Bishop Wyville. Small secondary transepts, such as these at Salisbury, occur also at Canterbury and at Lincoln; and on the continent, the great Conventual church of Cluny (now destroyed) afforded a fine example of the same arrangement. The ground-plan of the entire

church was thus made to resemble a double or archiepiscopal cross. Inverted arches, recalling those in Wells Cathedral, are inserted between the piers at the entrance of this, and of the south-east transept. They are Decorated, as is evident from the mouldings, and from the natural oak-leaves in the capitals. All this part of the church was showing signs of insecurity when these arches were added as counter-thrusts. On the south side the piers are much out of the perpendicular.

The effigy said to be that of Bishop Poore was removed by Wyatt from its original position on the north side of the high altar. The bishop himself, the founder of the existing cathedral, was translated to Durham in the year 1228, where, according to authentic records, his body was conveyed after his death at Farrent in Dorsetshire in 1237. There seems to be no sufficient reason for believing that he was interred in his former cathedral of Salisbury, but he may possibly have had a monument erected there as the founder and especial benefactor of the new church. The effigy, which is in many respects a striking one, may very well be of his period, and the turrets at the head of the canopy perhaps refer to his church building. Over the centre of the arch is an angel supporting the circle and crescent of the sun and moon. The leafed heading of the Bishop's crozier is unusually graceful.

* M. Didron ('Iconographie Chrétienne,' pp. 371–382), considers this arrangement as an indication of a certain Byzantine influence. The same plan is found at Athens and at Mount Athos, in buildings of a very early period.

Immediately within the entrance to the transept is the very curious brass (removed from the nave) of Bishop WYVILLE (died 1375: see Part II.) [Plate X.] This bishop recovered from the see Sherborne Castle, which King Stephen had seized from the warlike hands of Bishop Roger. It had been granted by Edward III. to William Montacute, Earl of Salisbury, against whom the bishop brought a writ of right. The disputants agreed to abide by the trial by battle, and both produced their champions in the lists. They were preparing to engage, when a message from the king ordered the question to be referred to another day, and in the meantime matters were compromised, the earl ceding the castle to the bishop and his successors on payment of 2500 marks. The brass represents the contested castle, with keep and portcullis. At the door of the first ward appears the bishop with mitre and crozier, bestowing the episcopal benediction on his champion. who stands at the gate of the outer ward in a closefitting jack,' with a battle-axe or uncinus,' the weapon appropriated to judicial combat, in his right hand and a shield in his left. The rabbits and hares before the castle gate refer to the chase of Bishop's Bere within Windsor Forest, a grant or restitution of which was also procured by Bishop Wyville.

The gravestone of Bishop JEWEL (died 1571: see Part II.), from which a small brass has been removed, and that of Bishop GHEAST (died 1577), still retaining his effigy, lie near the great brass of Bishop Wyville. Both were removed from the choir.