Magdalen College, as a mark of reverence and esteem for the memory of their respective founders.

The first to be seen on entering the nave from the west is that of Wykeham, whose faith in the solidity of Norman building was so great that he did not hesitate to cut away more than a third of the two nave pillars between which it is placed. Within the chapel, said to have been built on the site of an altar to the Virgin, is the effigy of the bishop-builder, with flesh and robes coloured "proper", as the heralds say; and at his feet are the figures of his three favourite monks, to whom he left an endowment for the celebration of three masses daily in his chantry, while each was to receive one penny a day from the prior. The effigy lies on an altar tomb, in episcopal attire, the head-pillow supported by two angels. Five bays farther on is Edington's chantry, but without effigy, as also are those of Fox and Langton. Of the seven chantries those of Fox and Beaufort are usually considered the most beautiful.

The proud Cardinal Beaufort, founder of the "Almshouse of Noble Poverty" at St. Cross, is represented by Shakespeare as dying in despair:

Dean Kitchin writes: "One cannot look at his effigy, as it lies in his stately chantry, without noting the powerful and selfish characteristics of his face, and especially the nose, large, curved, and money-loving. The sums Beaufort had at his disposal were so large that he was the Rothschild of his day. More than once he lent his royal masters enough money to carry them through their expeditions."

The mortuary chests are certainly among the most interesting things possessed by any English cathedral. They are supposed to contain the bones of Kings Eadulph, Kinegils, Kenulf, Egbert, Canute, Rufus, Edmund, Edred, Queen Emma, and Bishops Wina and Alwyn. They no doubt got much mixed up when removed from the crypt by Henry de Blois, and again when the chests were broken open by the Parliamentarians, so that a detailed identification has been made impossible. It is now generally acknowledged that the bones of Rufus are in one of these chests, and that the so-called Rufus tomb in the retro-choir is the burial place of some great ecclesiastic. Such at any rate is the opinion of Dean Kitchin, who has done so much to elucidate the past history of the city and its Cathedral.

When one of these boxes was taken recently out of its enclosing chest and examined, it was found to have a roof something like a low gable, which was decorated with painting about a century later than the time of de Blois. On the outside appeared the words in Latin: "Here are together the bones of King Kinegils and of Ethelwolf". Four of the Italian chests that held the inner boxes were the gift of Bishop Fox. The other chests have revealed five complete sets of human bones, and among the remains in another were the bones of a female, possibly those of Queen Emma.

ENTRANCE TO THE DEANERY

The visitor will not fail to have pointed out to him by the well-informed vergers the innumerable features of interest, such as the Lady Chapel, the retro-choir, the Holy Hole where the relics were kept, the black oak stalls of the choir, the fine pulpit given by Prior Silkstede, and the magnificent screen begun by Beaufort and completed by Fox. The monuments, apart from those contained in the chantries, are many, and include one surmounted by a beautifully wrought cross-legged effigy, which has not yet been identified. There are memorials or tombs of James I and Charles I, by le Suer, who wrought the statue of the latter at Charing Cross; Dr. Warton, Professor of Poetry at Oxford, and headmaster of Winchester; Jane Austen; and William Unwin, the intimate friend of Cowper. A flat stone, with an inscription by his brother-in-law, Ken, marks the resting-place of Izaak Walton, "whose book", a modern writer tells us, "makes the reader forget for the time the cruelty of his sport".

The curiously carved font, whereon are depicted symbolical figures and incidents from the legendary life of St. Nicholas of Myra, bears much similarity to three others found in Hampshire—at St. Michaels', Southampton; East Meon; and St. Mary Bourne. They are all of the same era, and possibly the work of the same hand, being among the most interesting of our Norman fonts. The material of which they are made has never been settled, some authorities defining it as Tournai marble, others as basalt, and yet others as nothing more than slate.

The roll of bishops is a remarkable one, and the see has had eleven who were also Lord Chancellors, the last being Wolsey in 1529.

As we have seen, Winchester continued in favour with the reigning houses long after it had ceased to be a royal residence. Here Henry I was married to the Saxon Matilda, and here in the closing years of his life the aged Wykeham married Henry IV and Joan of Navarre; and here, too, came Philip of Spain and Henry VIII's sad daughter, Mary of England, to be wedded before the high altar, the chair on which the royal bride sat being still shown to visitors.

For the architectural student the plan of the cathedral is not the least interesting feature of the building, for although it has an ambulatory which is semicircular internally, the plan is in other respects rather exceptional. It is what architects call a periapsidal plan, meaning that its eastern termination contains a processional aisle or ambulatory, designed mainly for the purpose of allowing a procession to pass round the high altar without entering the presbytery. In the crypt of Winchester Cathedral the plan of the early Norman church may be seen sui generis. A rather exceptional feature is that the eastern ambulatory is semicircular within but rectangular without, although the long chapel that projects from this ambulatory has an apsidal, not a rectangular, termination.

To the receptive mind all our ancient cathedrals, and a few of our modern ones, possess a subtle atmosphere of their own, indescribable but plainly felt, both within and without their walls. In such an atmosphere we lose sight of the Winchester of to-day. It becomes ancient, ecclesiastical, historical, learned, and romantic. Here we return in imagination to the scenes of the Middle Ages, when love was attested by chivalrous deeds of arms done in honour of bright eyes, and poetry sounded its lyre in praise of him who had been most devoted to his Church, most faithful to his mistress, and most loyal to his king. As a whole, this Cathedral of Winchester is a vast building, simple almost to a fault, yet one that possesses a solemn repose unspeakably restful to mind and spirit—a sense of undisturbed harmony and refined yet massive simplicity. Towards eventide the shadows of the turrets and pinnacles creep, day by day, over the surrounding bands of greensward, their cool greys advancing inch by inch until they reach the spacious pavements, whereon they cast the symbols of our Christian faith in ruddy trefoil-headed slants of glory.

Whatever else is omitted from the history of the Cathedral, mention must be made of the valiant efforts that have been and are still being made to preserve the stability of the structure. A few years ago the east end showed signs of subsidence, and ominous cracks appeared in the north transept, a part of the old Norman church. An examination of the fabric proved that herculean tasks were essential to save this portion of the edifice. It was agreed that only by extensive underpinning could the work be accomplished. It has been very costly, and funds are most urgently needed to complete the preservation, not only of the eastern end, but of the whole Cathedral. The