As the braces supporting the floor of timber near the eight doors, which is connected with the timber work of the spire, had been suffered to decay on the south side, the floor itself sunk, and doubtless contributed in some degree to increase the decline. Accordingly, in the early part of the eighteenth century, a floor and frame was fixed in the tower, about forty feet below the eight doors, to relieve the timber work of the spire. The beams at the eight doors were probably also then engrafted and strengthened with iron, though they still remain in their decline towards the south.

Mr. Francis Price, to whom we are indebted for many curious particulars relating to the history and structure of the church, superintended some of these alterations in his capacity of clerk of the works. He also ascertained the decline of the tower and spire with more exactness than his predecessors. He states that it is not in a direct line, as if occasioned by any single cause. At the height of eighty-nine feet, or just above the vaulting of the nave, there is a decline of of an inch southward, and westwards. This he attributes to the unequal pressure of the grand arches. At the top of the parapet wall of the tower, or 207 feet above the the pavement, the decline to the south is 9 inches, and west 3; at the bottom of the weather door, 358 feet from the ground, the decline to the south is 20 inches, and west 12; lastly, at the top of the capstone, 387 feet high, the decline is 24 1⁄2 inches south, and west 164.

In 1762 the old vane, of inch oak board strengthened with iron, was replaced by a new vane of copper, under the direction of Mr. Lush, clerk of the works. This circumstance would scarcely have deserved notice, had it not led to a discovery which much exercised curiosity. The workmen found a cavity on the south side of the capstone, in which was concealed a round leaden box, with a loose cover, measuring 51⁄2 inches in diameter,

and weighing five pounds. It contained a neat wooden box, with a hole or opening on the side, in which was found a piece of silk, or fine linen, so much decayed as to resemble tinder. This was supposed to be some relic of the Virgin Mary, and perhaps deposited there when the spire was finished, with the hope of averting any fatal accident.

No material alteration took place in the building till the time of bishop Hume. The stalls and screen, designed by Sir Christopher Wren, being then deemed too gaudy, the choir was inclosed with a new screen, painted in imitation of oak. This screen, however, though much more appropriate than the former, scarcely deserved the name of an imitation of the pointed, or gothic style. Hitherto also the sermons were delivered in the nave, and the congregation were accustomed to remove from the choir to hear that part of the service. But at this period the pulpit and seats were taken away, and the whole service has been since performed in the choir. In the course of the alterations, the iron chapel, erected by Walter Lord Hungerford, was removed from the nave at the expence of the earl of Radnor, who is descended from the Hungerford family by his mother, a daughter of Sir Mark Pleydell, Bart. It was re-erected at the end of the choir, where it forms a counterpart to the Audley Chapel. The east window of the choir was also decorated with stained glass, representing the Elevation of the Brazen Serpent, designed by Mortimer, and executed by Pearson, at the expence of his lordship.

But perhaps at no time since the foundation have more effectual improvements been made than by bishop Barrington, who now fills the see

* In justice to the modest and deserving artist, it is proper to observe, that this window is at such a height as to be seen under great disadvantage. The beauty of the colouring, the strength of the expression, and the harmonious effect of the whole, can be perceived only from the side galleries of the choir, which are on the same level. It is inferior to no work of the kind in England

of Durham, and of whose taste and munificence it is needless to speak. Conscious how much our noble fabric had suffered from age, accidents, and ill-judged additions, the venerable prelate was desirous to restore it as nearly as possible to the plan of the original architect. He employed his interest to obtain contributions from the nobility, clergy, and gentry of the diocese, and himself set a liberal example. On a survey of the building, the defects occasioned by the preposterous addition of the Hungerford and Beauchamp Chapels, particularly called for the attention of Mr. Wyatt, to whom the direction of the repairs was confided. Indeed the intelligent architect Price had long before testified his apprehensions on the subject; and Mr. Wyatt expressed his astonishment at the temerity of those who had ventured on so hazardous an undertaking. However great the beauties of those chapels, it was judged necessary to remove them; and the consent of those who were considered as representatives of the founders was obtained. To preserve the component parts they were employed in the alterations, and arranged with equal taste and effect; some forming the organ screen, some the present altar piece, and some decorating the choir. The wooden screen raised in the time of bishop Hume was taken down,* the Lady Chapel thrown open to serve as the chancel, and the communion table placed at its east end.

The altar piece consists of five niches, of curious workmanship; three . of which were the altar piece of the Beauchamp Chapel, and are immediately over the communion table; the niches on each side were the entrances to the Beauchamp and Hungerford Chapels. The communion table is of stone, and composed of parts of an old altar piece, concealed by

* A part of this screen now forms the Altar Piece of St. Martin's.

Published 1814, by W Dodsworth Close, Salisbury Mejs" Brodie & Dowding. Salisbury Mr Murau Albemarle Street & Mesadell & Davies, Strand I endon.

Engraved by J.Skelton.