On entering the west door the first view of the interior strikes the most indifferent beholder. The grand vista of clustered columns, the rich and pleasing effect of the middle gallery, the taper form of the triple lancet windows, in the clere story, the bold and elegant curve of the vaulting, and the distant perspective of the choir, present an enchanting combination of beauty and grandeur which is almost without a parallel.

Proceeding up the nave, we find new objects of interest in the memo-rials of the illustrious dead, which at every step meet the eye. On reaching the principal transept, a stranger will naturally pause, and surveying the pillars supporting the spire, will reflect with astonishment on the amazing elevation and stupendous weight of the pile which towers above. With the same feeling he will contemplate the delineation on the pavement, which indicates the extent of its decline.

From hence we enter the choir, to enjoy a view of a different character. The rich work of the side skreens, contrasted with the vaulting above, the two painted windows, representing the Resurrection, and the Elevation of the Brazen Serpent, and the softened lights which are diffused over the whole, combine to produce a solemn impression suited to the character of the place, and call forth an involuntary sentiment of devotion and awe.

Advancing up the choir, we observe on the right the Iron Chapel, erected by Walter lord Hungerford, and removed from the nave by the earl of Radnor. The projecting parts are gilt and decorated, and it is placed on a freestone base, divided into compartments. In the centre compartment are the arms of the founder within the garter, quartering those of Heytesbury and Hussey, and in each angle are three sickles entwined. The eastern and western compartments contain the arms of the founder, impaling those of his two wives, Catharine Peverell and Eleanor

Berkeley, and in the angles of these compartments are single sickles. At the

east end are the arms of Hungerford impaling Hussey. Over the four principal standard bars, a proportionate capital, charged with the Hungerford arms, has been carried through the cornice, and terminates in a species of double pinnacle. The ceiling exhibits a series of armorial bearings, representing the descent of the earl and countess of Radnor, in the direct line from the noble founder.

Opposite is the chapel containing the remains of bishop Audley. In: this beautiful structure we observe that exuberance of decoration, which was peculiar to the later orders of the pointed style. It is impossible to refuse a tribute of admiration to the richly fretted roof, or to the elaborate tabernacle work of the front, in which the stone is made to assume the delicacy and lightness of sculptured ivory. The images which adorned it have been removed or defaced; but the arms and initials of the founder appear different compartments of the exterior, as well as on the vaulting.

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We then enter the Lady Chapel, where the studied simplicity which distinguishes the nave is united with such boldness of design as baffles description. Nothing but the view itself can convey an idea of its exquisite proportions, and the magic lightness of the colonnades dividing the body from the aisles. From the communion table the eye is gratified with a prospect more magnificent and varied, yet no less grand and impressive, than that which arrested the attention at the principal entrance.

Returning into the transept it is natural to pause at the door leading into the cloister, and cast a retrospective glance on the building; and the view which presents itself will not disappoint the most elevated expectation. The transept here appears with peculiar advantage. The lofty arches supporting the spire lose nothing of their grandeur by a comparison with

Published 1814. by WDodsworth. Close Salisbury. Mefs Brodie & Dowaing Salisbury M Murray, Albemarle Street, & Mess" Cadell & Davies. Strand Landon

those of a later date, added for its security, while the different shades of the pillars and arcades on the side of the choir, form a pleasing contrast with the lightness which marks the distant termination of the view.

On entering the Cloister we feel ourselves in the haunts of silence and meditation. The effect is heightened by an area of the richest verdure, and a groupe of luxuriant trees, rising in the centre. In traversing the avenues of the quadrangle, and catching in various aspects the beautiful arcades enriched with simple yet elegant tracery, we recognise the skilful hand which formed the design of the nave and choir.

In the middle of the eastern side is the passage leading to the Chapter House. Here the eye is struck with ornaments more rich and elaborate than any to be seen in other parts of the structure. The entrance is a large arch resting on receding clustered columns, subdivided into two, with cinquefoil heads. The capitals, as well as the sweeps of the arches, are decorated with foliage, and in the space above the heads is an ornamented bracket, apparently to support an image. Along the face of the superior arch is a series of small niches, containing stone figures, executed with a delicacy and freedom which could not be surpassed in the finest marble. The taste and correctness displayed in the draperies, attitudes, and expression will scarcely permit us to imagine that we are contemplating a work of the thirteenth century. These sculptures are obviously allegorical representations of the different virtues, some single, with their distinctive attributes, others trampling on, and punishing the opposite vices.

The Chapter House is an octagon, fifty-eight feet in diameter, and fifty-two feet in height. On one side is the entrance. The structure of the other seven is peculiarly light and airy, the apertures occupying two thirds of the height, and the supports at the angles being formed of receding