hire gentleman," that county being included in the diocese
of Sarum until 1836. It was given by the Dean and Chapter to the
church of St. Thomas. The present organ, a fine instrument, built by
Willis, was the gift of Miss Chafyn Grove, is placed in the second
arcade on each side of the choir, the necessary connecting mechanism
being in a tunnel below the pavement, while the larger pipes and the
bellows are inclosed within a screen in the north transept. The oak
case is from a design by the late Mr. Street.

=The Choir and Presbytery= are very similar to the nave in the main
features of their design. The piers show a different plan, which
provides for eight shafts of Purbeck marble to each. The inner
mouldings of the arches exhibit the "dog-tooth" ornamentation of their
period. The triforium and clerestory differ slightly from the
corresponding parts of the nave. In each of the last two bays of the
presbytery the triforium has five small cinquefoil arches. At the east
wall of the choir above the reredos is an arcade of five
simply-pointed arches, below a triplet window in the gable, which is
filled with stained glass, given by the Earl of Radnor in 1781, and
representing "The Brazen Serpent," after a design by Mortimer.

The choir still bears traces of Wyatt's destruction. He removed the
original reredos behind the high altar and the screen before the Lady
Chapel, so that both, with the low eastern aisle, were thrown into the
choir. He shifted the high altar from the choir to the extreme east
end of the Lady Chapel, sacrificing several chantries and tombs to do
so. Views of the cathedral after his reign of terror fail to show any
gain to compensate for so much loss; the extreme length is not
apparently an advantage, while the bare look of the interior seems
decidedly intensified by the increased vista that he was so delighted
to obtain, and for which with a light heart he effaced the silent
records of dead centuries.

=The Decorations of the Roof= of the choir and presbytery are
reproductions by Messrs. Clayton and Bell of the original paintings,
which dated probably from the thirteenth century. The series,
commencing from the west, shows twenty-four prophets and saints, all,
with the exception of St. John the Baptist, selected from the Old
Testament. Taking them in lines parallel with the choir screen, the
first row contains (reading from the left, as one faces the altar):
Zechariah, Daniel, Ezekiel, and St. John the