terior is the large painting above the
chancel arch, representing the Day of Judgment, in the naive manner of
its time. A reproduction will be found in Hoare's "Modern Wiltshire"
(vol. 6), and most works on ecclesiastical mural decoration mention it
as one of the most important examples that have come down to us. Other
paintings in the south aisle were brought to light by Mr. G.E. Street
during the restoration in 1867. Without and within it is a building
hardly less worth study than the cathedral itself.

[Illustration: THE POULTRY CROSS.
_From a Photograph by Carl Norman and Co._]

=St. Edmund=, founded by Bishop de la Wyle in 1268 for a Provost and
twelve secular canons, is at the north-east of the city. To the east
of its churchyard is the college of St. Edmunds, on the site of the
convent founded in 1268 by the same bishop. In the grounds of the
college stands the old north transept porch of the cathedral, a
picturesque ruin whose architecture at once disposes of the theory
that it came from Old Sarum.

[Illustration: OLD PLAN OF SALISBURY.]

=St. Martin= is another church of very ancient foundation, containing
an interesting Norman font.

It is impossible to close even the most brief note of objects of
interest at, or near, Salisbury, without naming George Herbert's
church, Bemerton, and Stonehenge; two places which attract pilgrims
from all parts of the world. Yet no space is left to describe them, or
to refer to Henry Lawes, musician, and Philip Massinger, dramatist,
two of the many famous men who had the city for their birthplace. The
cathedral has been the main object of this volume, and other matters,
interesting though they may be, must needs be left untouched here.

THE END.

[Illustration: PLAN OF SALISBURY CATHEDRAL.]

***END OF THE PROJECT GUTENBERG EBOOK BELL'S CATHEDRALS: THE CATHEDRAL
CHURCH OF SALISBURY***

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