much of the woodwork having been left in its
natural colour forms an agreeable contrast, and the effect produced,
from almost every point of view, is rich and beautiful; while from its
unusual position it loses little of its power or sweetness of tone,
but sends forth its pealing sounds reverberating through the lofty
arches with fine effect. We know nothing more sublime than the voices
of a congregation, guided and supported by such an instrument,
praising and adoring the great Creator and Father of all, and are led
to exclaim with the poet Milton--

"There let the pealing organ blow,
To the full voiced choir below,
In service high and anthems clear,
As may with sweetness through mine ear,
Dissolve me into ecstacies,
And bring all heaven before mine eyes."

[Footnote 39: See Appendix I.]

The division between the Early English work of Bishop Northwold and
that part generally spoken of as Hotham's work is marked by two steps
in the floor, and by two strong piers rising from the floor to the
vault, which were in fact the original Norman shafts near the
commencement of the apse or east end taken down by Hugh de Northwold,
eighth bishop, who added the six beautiful eastern bays at his own
expense; these form a pure and good example of Early English work, and
were completed A.D. 1252, and dedicated in the same year, in the
presence of King Henry III., and many nobles and prelates. This was
called the "Presbytery," or "Sanctuary," a common name at that time
for the east end of a church.

"The character of the three western bays is singularly yet beautifully
arranged to harmonize, in point of elevation of its parts, with the
six eastern arches; this and the very great excellence of the details,
render this part of the edifice a most valuable study."[40] The
absolute contact here of the two styles, Early English and Decorated,
affords the spectator an opportunity of contrasting them, and of
judging of the comparative merits of each. By many, the eastern bays
are preferred for their chaste and elegant appearance, not being so
profusely ornamented as those of the western ones, but, as Mr. Millers
observes, "everything seems in its proper place and fitly
proportioned: all harmonize, and taken altogether, give a general
character of lightness and elegance. This is nowhere more conspicuous
than in the roof; the plain ribs of which, diverging from their
imposts, instead of crossing each other and