the
floor. The lower part of the walls is remarkable for some fine, though
simple, blank arcading, dating also from De Lucy's time; while light is
given by pairs of lancet windows, the rear arches being borne on groups
of detached shafts. Many of the original chased tiles of the pavement
remain to this day, and, in fact, there has been little interference
with De Lucy's work. Unfortunately, however, as has been remarked, much
of it has settled considerably, throwing the south-eastern angle
altogether out of the perpendicular, one vaulting-shaft having in this
manner been bent back and cracked in half. The effects of the subsidence
can easily be seen in the photograph of the south aisle of the
retro-choir looking toward the east.

As one passes beyond the feretory through the retro-choir, the #Chantry
of William Waynflete# stands to the north of the central alley. The
canopy is very elaborate and beautiful, and plentiful traces of the
original colour still can be seen, especially on the groining. On each
side are three flat-headed arches, those at the east end being closed,
while on each side of the piers adjoining the west end there are narrow
open arches. Corniced and battlemented screens fill these arches to
mid-height. The figure on the tomb is a modern restoration, very
elaborately clad in full pontificals, while the hands are clasped about
a heart, representing the _sursum corda_, or lifting up of the heart.
The chantry is kept in repair by Magdalen College, Oxford, which
Waynflete founded. Its situation, like that of the companion tomb of
Cardinal Beaufort, makes it very impressive. There is no altar now. At
the east end is a blank wall surmounted by three empty canopied niches,
while at the other are two open gratings.

In the corresponding position to the south is the #Chantry of Cardinal
Beaufort#, now kept in repair by the Dukes of Beaufort. In Britton's
time, as he tells us, there had fallen a "horse-load of the pinnacles in
the canopy of Cardinal Beaufort's chantry." Owing, however, to the
extreme elaboration, the effect is hardly impaired by this loss. The
plan of the tomb is two groups of four clustered piers at each end,
supporting a mass of canopies, niches, and pinnacles, which "bewilder
the sight and senses by their number and complexity," as Britton
quaintly says. The screen at the west end is closed, that at the east
end open. The vault displays some elaborate fan-tracery. The body of the
cardinal