uipment, some even being mounted. Tombs were defaced,
relics scattered, statues mutilated, stained glass smashed, and the more
portable objects carried out into the streets. It is difficult to
estimate with any exactitude what was the whole extent of the damage
done; but we have sufficient testimony in the broken figures, empty
niches, etc., to see that it was great. One highly creditable incident
in the midst of the general disgrace has been recorded--namely, the
preservation from insult of Wykeham's chantry. This was the work of a
Colonel Fiennes, who had been educated at Wykeham's College at
Winchester. The protests of the inhabitants seem to have finally induced
Waller to call off his fanatical troops from their work of destruction
and violation. What might have happened to the cathedral, had this not
been done, it is quite impossible to imagine. "Of the brass torn from
the violated monuments" in 1644 "might have been built a house as strong
as the brazen towers of old romances" (Ryves's "_Mercurius Rusticus_"
quoted by Milner).

Here the architectural history of Winchester Cathedral practically ends.
We find tombs and memorial brasses of all dates, but until the modern
restorations nothing of importance affected the actual appearance of the
church. Among the few examples of Jacobean work to be seen within, the
nave pulpit can hardly be classed, since it was brought from New College
Chapel at Oxford as late as 1884. The two statues of James I. and
Charles I. by the west door are the work of Hubert le Sueur, who came to
England in 1628. The urns which were supposed in the last century to
decorate the reredos have long ago been removed, as has also the gilt
Jacobean canopy which formerly disfigured the centre of this screen; but
Benjamin West's "Raising of Lazarus" still remains above the altar.

This century's work in the cathedral is not very formidable in its
extent. All of it is mentioned elsewhere in this book, and it is
sufficient here to say that the erection of Sir G. Scott's choir-screen
and the restoration of the reredos are the most noticeable "modern"
features, though the latter was carried out on the old lines as nearly
as was thought advisable. Sir G. Scott's additions to Winchester have by
no means given universal satisfaction, severe language having been
applied to them by more than one expert. The most recent alterations
have consisted chiefly of a very necessary, though costly, strengthening
of the