LLIAM OF WYKEHAM'S CHANTRY.
From Britton's "Winchester."]

As one proceeds along the nave toward the east, the choir is reached by
two flights of four steps each with a landing between, over which
formerly there extended a rood-loft from pillar to pillar, bearing on it
Stigand's great cross. To the south of these choir steps and adjoining
the intermediate landing is the #Chantry of Bishop Edingdon#, the
earliest in date of the chapel-tombs at Winchester. The chantry is very
plain in comparison with the others in the cathedral, and apart from the
tomb there is only a slightly raised platform at the east end, without
an altar. A shaft of the large pillars runs down the centre of the east
and west interior walls. On the tomb lies the figure of the Bishop _in
pontificalibus_, his stole bearing the symbolic and much-disputed
"Fylfot" cross, which has been interpreted as a sign of submission.
Edingdon's curious Latin epitaph, given on page 107, is on a blue
enamelled strip of brass on the edge of the tomb.

Close to Edingdon's chantry is the #Nave Pulpit#, which is in itself a
good piece of Jacobean work, though not happily situated in the nave of
Winchester. It stood formerly in the chapel at New College, Oxford, and
did not appear at Winchester until 1884, when it was presented by
members of the Mayo family. If one stands facing east in the aisle to
the right of this pulpit, one of the most picturesque views in the
cathedral lies before one, through part of the south transept and up the
southern ambulatory of the retro-choir to the bright colours of
Langton's chapel window at the end. It will readily be noticed how out
of the perpendicular are the piers of this ambulatory as one approaches
the east end of the church. This seems to have arisen through a slight
subsidence of the ground here.

The original rood-screen exists no longer, and in its place we have but
a modern copy, by Sir Gilbert Scott, of the work in the Decorated choir
stall canopies. This oak #Choir Screen#, which is all that breaks the
view between west porch and reredos, has not met with much approval, and
the pallor of its wood does not contrast agreeably with the rich colour
of the old choir stalls. This, however, cannot with justice be made a
ground for complaint against the architect, who modelled his work as far
as possible on the original.

As one enters the #Choir#, which is raised above the level of the nave
by the two sets of four steps, the sta