is
rather small, but has been recently improved; the pedal organ is the
best feature of the instrument. The wind is supplied by hydraulic
machinery. There are four pneumatic pistons, six couplers, and seven
composition pedals. The organist now sits on the south side, so that
he can see his choristers, whether they sing in the choir or the nave.

THE CHOIR.--The western part of the choir should be particularly
noticed. For, while the three eastern bays which form the presbytery
are Late Decorated, the three western bays of the choir are
twelfth-century work of Bishop Reginald's time, being, in fact, the
oldest part of the interior. That they were finished before Reginald's
other work in the transepts and nave is not only likely from the
general custom of medieval architects, but is made probable by the
carving of the capitals, which is less advanced than that in any other
part of the church.

It will be noticed, however, that, though the three arches remain of
the earlier bays, the two easternmost _piers_ of the old part are
Decorated, like those in the three later bays; and some of their arch
mouldings have been cut away in order to fit the new capitals. The
reason for this peculiar combination of a new pier with an old arch is
an interesting one. The original pier marked the east end of
Reginald's church, and it was taken from under its arch because, being
at the junction of the east wall with the side walls, it was a large
compound pier quite unfitted to stand as one of an arcade. The three
bays then formed the presbytery of the church, and the choir was
placed, Norman fashion, under the tower. A further evidence of this
being the original east end of the church is presented by the two
early buttresses outside at this point, which are much wider than any
of the others. But there must have been an ambulatory beyond the east
end of the old church, since Reginald's work is carried a bay farther
east in the choir aisles. There may, too, have been a small chapel
beyond.

Speaking of the contrast between the three early bays and the later
work, Freeman says: "The new work, though exceedingly graceful, is
perhaps too graceful; it has a refinement and minuteness of detail
which is thoroughly in place in a small building like the Lady Chapel,
but which gives a sort of feeling of weakness when it is transferred
to a principal part of the church of the full height of the building.
The three elder arches are all masculine vi