d--from the coronation processions of
the early kings and the slow march of their funerals to that of the
wedding of Mary I, when the queen blazed with jewels "to such an
extent that the eye was blinded as it looked upon her." But the most
unforgettable of all was on that dreadful day when the troops of
Waller marched up the nave, some mounted and all in war array, to
despoil the tombs of bishop and knight of their emblems of piety and
honour and to destroy anything beautiful that could be reached with
pike or sword.

On the right of the choir steps is Bishop Edyngton's chantry and on
the left the grave of the last Prior, Kingsmill, who afterwards became
first Dean. In the centre of the choir stands the reputed tomb of
William Rufus. This part of the building forms a mortuary chapel for
several of the early English Kings, including Canute. Their remains,
with those of several bishops, rest in the oak chests that lie on the
top of the choir screen. They were deposited here by Bishop Fox in
1534. This prelate was responsible for the beautiful east window; a
perfect specimen of old stained glass. The fine pulpit dates from
1520. In the choir, the scene of Edward Confessor's coronation in
1043, Mary I and Philip of Spain were married. The fine carvings of
the stalls date from 1296 and their canopies from 1390. They are among
the earliest specimens of their kind in Europe.

[Illustration: STEPS FROM NORTH TRANSEPT, WINCHESTER.]

The magnificent reredos was erected by Cardinal Beaufort; it is, of
course, restored. "The wretches who worked their evil will with this
beautiful relic of piety had actually chiselled the ornament down to a
plane surface and filled the concavities with plaster." It bore at one
time the golden diadem of Canute; behind it stood the splendid silver
shrine of St. Swithun, decorated with "the cross of emeralds, the
cross called Hierusalem" and who shall say what other gifts of piety
and devotion, all to become the spoils of that arch-iconoclast--Thomas
Cromwell.

Bishop Fox's chantry was built during his lifetime. It is on the south
side of the reredos, Gardiner's being on the north. Behind the reredos
are the chantries of Bishop Waynflete and of the great Cardinal
Beaufort. The latter claims attention for its graceful beauty and the
peculiarities of character shown in the face of the effigy within. He
is termed by Dean Kitchin, who draws attention to the "money-loving"
nose, the "Rothschild of his