t one of his subjects in the drilling process
and so confused the remainder that the historical sequence is lost.

[Illustration: PLAN OF SALISBURY CATHEDRAL.]

It is not proposed to describe these tombs in detail. A glance at the
sketch plan on the preceding page will make the position of each quite
clear. Especially notice should be given to (10) William Longespee,
1st Earl of Salisbury; (14) Robert, Lord Hungerford; (13) Lord Charles
Stourton, who was hanged in Salisbury Market Place with a silken
halter for instigating the murder of two men named Hartgill, father
and son. A wire noose representing the rope used to hang above the
tomb. (3) The reputed tomb of a "Boy Bishop," but possibly this is
really a bishop's "heart shrine." Salisbury seems to have been in an
especial sense the home of the singular custom of electing a small lad
as bishop during the festival of Christmas. According to Canon
Fletcher in his pleasant little book on the subject lately published,
no less than twenty-one names are known of Boy Bishops who played the
part in this cathedral. Several modern memorials of much interest upon
the walls of the nave explain themselves. One, to the left of the
north porch as we enter, is to Edward Wyndham Tempest, youthful poet
and "happy warrior" who was killed in the late war. Another will
remind us that Richard Jefferies, although buried at Broadwater in
Sussex, was the son of a North Wilts yeoman and a native of the shire.

The arches at the western transepts will be found to differ from those
of the nave; they were inserted to support the weight of the tower by
Bishop Wayte in 1415 and are similar to those at Canterbury and Wells.
A brass plate was placed in the pavement during the eighteenth century
to mark the inclination of the tower, 22-1/2 inches to the south-west.
It is said that the deflection has not altered appreciably for nearly
two hundred years. The exactness of the correspondence of the
architecture in the transepts to that of the nave almost comes as a
surprise by reason of its rarity to those who are acquainted with
other English cathedrals, and brings before one very vividly the
homogeneity of the design. A number of interesting monuments, several
of them modern, occupy the two arms of the transepts. The choir
roof-painting, sadly marred by Wyatt, has been restored to something
of its former beauty, but it would seem that time alone can give the
right tone to mural decoration in churches,