“The Choir and Presbytery are very similar to the nave in the main features of their design. The piers show a different plan, which provides for eight shafts of Purbeck marble to each. The inner mouldings of the arches exhibit the dog-tooth ornamentation of their period. The triforium and clerestory differ slightly from the corresponding parts of the nave. In each of the last two bays of the presbytery the triforium has five small cinquefoil arches. At the east wall of the choir above the reredos is an arcade of five simply-pointed arches, below a triplet window in the gable, which is filled with stained glass, given by the Earl of Radnor in 1781, and representing The Brazen Serpent, after a design by Mortimer.
“The choir still bears traces of Wyatt’s destruction. He removed the original reredos behind the high altar and the screen before the Lady-Chapel, so that both, with the low eastern aisle, were thrown into the choir. He shifted the high altar from the choir to the extreme east end of the Lady-Chapel, sacrificing several chantries and tombs to do so. Views of the cathedral after his reign of terror fail to show any gain to compensate for so much loss; the extreme length is not apparently an advantage, while the bare look of the interior seems decidedly intensified by the increased vista that he was so delighted to obtain, and for which, with a light heart, he effaced the silent records of dead centuries. The decorations of the roof of the choir and presbytery are reproductions of the original series of paintings, dating, it is thought, from the Thirteenth Century. The subjects are the prophets and saints, Christ and the four Evangelists and the twelve months.”—(G. W.)
On the north side of the choir is Bishop Audley’s Chantry, built by the bishop in 1520, four years before his death. It is late Perpendicular and resembles the chantry of Bishop Fox at Winchester. The fan-tracery of the roof was originally coloured. In the corresponding bay on the south side is the chantry founded by Walter, Lord Hungerford, in 1429. It was removed from the nave in 1778.
The Choir-Stalls are composed of pieces of various dates with some additions by Sir Christopher Wren and canopies by Wyatt. The Reredos is modern, the gift of Earl Beauchamp in memory of his ancestor, whose chantry Wyatt destroyed. It was designed by Sir Gilbert Scott.
Many of the Earls of Pembroke and their wives are buried near the choir.
In the South-choir-aisle an interesting monument to Bishop Davenport, probably one of the translators of the Bible, is of white marble with black Corinthian pillars. Near it is the tomb of Sir Richard Mompesson and his wife. He is in armour and Katherine in a black robe with gold flowers. The black Corinthian columns with vine leaves and grapes in green and gold twisted around them are striking. Near the south transept, still in the choir-aisle, is the altar-tomb of Bishop Mitford (1407), with carved shields. On the cornice with the lilies, birds are holding in their beaks scrolls with the words Honor Deo et gloria.
In the floor of the north-east-choir-aisle is the brass to Bishop Wyvill, generally regarded as one of the most wonderful existing examples. Bishop Wyvill (1329-1375) recovered for this See the castle of Sherborne and the chase of Bere. The brass, therefore, represents the contested castle with keep and portcullis. At the door of the first ward the bishop appears, bestowing his benediction on his champion, who stands at the gate of the outer ward with battle-axe and shield. The rabbits and hares before the castle refer to the chase of Bere, within Windsor Forest.
Bishop Giles de Bridport (died 1262) lies opposite William of York’s tomb, between the choir-aisle and the eastern-aisle of the transept. His monument is one of the most important and interesting in the Cathedral.
“All the details of this remarkable monument deserve the most careful examination. The effigy, at the head of which are small figures of censing angels, lies beneath a canopy, supported north and south by two open arches with quatrefoils in the heads. Each arch is subdivided by a central pilaster, and springs from clustered shafts, detached. A triangular hood-moulding, with crockets and finials of leafage, projects above each arch; and between and beyond the arches pilasters rise to the top of the canopy, supporting finials of very excellent design. The whole character of the tomb is most graceful, but an especial interest is given to it by the reliefs with which the spandrels of the arches are filled, and by the small sculptured figures on various parts of the monument. The subjects, beginning on the south side, have been thus interpreted. The first, a female figure with an infant and attendants, represents the birth of the future bishop: in the three next spandrels are his confirmation; either his own education or his instruction of others; and, possibly, his first preferment. The shield hung from a tree in this compartment, bears Az., a cross, or, between 4 bezants, no doubt his own arms. On the north side of the monument are the bishop doing homage for his see—a procession with a cross-bearer, perhaps referring to the dedication of Salisbury Cathedral—the bishop’s death and the presentation of his soul for judgment. Little or nothing is known of the life of Bishop Bridport.”—(R. J. K.)
At the end of the north aisle of the Lady-Chapel and at the end of the south aisle, directly opposite, are two monuments that will interest the visitor. The first is a medley of obelisks, globes, spheres and the Four Cardinal Virtues and effigies of Sir Thomas Gorges and his widow, maid-of-honour to Queen Elizabeth. The second is a gorgeous tribute to Edward, Earl of Hertford, son of the Protector Somerset and of his wife, Catherine, Lady Jane Grey’s sister. The effigies are praying; the Earl is in armour. The whole piece is gilded and coloured.