On the side of the tomb furthest from the spectator is a bishop or abbot without the mitre looking toward a figure on his right, who carries a tablet or open book with some words upon it.
At either extremity of this panel stands a figure censing the corpse with a circular thurible.
The border of each compartment is formed by a double invected pattern of gold and enamel. The ridge-piece is of copper perforated with eight keyhole ornaments.
The back of the shrine is also divided into two compartments, and is decorated with quatrefoils.
It is pierced in the middle of the upper border by a keyhole communicating with a lock on the inside.
The right-hand gable is occupied by the figure of a female saint. The left gable is occupied by the figure of a male saint.
A border of small gilt quatrefoils on a chocolate ground runs round the margins of the two ends and four back plates.
Those parts of the copper plates which are not enamelled are gilded, while the colours used in the enamelling are blue, are light-blue, green, yellow, red, chocolate, and white.
In the interior, on that side to which the lower front plate corresponds, is a cross pattée fitchée painted in red upon oak, which oak bears traces of having been stained with blood or some other liquid. The wood at the bottom is evidently modern. This reliquary is said to have been originally placed upon the high altar. It appears to have been preserved by some ancient Roman Catholic family until it came into the possession of the late Canon Russell, and bequeathed by him to the authorities of the cathedral.
The art of enamelling metals appears to have been introduced from Byzantium through Venice into Western Europe at the close of the tenth century. After this time Greek artists are known to have visited this country, and to have carried on a lucrative trade in the manufacture of sacred vessels, shrines, etc.