Carlisle
At Carlisle the stalls were erected by Bishop Strickland (1399-1413); Prior Haithwaite is said to have added the tabernacle work after the year 1433:[[28]] it would therefore be about forty years later than that at Chester ([21]). The lower canopy, as before, has triple gables, which are truncated ogees, but the additional front gable of Lincoln and Chester is omitted, while the pinnacled buttresses separating the canopies are carried by shafts standing on the shoulders of the stalls. The line of demarcation between the two stories, which the Lincoln and Nantwich designs had minimised, is now emphasised by making the band of quatrefoils continuous. The upper story, which in the earlier designs had had insufficient dominance, is now heightened and enlarged; it consists of three pedestalled niches instead of one; and the flanking window tracery of Lincoln and Chester, with its makeshift look, is reduced in importance, forming merely the backing of the three upper niches. The spirelet above is also greatly enriched, and additional pinnacles are introduced. A little prim the design may be in comparison with the exuberance of Lincoln, Chester and Nantwich, but the proportions are fine, and were the statuettes once more in their niches, it would be a very satisfactory composition. Such work as this has well been resembled to "a whole wood, or say a thicket of old hawthorn with its topmost branches spared, slowly growing into stalls."
Ripon
At St Asaph's cathedral the stalls and part of the canopies are ancient.[[29]] The cathedral was gutted by fire in 1402, and the stalls were not re-erected till 1471-1495.
Fifty years later than the Carlisle stalls were put up those of Ripon Minster ([60]). As two of the misericords are inscribed 1489 and 1494, they cannot be earlier than the latter year. Just as the Chester stalls were a criticism of those of Lincoln, and the Lincoln stalls of those of Ely, so the stalls of Ripon are a criticism of those of Nantwich and Carlisle. In the latter the upper story had been emphasised; at Ripon the bottom story is given the dominance; compared with the simplicity of the Carlisle design, the lower stage at Ripon, as at Nantwich, is surpassingly rich; gables and pinnacles and window tracery are loaded with beautiful detail, cusped arches are added below; finally figure sculpture is called in, and capitals and corbels are beset with tiny angels. In the string-course between the two stories quatrefoils are abandoned; it is molded, foliated and battlemented. In the upper story reappears the forest of pinnacles of Carlisle and the window tracery of Lincoln. Here, as elsewhere, the design suffers grievously from the loss of the statuettes which once ranged continuously in the upper story.